When the goal is to make a 64kB executable (or less!), many unexpected issues arise. Floating point numbers are found everywhere: position of objects in the world, position of the camera, constants for the effets, colors in the texture generator, etc. In practice, we often don’t need as much precision as offered by floats. Can we take advantage of that to pack more data in a smaller space?

Whether an object is 2.2 or 2.21 meters high, is not meaningful. The goal here is to reduce the amount of space used by those numbers. A float takes 4 bytes (8 bytes for a double). This can be reduced a bit with compression, but when there are thousands of them, it’s still quite big. We can do better.

A naïve solution

Suppose we have some numbers between 0 and 1000, and we need a 0.1 precision. We could store those numbers as integers between 0 and 10000 and then divide by 10. Whether we use 32 bit or 16 bit integers in the code doesn’t make a difference: since we don’t use their full range of values, all these integers start with leading 0s. The compression code will detect such repetitive 0s and use around 13 bits per number in both cases.

The problem with this solution is that we need some processing in the runtime code. Each time we use a number, we have to convert it to a float and divide it by 10. If all our data is in a same place, we can loop over it. But if we have numbers all over our code base, we’ll also need processing code in all those places. This simple operation can be cumbersome and expensive in terms of space.

It turns out we can get rid of the processing, and use directly floating point numbers.

A note on IEEE floats

Floats are stored using the IEEE 754 standard. Some of them have a binary representation that contains lots of 0 and compress better than others.

Let’s look at two examples using a binary representation. The IEEE representation is not exactly the same as in the example below (it has to store the exponent), but almost.

  • 6.25 -> 110.01
  • 6.3 -> 110.010011…

In fact, 6.3 has no exact representation in base 2: the number stored is an approximation, and it would require an infinite number of digits to represent 6.3. On the other hand, the binary representation for 6.25 is compact and exact.

If we’re optimizing for size, we should prefer numbers like 6.25, that have a compact binary representation. For example, 0.125, 0.5, 0.75, 0.875 have at most 3 digits in binary after the decimal mark. The binary representation will have a lot of 0s at the end of the number, which will compress really well. The great thing is that we don’t need processing code anymore because we’re still using standard floats.

To better understand IEEE representation, try some tools to visualize the floats. You’ll see how removing the last 1s will reduce the precision.

How much precision do we need?

Floats are much more precise for values around 0. As our numbers get bigger, we’ll have less and less precision (or we’ll need more bits).

The table below is useful to check how much precision is needed. It tells you the worst error to expect based on the number of bits, and the scale of the input numbers. For example, if the input numbers are around 100 and we use 16 bits per float, the error will be at most 0.25. If we want the error to be less than 0.01, we need 21 bits per float.

Of course, each time you add a bit, you divide by two the expected error.

How to automate it?

An ad hoc solution is to remember this list of numbers and use them in the code when possible: 0.125, 0.25, 0.375, 0.5, 0.625, 0.75, 0.875. An alternative is to use a list of macros from Iñigo Quilez. As Iñigo points out, this is not very elegant. Fortunately, this is hardly a problem because chances are this is not where most of your data lies.

64kB can actually contain a lot of data. Developers often rely on tools and custom editors to quickly modify and iterate on the data. In that case, we can easily use code to truncate the floating point numbers as part of the process.

Here is the function we use to round the binary representation of the floats:

  1. // roundb(f, 15) => keep 15 bits in the float, set the other bits to zero
  2. float roundb(float f, int bits) {
  3.   union { int i; float f; } num;
  5.   bits = 32 – bits; // assuming sizeof(int) == sizeof(float) == 4
  6.   num.f = f;
  7.   num.i = num.i + (1 << (bits – 1)); // round instead of truncate
  8.   num.i = num.i & (-1 << bits);
  9.   return num.f;
  10. }

Just pass the float, choose how many bits you want to keep, and you’ll get a new float that will compress much better. If you generate C++ code with that number, be careful when printing it (make sure you print it with enough decimals):

  1. printf("%.10ff\n", roundb(myinput, 12));

The great thing about this function is that we decide exactly how much precision we want to keep. If we desperately need space at some point, we can try to reduce that number and see what happens.

