Making textureless 3D work

Textureless pure 3D

Creating a textureless “pure3D”  look


(This is a post about Oberon’s Court; a fantasy RTS/RPG game being developed by Tomas Sala (@littlechicken01) who is also one of the co-founders of Little Chicken Game Company. However the game is not an official Little Chicken Production, you can keep up to date on the game at

One of ways I decided to challenge myself when starting Oberon’s Court was to create a visual style that does not use any textures. There’s two reasons for this.

First of all, it looks beautiful. Having grown up with pixel games and the advent of 3D games has instilled in me a deep appreciation for 3D graphics. But the advent of pixel art has shown me that you can take any visual tech and distill it to its purest form. Creating 3D art without the use of textures does exactly this; it distills your modelling, animation and visual skills. Henceforth I shall call this style “pure3D” (feel free to add that your technobabble jargon).

Secondly, it’s very efficient, taking away the need to unwrap and texture a model removes a significant chunk from the development process. However, you will need to adjust your models and shaders to compensate for the lack of definition, seeing as you’re also losing an aspect or tool in your pallet.

This post is a how-to on approaching this style. This is by no means a “one-and-only” guide, as there are many artists and indie-devs using wildly different approaches to creating a stylized and purist 3D aesthetic, but it is how I did it for Oberon’s Court.

In this first post I’ll write about the general setup, and going through the process step by step.

Regarding shader code:

I’ll do an in-depth look into each shader and how to create them yourself in Shaderforge or Strumpy as a part two of this post. For those eager to experiment here’s a copy of my entire shader library that I used for Oberon’s Court:

In the meantime, please do download / purchase these two awesome shader tools for Unity3D. I highly recommend them, as I use these as essential tools for my development process.

Download Strumpy for unity3d
Purchase Shaderforge for unity3d 

Lets get started!

Evolving the aesthetic

When I started creating the visuals of Oberon’s Court I was very much into compensating for the lack of textures, adding lights and accents to maximize the impact of the style. However, I quickly found that increasing contrast, when you have nothing but gradients, edges and solid colors to work with, does not improve the clarity of a game. Even though visually striking, it was hard to discern units and foreground items from the background.

First true textureless unity3D test. Very striking, but sadly not very well readable from in-game perspective.

As development progressed I found myself removing and subtracting visual effects to create a visual style where the player could easily discern the “shadow” units from their environment. Additionally, I found it a very pleasing experience to subtract effects, instead of adding more and more.
If you compare the earlier screens with the latest screens you can see that some of the initial tests where visually more striking, however they weren’t very suitable for game play. I’m not saying that you can’t make a game using a more high-contrast approach, but it was not the game I was designing.

Cluttered and hard to read.

The final style.

The ingredients

To create the pure3D style I used a couple of recurring ingredients and themes. I’ll iterate on those here, explaining what techniques are involved and how I achieved the ingame results.

In essence the style is very, very simple. There is nothing new here for most game artists. But combining these ingredients can lead to striking result when you remove the texturing from the process.

  • using smoothing groups as shape definition
  • using additional dark/light vertex color data, such as radiosity solutions
  • using UV coordinates to create color gradients and color mixing
  • using shaders to add shape enhancing effects(fresnel etc.) to the model
  • using unlit shaders (without lights), but with realtime shadows
  • using select post-fx (bloom) to enhance/soften the look

1. Using smoothing groups as shape definition

When working without textures, you lose an important part used to help enhance the depth of your 3D model. Especially for mobile development, where textures are often used as main way to enhance the visual complexity and shape of an otherwise very lo-poly model.

In Oberon’s Court I used smoothing groups to enhance the definition of my 3D models. Usually smoothing groups are discarded, as normal maps and other techniques are used for describing the angles of faces. Nowadays we’re more used to creating high poly models and distilling that angular (normal) data in a texture. When you have the full dataset of a hi-res texture, smoothing groups seem quaint and only of passing interest. But using them effectively can provide a beautiful tool of enhancing the shape of your model. Both as it’s being lit as well as for use in shaders.

