跟读练习: How I Learned Procedural Generation - 通过YouTube学习英语口语
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So I finished learning how to make an FPS controller,
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So I finished learning how to make an FPS controller,
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but if I want to make a more polished looking game,
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I will need to work on my environment.
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And since I'm more of a coder than an artist,
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I think there's no better way than with procedural generation.
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So let's begin by starting a new project.
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Next it's time to go on my usual YouTube grind and figure out how to do mesh generation.
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Thankfully Bracchus has three videos on this topic.
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Three days later.
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After watching Brackey's videos, I'm now able to generate meshes of any size that I need,
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and all it took is the code you see on the left.
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Now to make this look like terrain,
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use something called Perlin Noise,
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which is an algorithm created by Ken Perlin to help make more natural looking textures and terrain on the movie Tron.
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What I'm using here is the 2D version which generates values between 0 and 1.
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To represent this, I map the numbers closer to 0 as black and numbers closer to 1 as white.
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The power of this algorithm comes when you multiply that Perlin value by a number.
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For instance, I can use Perlin noise multiplied by an amplitude to procedurally generate the height of my terrain.
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This is all fine and dandy,
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but I wanted a little bit more control over my environment.
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Thankfully I found this tutorial series by Sebastian Legg,
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and it covered everything I wanted to know and more.
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It seriously was so good that I gave it a watch a few times over.
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The problem is, it goes into so much depth that it is too comprehensive for my puny brain to handle.
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So I took two of the simpler concepts to add to my generator.
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One was the ability to finely tune the noise,
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and two was this concept of multiplying the the Perlin noise with the falloff map to create islands.
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I actually wrote my own version of Sebastian's falloff map so that I could set where the falloff begins and ends.
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Here's a preview of that code for those of you who are interested.
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I also fixed Sebastian's noise generator because I think he broke it around episode 6 and then never fixed it.
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When you change the scale you're supposed to be able to zoom in
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and out of the Perlin map but right now it almost seems like you're generating a new map.
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I narrowed down the problem to these lines here.
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Changing this also fixed the parallax effect Sebastian had when changing the offset.
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Now that we have more control over our environment,
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it's time to move on to my favorite topic from elementary school,
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and that is coloring.
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So for coloring, I spent about a week or two trying to recreate the style Sebastian had for his intro.
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He shows that he's generating a texture with these nicely rounded edges,
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but in the tutorials, he only teaches us how to make a pixelated texture.
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One solution I had was to increase the number of sample points we use in the texture,
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but if you zoom in,
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we still have the problem of seeing each individual pixel.
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Then I remembered watching a video by Sebastian where he used marching cubes,
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and I was almost certain this is the approach he used for generating his texture.
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So I watched this video by the coding train and converted his marching squares algorithm from JavaScript into C-sharp.
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I got pretty close to the results I wanted,
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but when you view this on the terrain,
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you could still see each individual pixel.
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So I gave up on using a texture approach.
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I really tried to avoid this as much as I could,
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but I was left with no other choice but to dive into shaders.
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After messing with shader graph for a few hours,
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I came up with this decent shader here.
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I surprisingly had a lot of fun making this and it turns out shaders aren't too hard after all.
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With my new love for shaders,
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I looked up a bunch of more tutorials on YouTube.
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I found this tutorial for creating a gradient skybox with stars,
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but I noticed there's a little bit of distortion near the edges.
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So I found this article that taught me how to do proper UV sphere projection,
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and yay, no more distortion.
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But I wasn't quite satisfied yet.
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I also found this awesome cloud shader that I needed to use as well.
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And now our skies are looking not too bad.
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Then to top it all off I used these two videos to make a stylized water.
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Alright let's finish off this last bit here.
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So to finish off this project let's add some vegetation.
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I hopped in the blender and made this very beginner friendly tree
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but I don't want to manually place hundreds of trees on the terrain because that would take forever.
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And we are going for a complete procedural generation.
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Thankfully, I remember watching this video from Jonas Tyroller a
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while back where he talked about creating random levels for his game Islander.