By applying this technique, we’ve managed to save several kilobytes on our 64kB executable.
Hopefully you will, too.

After months of polishing, we’ve finally released the final version of our latest 64kB intro: H – Immersion. You can read the details, download the binary or just watch the captured video from the production page.

We’re also currently doing a write up to show some of the techniques involved in this intro, which we’re hoping to publish here soon.

People not familiar with the demoscene often ask us how it works. How is it possible that a 64kB file contain so much? It can seem magical, since a typical music compressed as mp3 can be 1,000 times as big as our animations – not to mention the graphics. People also ask why other programs or games are getting so big. In 1990, when games had to fit on one or two floppy disks, they used only 1 or 2MB (which is still 20 times as much as our 64kB intros). Modern games now use 10-100 GB.

The reason for that is simple: Software engineering is all about making trade-offs. The typical trade-off is to use more memory to improve performance. But when you write a program, there are many more dimensions to consider. If you optimize on one dimension, you might lose on the other fronts. We make optimizations and trade-offs that wouldn’t make any sense outside the demoscene.

First, we optimize all the data we store in the binary. We use JSON files during the development for convenience, but then we generate compact C++ files to embed in the binary. This saves us a few kilobytes. Is it worth doing it? If you had to make a demo without the 64kB limit, you wouldn’t waste time on this. You’d prefer the 70kB executable instead. It’s almost the same.

Then, we compress our file (kkrunchy for 64kB intros, crinkler for 4kB intros). Compression slows down the startup time and antivirus software may complain about the file. It’s generally not a good deal. I bet you’ll choose the 300kB file instead. It’s still small, right?

We use compiler optimizations that will slightly slow down the execution to save bytes. That’s not what most users want. We disable language features like C++ exceptions, we give up object oriented programming (no inheritance) and we avoid external libraries – including the STL. This is a bad trade-off for most developers, because this slows down the development. Instead of rewriting existing functions, you’ll prefer the 600kB file.

Our music is computed in real-time (more precisely, we start a separate thread that fills the audio buffer). This means that the musician has to use a special synth and cannot use his favorite instruments. That’s a huge constraint that very few musicians would accept outside the demoscene. They will send you a mp3 file instead. You also need a mp3 player, and your demo is now 10MB.

Similarly, we generate all textures procedurally. And all the 3D models. For that, we write code and this is a lot of work. This adds a huge constraint on what we do (but constraints are fun and make us more creative). While procedural texture have lots of benefits, your graphists will prefer using their normal tools. You get JPEG images and – even if you’re careful – your demo size increases to 20MB.

At this point, you may wonder if it makes sense to write your own engine. You could use an existing engine and it would add at least 50MB. Of course, it’s still a simple application made by a small team, you can imagine what happens when you scale this up to a full game studio.

So demosceners achieve very small executable sizes because we care deeply about it. In many regards, demoscene works are an art form. We make decisions meant to support the artistic traits we’re pursuing. In this case, we’re willing to give up development velocity, flexibility, loading time, and a lot of potential content to fit everything in 64kB. Is it worth it? No idea, but it’s a lot of fun. You should try it.

This is the breaking news that crashed into our mailboxes yesterday. The PC 64kB Intro we released last year at Revision, F – Felix’s workshop, has been selected to be shown at SIGGRAPH 2013 as part of the Real-Time Live! demoscene reel event.

Unfortunately we won’t be able to attend SIGGRAPH this year, but to have our work there is quite some awesome news.

I don’t know if this is going to become some sort of tradition for us, but as a matter of fact, we attended all Easter parties since the creation of our group. This year was no exception, and we had a really great time at Revision.