Some notes:

  • Unity does accept multiple normals per vertex, so your smoothing groups will transfer to Unity3d’s lighting models still intact. The same does not count for vertex colors (more on that later)
  • Edge triangulation: when creating smooth surfaces you’ll need to occasionally re-triangulate to create the smoothest look. Just make sure you’re modelling in basic shaded preview mode
  • Create smoothing groups that enhance the edges of your model
  • Break up over-convex shapes, if the angle between two faces is too big (too sharp) do not try to smooth over it, break it up in two smoothing groups
  • Create enough faces so you can create interesting edges and protrusions, which the smoothing groups can enhance.
  • Use a limited number of smoothing groups, just for practicality. You can repeat use smoothing groups, as long as they don’t touch another set of faces with the same smoothing group ID
Creating an interesting hill shape by extruding faces

Creating an interesting hill shape by extruding faces.

selecting faces to create smoothing groups, and the end result in preview shading

Selecting faces to create smoothing groups, and the end result in preview shading.

2. Using additional dark / light vertex color data, such as radiosity solutions

When working with shaders you want to be able to add as much additional information as possible into a 3D model. Most shader models work with data stored in the textures (normal maps, diffuse maps etc), but also with data stored in the geometry and vertices (points). The simplest form is the position: the normals and basic data required to display the model. But you can keep adding more data to each vertex. This can be physics data for physical materials, but also additional lighting data. In Oberon’s Court I used 3D Studio Max’ ability to render a radiosity solution on vertex level and save this to vertex colors. Basically creating a dark-light shading for an object based on a complex lighting solution. This allowed me to darken and lighten the model based on a pre-determined lighting scheme.

Some notes

  • Using skylights is a quick way of creating a soft outdoor look with radiosity
  • Object and vertex colors will influence the color of other faces, as light literally gets bounced off the geometry, and thus radiates color
  • Don’t worry if the radiosity is not very precise, you can add extra tesselation and vertices to improve quality. We only need a hint of dark-light to give depth to a model. It doesn’t need to be realistic, nor perfect
  • Only add radiosity after you’ve done the smoothing groups, as smoothing is taken into account during the calculations
  • Radiosity is found in the scanline renderer of 3D Studio Max and is an advanced lighting method. (Similar features are available in Maya, I believe)
  • You can assign the radiosity to be permanent, by using the vertex colors modifier, and use the “assign vertex colors” function in the roll-out
  • Detach each smoothing group! Unity does not retain multiple vertex colors per vertex over the same channel, so if you want to retain the radiosity solution and the sharp smooth edges, you must detach each smoothing group to separate elements.
First detach all the smoothing groups, so they're seperated, then perform radiosty calculations.

First detach all the smoothing groups, so they’re seperated, then perform radiosty calculations.


First results of the radiosity solution, and then assigned to the vertex colors and graded. Notice how the smoothing groups really pop-out the shape of the models.

First results of the radiosity solution, and then assigned to the vertex colors and graded. Notice how the smoothing groups really pop out the shape of the models.

3. Using UV coordinates to create color gradients and color mixing

In order to diffirentiate height in the environment, I used color gradients. The easiest way of implementing these would be to create a texture. However, seeing as I committed to not using textures, this wasn’t an option. Also, gradients are something shaders can do quickly, without much fuzz. In order to create a gradient we need information on both the direction and length.
Initially I used world position data for this, to create a true height-map type effect. However, this approach is calculation-heavy, as the shader needs to retrieve the world position of each individual vertex. Therefore, this approach is not very suitable for mobile use. After coming to this conclusion, I decided to use UV coordinates to achieve the same results.

Simple shader that turns UV  Coordinates into gradient.

Simple shader that turns UV Coordinates into gradient.

You can even use UV coordinates to create not just gradients but entire dynamic gauges and bars, using shaders.