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Basically, if you shoot a raycast onto a random point on the island,
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you can check if it's a valid spawn point for a tree.
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If so, spawn the tree.
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Then you can do this for as many times as you want trees,
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or whatever object you want to randomly place.
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So I created this simple prefab spawner script where I can select a prefab to spawn.
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Then to determine if a spot is valid to place a prefab,
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I just check if the the hit location is above the sea level.
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I also have the script randomly change the scale
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and rotation of the prefab we are spawning so that we have a bit of variation.
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Lastly, let's add some grass.
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I found this video to create a quick grass texture,
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then I put together a bunch of planes in blender to display it.
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Back in Unity, I just reused my prefab spawner script to spawn my grass around the island.
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Although, to really bring this grass to life,
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I watched this video from Bracuse.
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And now, we have Sway in our grass.
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So I brought over my FPS controller from the last video so that we can explore the island.
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And after working on this for so long,
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it's super cool to see this from the first person view.
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With what we have here,
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it's really starting to feel like a really polished game.
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The sky, the water, with the FPS movements,
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everything ties nicely together to really bring that GAME FEW.
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To be honest, I could keep on going and continue to add things to my procedure generator,
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but then this video will never end.
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I definitely will be working on this tool in future videos
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and I am just so pleased with how much I was able to figure out.
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This is definitely going to help me out in any future game that I make,
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and even just this island already feels like a cool spot to do 1v1 deathmatches on.
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I can imagine doing some sick multiplayer battles on here,
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finding good angles to pick off people on the island.
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But anyways, if you stuck around this long,
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thank you so much for watching,
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and I hope to see you in the next one.
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Peace.
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为什么要通过这个视频练习口语？
在学习一门语言时，实际运用是至关重要的。这个视频展示了制作程序生成环境的过程，涵盖了编码、算法以及创造性解决问题的思维方式。通过模仿视频中的讲解，学习者可以练习 英语口语练习，同时掌握如何在实时对话中有效表达技术概念。这种实践不仅增强了口语流利度，还能提升自信心，让学习者在谈论类似话题时游刃有余。结合 shadow speak 方法，一边观看一边跟读，加倍提升你的语言能力。
语法与表达在上下文中的应用
在视频中，讲者使用了一些关键的语法结构和表达方式。以下是几个重要的例子：
- 动词时态的运用: 讲者使用过去式，如“我看了视频”来描述过去的学习经历，这对时间表达非常重要。
- 条件句的构建: 如“如果我想做一个更精致的游戏，我将需要……”通过条件句，学习者可以理解如何在哦讨论计划和假设时使用英语。
- 并列句的使用: 讲者使用了“并且”连接两个独立的思路，比如“我想控制我的环境，并且我需要……”，这增强了句子的流畅性。
熟练掌握这些结构有助于提高自己的表达能力，特别是在与他人交流技术性内容时。
常见发音陷阱
视频中的一些单词可能给学习者带来发音上的困难。例如，“Perlin Noise”这个术语，对学习者来说非常具有挑战性，尤其是在重音和音节之分的情况下。此外，讲者提到的“程序生成”以及“纹理”，在快速说话时可能会混淆发音。为了克服这些发音陷阱，学习者可以尝试反复跟读视频中的关键句子，利用 看YouTube学英语 方法，增强对这些难词的掌控。
通过持续的练习和 shadowspeaks 的技术，可以极大提升你的英语口语表达能力和发音准确度。
什么是跟读法？
跟读法 (Shadowing) 是一种有科学依据的语言学习技巧，最初开发用于专业口译员的培训，并由多语言者Alexander Arguelles博士普及。这个方法简单而强大：您在听英语母语原声的同时立即大声重复——就像是一个延迟1-2秒紧跟说话者的影子。与被动听力或语法练习不同，跟读法强迫您的大脑和口腔肌肉同时处理并模仿真实的讲话模式。研究表明它能显着提高发音准确性，语调，节奏，连读，听力理解和口语流利度——使其成为雅思口语备考和真实英语交流最有效的方法之一。