Revision is the kind of party that is just big enough so even though at some point you think “Ok, I’ve met pretty much every one I wanted”, when you get home you realize how many people you wanted to meet and did not. It’s also the kind of party that is so massively awesome that when you get back to your normal life, you experience some sort of post-party depression, on top of the exhaustion, and you have to get prepared for when it strikes.

Sidrip Alliance performing at Revision

So we’ve been there, and this year we presented the result of the last months of work in the PC 64k competition. The discussion of the concept started back in May 2011, and we seriously started working on it maybe around August.

While Revision was approaching, rumors were getting stronger about who would enter the competition, how serious they were about it, and how likely they’d finish in time. It became very clear that the competition was going to be very interesting, but even though, it completely outran expectations. It even got mentioned on Slashdot!

Our intro, F – Felix’s workshop, ended up at the 2nd place, after Approximate‘s gorgeous hypno-strawberries, Gaia Machina. The feedback has been very cheerful, during the competition as well as thereafter. Also, as if it was not enough, to our surprise, our previous intro, D – Four, has been nominated for two Scene.org Awards: Most Original Concept and Public Choice. Do I need to state we’re pretty happy with so many good news? :) Thank you all!

Now a week has passed already, we’re back at our daily lives, slowly recovering, and already thinking of what we’re going to do next. :) Until then, here is a capture of our intro:

We have been taught that B – Incubation was nominated for the Breakthrough Performance category of the Scene.org Awards 2010. Needless to say this was an awesome news, that made our day (and probably the upcoming ones too; being nominated certainly does not mean actually winning the award, but that’s still quite something).

Whoever played a role in this: thank you very much!

As a side note, I’m pretty happy to see that most of the productions I hoped to see being nominated, were nominated. :-)

Our last production, E – Departure, is completely music driven and provides some fast camera moves. To make those visually more interesting we use a motion blur, that we happen to be fairly happy with. This article will be about explaining how this motion blur post processing effect is achieved. The shader language used in the code sample is GLSL.

E - Departure

Motion blur in real life

A photo with motion blur

A photo with motion blur

First, let’s take a moment to remind what motion blur physically is. When a photo or a video is shot with a camera, the exposure time (or shutter speed) is a parameter commanding how long the film, or sensor, will be exposed to incoming light. The longer it will, the more light will be caught by the sensor, thus the lighter the image will get, and the more blurry moving elements will get. This can be seen as a drawback (in a dark environment having crisp images gets more difficult) or as a wanted effect (since motion blur conveys a sense of speed).

While the shutter is open, the effect of light on the sensor is more or less constant: all things being equal, a light trail should have a constant lightness. In other words, it’s almost a box filter. I feel this point needs to be stated since some people confuse this effect with the artistic mean consisting of giving more contrast at the base of the trail than at the tail. In photography such an effect can be achieved by firing a flash right before the diaphragm closes (a technique known as rear curtain sync), but this is not the kind of motion effect I am referring to in this article.

Velocity map based motion blur

I’d say there are mainly three ways of achieving motion blur: stochastic based, accumulative based and velocity map based.

The stochastic approach consists in randomly sampling at different points in time and doing a proper weighted average. Trivial in ray tracing, this is difficult to achieve with rasterization but there is research in that direction. Insufficient sampling will lead to noise.

The accumulative motion blur consists in imitating the physical effect by blending together snapshots taken over the duration of the simulated aperture. Doing so is expensive since for each frame the geometry has to be processed and shaded. Insufficient sampling will lead to banding.

The velocity map based motion blur consists in rendering one image of the scene, no different from the regular rendering one would have without blur, and to make every point of this image bleed in some direction according to its speed. To do so, the speed of each point is computed and stored in a buffer: the velocity map. This technique will have the same banding artifacts as the accumulative approach, and some more. This is the technique we chose.

Making three educated steps away from reality

Bleeding is not motion blur

At this point of the description, the velocity map technique is already expected to give a result that is not matching reality. The reason simply being that having object colors bleeding over each other is not equivalent to the accumulation of light during an aperture. Let’s give a simple example to illustrate this.