Creating the shader (using the Strumpy shader editor):

  1. Create a model with a simple UV set (in 3dsmax, simple planar mapping)
  2. Create a gradient by lerping between two colors based on either U or V component
  3. Floor or ceil the gradient value (makes it a hard line, either zero or one)
  4. Add a sine deform based on time, to the gradient value (sinetime)
  5. Add an offset to make the gradient rise or fall (add float value)

You end up with this:

This stuff will stay sharp at any resolutuion and zoomed  -in. All the way until your floating point unit will go BLERGH!

This stuff will stay sharp at any resolutuion and zoomed -in. All the way until your floating point units go BLERGH!








4. Using shaders to add shape enhancing effects (fresnel etc.) to the model

When writing a shader you can combine gradients, vertex color data, and finally some shader specific effects to create a nice unlit shading that is quick to render and accentuates the geometry, instead of hiding it.

The shader algorithm I used is really simple, and can be summed up as such:

  • Create a top down gradient for basic colors
  • Add a fresnel effect, (shiny rim effect based on the normals of your model)
  • Mask the fresnel effect with another gradient (so the shiny rim only applies on the top of the model, not the flat floors)
  • Multiply all with the radiosity vertex colors (adding a dark / light shading to everything)
  • Add a realtime shadow layer to the unlit shader
  • Tweak until right

Here’s how this looks in strumpy shader editor, and here’s a link to the strumpy shader file 

Creating two gradients from Uv coords, 1 to make a color gradient, and one to mask the fresnel effect.

Creating two gradients from Uv coords, 1 to make a color gradient, and one to mask the fresnel effect.

Mixing the fresnel, color gradient and vertex colors and outputting to emmisive (unlit)

Mixing the fresnel, color gradient and vertex colors and outputting to emmisive (unlit).

At one point I even multiplied the gradient with the Y component of the vertex normal, in order to have one color on flat horizontal surfaces and another on vertical surfaces, creating a true height-map look, however I discarded this as being to cluttering in the scene.

Here’s a link to a decent description of what “fresnel” means:

No fresnel effect on the left, and a red fresnel applied on the right, with it masking off towards the bottom.

No fresnel effect on the left, and a red fresnel applied on the right, with it masking off towards the bottom.

5. Using unlit shaders, without lights, but with real-time shadows

Nowadays in Unity3D 4+ you can use real-time directional shadows on mobile platforms, which is great. However, shadows in shaderlab (the in-between system Unity uses for cross-platform compatibility) are part of the lighting calculations. This means that if you make an unlit shader, you have to add shadows in a separate pass, as making shaders unlit or emmisive excludes the effect of lamps or lights on the model, and thus the ability to cast or receive shadows.

Luckily I’ve already done an entire post on this topic , which you can read here:

6. Using select post-fx (bloom) to enhance / soften the look.

Post-fx are effects that take the entire final rendered image of your game and apply different effects to it. Unity Pro ships with a few post-fx shaders that are optimized for mobile platforms. For example: the Depth of Field shader uses a black and white depth image to blur the 3D world, based on depth. This makes everything in the foreground sharper and at the same time blurs the background.

One of the post-fx I’d like to point out is Mobile Bloom and Fast Bloom. The bloom shader is simple: it makes a copy of your final renderview, blurs it and multiplies the blurred result back onto the original, thus creating a soft glow that is most pronounced at very light areas such as the sky.

Without and with the standard fastBloom shader. The effect can be subtle, but be aware of high contrast visuals where it can really go overboard.

Without (left )and with (right) the bloom shader.

End of Part 1

I hope this post provided some insight into making a pure3D or textureless 3D game. It’s not all that difficult, but it does require you to use your tools differently. That being said, much of what I wrote here also applies to more “normal” 3D art assets.

Please let me know on twitter or facebook what you think, or if there’s anything you’d like to see explained or shared. Just hit me up and i’ll do my best. I’ll try and get into specific shaders in the near future.

Tomas Sala


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Programmer’s Weekly: So you like them shadows?

Written by: Tomas Sala

So you like them shadows?

As you might know Unity3D now supports realtime shadows on mobile devices, woot!  For those interested here’s the official announcement of 4.2:

But, like us, your first response is probably: “That’s never going to fly in my mobile game, it’ll suck down frame-rate like nobody’s business!”, and you would be partly right. But it’s not the whole story. If used correctly and carefully it is possible to add a whole new layer of visual depth to your game.

First of we need to talk about what type of shadows unity3D allows on mobile devices. This blog post is not about shadow-maps, but about real-time shadows. This means shadows projected from a directional light onto your scene. Shadows that are rendered every frame, and thus dynamically respond to your scene and light..

Some basic rules

  • Only hard shadows are supported, (we can soften them up in the shader pass I’ll discuss later, but that’s not advisable processing wise)
  • Only 1 directional light is allowed in the scene.  
  • Basically, only low-resolution shadows are practical on most devices (even the nexus 7 (2nd gen, 2013) will take a substantial hit from medium resolution shadows)

Now a couple of main problems pop up, specific to most mobile games.

  • Most mobile games don’t use lights due to the added rendering cost, or are based on unlit atlassed textures, vertex colors or shaders optimized to work without light sources.
  • Draw Calls and batching, these related issues are a pain when doing mobile development. It just got a whole lot nastier with real-time shadows.

So in this week’s blog post we’ll be looking at solutions for each of these two problems.

Solution 1:  Differentiate between what needs to cast a shadow and what needs to receive one.

First off all the most basic rule is: Don’t use shadows where it’s not required, and know the difference between a receiver and a caster.

A shadow caster is an object that casts a shadow. You need to minimize the amount of these. The fewer casters, the fewer shadows and the faster the calculations are. This works down to detail. So if you have a building, make sure only the base structure casts a shadow. Don’t do the chimneys, windows, doors, and other details! They have no need to cast a shadow. Make sure they are turned of in the mesh render component in Unity3D.



A shadow receiver is the object that receives the shadows. First of all, make sure that an object that receives shadows does NOT cast shadows. So separate ceilings from floors for instance, and have the floors be shadow receivers, but not the ceiling. (Or not even the walls. Remember, because you have only 1 directional light, it’s practical to make it a top-lit scene).

Now splitting up your objects might result in additional draw calls,but we’ll deal with those later.

Solution 2: Adding real-time shadows to an Unlit or custom-lit scene.  

So a basic trick transferred from the days of yore to modern mobile game development is the use of vertex colors. Vertex colors allow you to not just paint a model, but actually light it (with, for instance, a radiosity solution) and then save it or bake it into the vertex data of the model..

That will look something like this. A basic vertex colored lighting solution, merged with a custom shader.


This gives the Illusion of lights without using any. Add to this light-maps or pre-lighted textures and you get  a static object, that looks like its lit. Additionally, you can shape the visual style to be unrealistic, cartoony or anything else.


Now that your game artists have gone through all the effort to make something look nice without light just to save performance, it’s un-logical to simply add a light to have shadows. Basically a double whammy, the shadows need to be rendered, and the light needs to be calculated.

So why not just turn on shadows? 

Here at Little Chicken Game Company our artists write their own shaders in tools like the Strumpy Shader Editor. The disadvantage of this is that you export surface shaders. To turn on shadows, you need to create a shader that has an output to diffuse. This causes the shader to become lit: lighting your object and at the same time creating shadows. The moment you connect an input to emmisive to create an unlit shader, your shadows disappear. And we don’t want to light the object, we only want the shadows.

Solution: Add a renderpass to your unlit surface shader.

If you really want shadows, you’ll need to find a way to add shadows to your emmisive surface shader. (fragment shaders might be faster and simpler, but when you’re stuck to strumpy and don’t know how to code fragment shaders, this will do the trick)

So we’re going to add a shadow pass to an emmisive shader. I’ll be quick and just give the shader code for the second pass.