Viewer's point of view

Imagine we have a black background, a static red sphere, and a moving white sphere passing in front of the red one. If the snapshot used for the final image is taken at the moment the white sphere is completely occluding the red one from the viewer point of view, the red sphere won’t contribute at all to the final image. With a camera taking a photo, there may be a part of the aperture duration when the red ball is still visible, hence contributing to the amount of light caught by the sensor. Accumulative motion blur will reproduce this effect while velocity map will not.

Expected resulting images

We know this is not accurate, but we are trading accuracy for speed, and as long as we don’t forget this and we accept the resulting quality this is ok. It is all a matter of balance between affordable and physically correct.

Linear motion versus arbitrary motion

Now another inaccuracy lies hidden in the velocity map technique description: the fact that we will make colors bleed in the direction of the speed. The wording suggests that the blur for a given point will always be linear. And this is what will be assumed, since it is way easier to store the representation of a linear move than any other kind of move. But then it means that points moving along a circle for instance, like with a rotation, will have a linear trail instead of a curved one. This approximation works as long as the amount of blur is supposed to be very limited compared to the path. But with elements making fast enough, like small circular moves, this will not work any more and glitches will become noticeable. Should this be a problem, I would suggest instead to store an instant center of rotation for example.

As long as we are using linear operations, we can also avoid computing the speed for each point, and instead just compute it for each vertex and interpolate between them. The benefit of doing so is obvious: the speed will be a varying value computed in the vertex shader, and available thereafter in the fragment shader.

Scatter versus gather

At last, let’s get even farther from reality for a technical reason, still trading accuracy for speed. As explained, we will have two images: a snapshot of the scene, and an image representing the speed of each point. Ideally, we would like to have each moving point bleed over its neighbors according to its speed. Unfortunately nowadays GPU are designed in a way so they can easily gather, but cannot scatter information: in a fragment shader, you can retrieve data from other fragments, but you cannot modify other fragments. So if you want to have one fragment affecting some other one, you have to read it from that fragment. And if you don’t know in advance which fragments are affected, which is the case here, for a given fragment you have to check all neighboring fragments and gather the ones affecting it. If a fragment might affect up to n fragments away, this mean having to check fragments, thus O(n²) (for more on this topic, see chapter 32 of the book GPU Gems 2). This quickly becomes very expensive.

So what we will do here is consider motion blur to be homogeneous enough so we can trade the scattering we would like to do for a simple gather operation. Instead of making our fragment bleed over, we will dilute it among other fragments. This is a strong assumption, that will often prove false. But fortunately, the average result will still look nice, even though some obvious artifacts will appear here and there.

Computing the velocity map

Let’s now get to the implementation part. I am supposing here we have some FBO (Frame Buffer Objects) ready, in order to be able to have efficient render to texture, or the equivalent if the API is not OpenGL. I won’t go into further details about this since it is quite a different topic from what is being discussed here. If you don’t know how to set up and use FBO, at least you now have the keywords and can Google it.

We will need a couple of things to build our velocity map. First we will need a separate buffer to store it. With OpenGL this is done with glDrawBuffers(), which allows to tell which buffers we are going to writen into. By default there is only one such buffer, but we can have various of them; here we just need an additional one. Second we will also need a way to compute the speed of the vertices. The motion blur is a screen space effect, so all we need is the speed in screen space.

During a typical forward rendering pass, each object will have some kind of matrice, pile of matrices, or any equivalent mean to compute its position in world coordinates. The camera is likely to have its own set of matrices, to transform points from world space to camera space, then from camera space to screen space (in OpenGL this last transformation is typically defined by the matrix referred by GL_PROJECTION_MATRIX). The position of a vertex at the given time t is therefore multiplied by each of those matrices to get the final position in screen space. To know the speed of such a vertex in screen space, we just need to know where it was at the time t – dt. If dt is exactly the duration of the aperture, the two positions will define the limits of the motion during that time. This is exactly what we want.

So basically we need a way to retrieve the transformation at t – dt while rendering at t. Using an animation, this shouldn’t be too difficult: you just have to query your system for t – dt. If your animation is ad hoc, like with some real-time interaction, then you may store the previous transformations. Anyway, as long as you have both the previous object transformation position and the previous camera position transformation, you have it all.

In a minimalistic vertex shader, one would have something like the following:

  1. void main()
  2. {
  3.   gl_Position = gl_ProjectionModelViewMatrix * gl_Vertex; // equivalent to ftransform(), which is a deprecated function
  4. }

For each object we will feed the shading pipeline with an additional information: the transformation matrix of t – dt. I considered that the projection matrix was unlikely to change fast enough to have any consequence on motion blur, so I decided not to store it, and to use the current one for both the old and the current position. It is up to you to choose your policy, but you have to be consistent when computing the speed in the end. Anyway, this leads to the following new vertex shader:

  1. uniform mat4 oldTransformation;
  2. varying vec2 speed;
  4. vec2 getSpeed()
  5. {
  6.   vec4 oldScreenCoord = gl_ProjectionMatrix * oldTransformation * gl_Vertex;
  7.   vec4 newScreenCoord = gl_ProjectionMatrix * gl_ModelViewMatrix * gl_Vertex;
  8.   vec2 v = newScreenCoord.xy / newScreenCoord.w – oldScreenCoord.xy / oldScreenCoord.w;
  9.   return v;
  10. }
  12. void main()
  13. {
  14.   gl_Position = gl_ProjectionModelViewMatrix * gl_Vertex; // No change here
  15.   speed = getSpeed();
  16. }

You may notice that the current position is computed twice (gl_Position and newScreenCoord). I let it this way to make the code easier to read, since it seems the shader compiler will optimize this anyway. Also, you have to be careful about the homogeneous coordinates operation.

From now on let’s retrieve the interpolated speed in the fragment shader and finally store it in the velocity map. A typical fragment shader would look like this:

  1. void main()
  2. {
  3.   gl_FragColor = /* whatever */
  4. }

We are simply modifying it the following way:

  1. varying vec2 speed;
  2. vec3 getSpeedColor()
  3. {
  4.   return vec3(0.5 + 0.5 * speed, 0.);
  5. }
  7. void main()
  8. {
  9.   gl_FragData[0] = /* whatever the fragment color was */
  10.   gl_FragData[1] = getSpeedColor();
  11. }

This is it. At this point we have a velocity map where color represents the motion of each point in screen space. So far so good.

Update: Actually, so far, not so good. The above code contains a bug that I didn’t notice at the time because we rarely met the conditions to make it visible. But since then it has been bugging me as we have been working on a scene that exhibits it pretty badly.

When polygons get clipped, it may lead to broken speed values, resulting in annoying strong blur artifacts. The reason behind this is the non linear operation consisting in dividing by the w component in the vertex shader, that brings wrong values after clipping.

To solve this, I suggest not dividing in the vertex shader and pass the w component to the fragment shader in order to divide only at that time.

Using the velocity map and applying the blur

Once the color buffer and velocity map are filled, the post processing pass will use both to generate the motion blurred image. This is done very simply: while in a very minimal blitting shader you would have something like the following,

  1. uniform sampler2D colorBuffer;
  3. void main()
  4. {
  5.   gl_FragColor = texture2D(colorBuffer, gl_TexCoord[0].xy);
  6. }

here it becomes

  1. uniform sampler2D colorBuffer;
  2. uniform sampler2D velocityMap;
  4. vec4 motionBlur(sampler2D color, sampler2D motion, vec2 uv, float intensity)
  5. {
  6.   vec2 speed = 2. * texture2D(motion, uv).rg1.;
  7.   vec2 offset = intensity * speed;
  8.   vec3 c = vec3(0.);
  10.   float inc = 0.1;
  11.   float weight = 0.;
  12.   for (float i = 0.; i <= 1.; i += inc)
  13.   {
  14.     c += texture2D(color, uv + i * offset).rgb;
  15.     weight += 1.;
  16.   }
  17.   c /= weight;
  18.   return vec4(c, 1.);
  19. }
  21. void main()
  22. {
  23.   gl_FragColor = motionBlur(colorBuffer, velocityMap, gl_TexCoord[0].xy, 0.5);
  24. }

In this example, the inc value will define a 10 fetches motion blur. It proved to be sufficient in our case, and even as little as 8 fetches could be enough for moderated blur. With 20 fetches it becomes really hard to notice artifacts, but it is also slower of course.

The function argument intensity controls the length of the motion trails. You can set it to be consistent with your rendering speed, or low for a fainter effect, of high for an exaggerated effect.

Dealing with precision matter

At this point, I had a nice looking motion blur already, but I noticed it tended to introduce instability at low speeds. This is due to the fact that low speed means short velocity vector, which being stored with two integers loses precision both in speed and direction. To overcome this issue, I decided to represent differently the velocity vector.

First, instead of storing its components, I stored the components of the normalized velocity vector on one side, and the norm on the other side. This dealt with the direction problem.

Second, I applied the very same trick gamma correction relies onto: using the power function to increase the precision of low values, at the cost of precision for high values. The norm would then be stored in non linear space, and transformed back when using it. Since varyings are interpolated linearly, we have no choice but stay in linear space in the vertex shader, and change for non linear space only in the fragment shader.

So in the vertex shader, once we have our per vertex speed vector we store it this way:

  1. varying vec3 speed;
  3. vec3 getSpeed()
  4. {
  5.   vec2 v = /* … */
  6.   float norm = length(v);
  7.   return vec3(normalize(v), norm);
  8. }

While in the fragment shader the color we write becomes:

  1. vec3 getSpeedColor()
  2. {
  3.   return vec3(0.5 + 0.5 * vSpeed.xy, pow(vSpeed.z, 0.5));
  4. }

During the postprocessing pass, the speed is then read this way:

  1. vec3 speedInfo = texture2D(motion, uv).rgb;
  2. vec2 speed = (2. * speedInfo.xy1.) * pow(speedInfo.z, 2.);

Update: again, for the reason mentioned above, this code has to be changed and norm has to be computed in the fragment shader. I am too lazy to fix the code here so this is let as an exercise to the reader. ;-)

Bugs and limitations

Motion blur artifacts

Motion blur artifacts

Just like said, each trade off introduces inaccuracies, that result in visual artifacts. The most important one is obviously the scatter vs gather one. You can see the visual cost implied here: notice the ghost effect visible on the edge of some elements.

Another problem is how to manage the edges of the image. When an object is moving near the border, the algorithm may try to fetch colors outside the image. In that case, I see three solutions: leaving it as is if this is fine in your case (it might simply not happen often enough to be a problem), clamping the fetch to the border (this is what is done in E – Departure; notice how it affects the right side of the sample screenshot), or generating a bigger image to have a thin space outside the displayed frame where colors can still be fetched.

Those problems though are difficult to notice at low speed, and will appear only briefly at higher speed. So for E – Departure, this was an acceptable trade off.


I presented here a technique fairly simple to implement, allowing to get an effect which is visually pleasing, and that noticeably increases the realism of the image for a limited cost. It played an important role in our demo; I hope you will find a good use for it too.

Here is a sketch made about a month ago, after Cyborg Jeff, our dear composer, let us hear the first elements of his soundtrack. This was the base of our upcoming next production, a 64kB PC intro codenamed E. Our first demo, B – Incubation, have received a positive feedback, but was criticized design wise. E is music driven and focused on the visual experience; I hope it will succeed on the points the previous demo missed.

There is still work to do, but I am pretty confident we will be able to release it at the Ultimate Meeting that will take in Karlsruhe, Germany, starting tomorrow. I do not guaranty the fulfilling of this assertion though, should any supervening circumstances amounting to force majeure. Such circumstances shall include, but shall not be limited to, strike, snow storm, riots, train hitting a truck, hard drive toast, power plug left at home, earthquake, war or acts of God.

See you at tUM!

Update: nor the snow and the resulting almost three hours delay on train schedule, nor the very addictive pinball game could prevent the release of E as planned. :-)

After months of work, we’ve finally released our first demo: B – Incubation. As I love reading how other demos are made, I’m going to share a few things.

Zavie and I seriously started Incubation in January. At this time, we had no real experience in size coding, and almost no code base. We didn’t even know how to write a shader. All we had was a texture generator. We decided to start from IQ’s 64k framework (to get compiler options and basic code optimized for 64k intros). We planned to release our intro at Breakpoint in April, but it was so crappy that we decided to delay it. We finally released it at Evoke, in August.

Some groups (e.g. Farbrausch, Conspiracy, Fairlight) create their demos with a tool, while other groups like ASD prefer pure code. In Incubation, everything is hard-coded, but we used some tricks to improve our productivity and reduce the number of compilations. When the code is compiled in debug-mode, many shortcuts are available, such as time-control (play, pause, backward, forward), and camera control with mouse and keyboard. Camera data is stored in an array, and we use a spline to interpolate positions (thanks IQ!). This array is in a separate file: In debug-mode, we can reload it at any time; in release, the file is simply included. The same goes for the light position.

We also use a tricky macro, called Tweakable Value, to tweak our constants at runtime. For instance, we use it to update text position, fade in / fade out dates, and so on. As you can see, there are many things we can edit and update without recompilation (shaders are obviously reloadable at runtime, too).

In Incubation, we use about 50 colour textures, 25 normal maps (for parallax mapping), and 25 specular maps. Everything is generated in code – we don’t have any fancy node-based editor. I wrote a minimalist script language to call the texture generator functions and get immediate feedback without recompilation. We later replaced this broken language with picoc, a C interpreter.

For fun, I put this texture generator on my webserver. Imagine: You enter a few lines of code in your browser, press a button, and see the generated texture within a second. As everything is shared, we can see when other people’s textures, copy and edit their code, etc. Although a browser is not the best tool to write code, it is awesome for social interactions. We started making many textures for fun, we invited our friends to play with the online texgen, and we got many interesting results. For example, Rubix made a Pacman shape for fun, I decided to put it on a wall, and it ended up in the demo.

Pacman on a wall

Here is a random list of things we’ve used: kkrunchy, v2, game of life, L-system, Voronoi cells, Perlin noise, convolution filters, parallax mapping, godrays, depth of field, glow, Bresenham’s line. Nothing new here, but this might help some beginners.

Size limit has not been an issue for us; 64 kilobytes is a lot when you have only code and no external library. We didn’t even apply the planned optimizations, but we’ll probably do the following for our next intro: truncate floats, reorder data, do delta encoding, obfuscate shaders… Here is the estimated compressed size of a few parts:

  • Music: 15.5k
  • Textures: 10k
  • Camera data: 4k
  • Animations data: 5k
  • Shaders: 3.5k

Yes, this is very different from Panic Room, about which Smash mentioned that “You might be surprised to learn that the shaders are the biggest single (yes, compressed) data block in the 64k, bigger than the meshes, samples, music data, texture data etc. modern rendering apparently doesn’t come for free.”

Next time, we’ll improve our rendering and get meshes. :)

We released earlier our first 64kB PC demo: “Incubation”, codenamed B.

The live feedback of the public, reacting at most winks we put, was really awesome. Likewise, the comments we can already see on Pouët are very much appreciated. Thank you all. As we are very tired, we will get some rest first (actually, two of us three are already sleeping somewhere :) ), then we will fix a couple of things: correct bugs some people seem to be experiencing, capture a video, etc.

For now, here are just these links:
Pouët page: B – Incubation
Download Incubation

Goodnight all.