Blend DstColor Zero
{ Mode Off
#pragma vertex vert
#pragma fragment frag
#pragma multi_compile_fwdbase
#pragma fragmentoption ARB_precision_hint_fastest
#include “UnityCG.cginc“
#include “AutoLight.cginc“
struct appdata
fixed4 vertex : POSITION;
fixed4 color : COLOR;

struct v2f

fixed4 pos : SV_POSITION;
fixed4 color : TEXCOORD0;
v2f vert (appdata v)
v2f o;
o.pos = mul( UNITY_MATRIX_MVP, v.vertex);
o.color = 1;
return o;
fixed4 frag(v2f i) : COLOR


fixed atten = LIGHT_ATTENUATION(i);

fixed4 c = i.color;
c.rgb *= atten;
return c;

—————code ends——————————————————————————————-

 Just paste this after the ENDCG of your regular shader code, in the un-compiled unity3d shader. Make sure you use  FallBack “VertexLit” at the end of your shader. (FallBack “VertexLit” will also enable shadows in your fragment shaders, it’s way easier)

Example, here I’ve only used this additional shading pass on the ground surface. On nothing else. All the shading and colors you see are not created by the directional light, but by the shader, combining fresnel effects, ramps and vertex colors. And finally a shadow pass.



Solution 3:  Batching and drawcalls.

So we now have two things: shadows in our unlit scene and a selection of objects that cast shadows, and an even more limited number of objects that receive shadows.

Doing this separation tightly, will already decrease your drawcalls substantially compared to blindly turning on your directional light with shadows.

But there is an additional problem, materials that are still shadow capable are not batched. In the documentation it states that objects that cast or receive shadows are not batched. But the problem goes deeper, any material capable of casting shadows (or possibly, that is also used for shadows) is not batched!  So in Oberon’s Court I made the mistake of having one solid black material that could cast shadows.

This shader:


Shader “Oberonscourt/Color”


Properties {
_Color (“Color“, Color) = (1,1,1)

SubShader {
Color [_Color]
Pass {}
Fallback “ VertexLit“, 1

—————code ends——————————————————————————————-

Now I stupidly assumed that using this shader on an object that did NOT cast or receive shadows would allow the object to be batched. This is not true! Even objects that do not cast or receive shadows but have shadows enabled in the shader will not batch. (so it seems, I could be wrong, but I’ve got the drawcalls to back it up)

So the final trick was to take any object that receives or casts no shadows, and make sure it had a material that had no shadow capabilities. In the sample case I removed the fallback vertexlit code from the shader

To optimize even further I changed the shader on materials that where on a shadow caster, but did not need to cast a shadow to a non-shadowed version of the same shader.  Practically this means the eyes, the mouth and other small props that where part of the skinned mesh. These are part of a shadow-casting mesh, but now no longer cast any shadows, and reduce the drawcalls. This is especially true for characters with many small un-skinned sub-parts.

Its probably more logical that any material with a shadow capable shader that is also used in an object that does NOT cast or receive shadow(so used also in non shadow, and shadowed objects). Causes the instance of the non casting material to be NOT batched.. (A hunch),,  The solution is the same no matter what the cause. Do not reuse a material you’ve used on a shadow caster or receiver, on an object that is not casting or receiving a shadow. Otherwise the non casting/receiving object will not be batched.



Having done these steps, and making sure that only a few objects actually cast shadows, I was able to create the environment for the game and have it run on most android 4.1+devices.  An added advantage by skipping the lighting and keeping the shadow reception shader unlit, I can now turn off the directional light and shadows, and it will look exactly the same (without shadows).  Which is great for an ingame settings menu for instance.

Do remember that shadows are now possible and performance can be maintained, but still if you expect anything less than a doubling of your drawcalls, you will be disappointed.

To finish it off here’s a side by side of with and without real-time shadows. I hope the above solutions and workflow will help you out in implementing shadows on mobile devices.



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Programmer’s Weekly: Steering AI in the right direction

Written by: Mark Bouwman

AI? Artificial Intelligence?

Indeed. Artificial Intelligence. You might be wondering, what exactly IS Artificial Intelligence? (Of course you’re not, you’re reading a programmer’s blog on the website of a game company. I’m guessing you got here for game related stuff, and that AI isn’t all that new to you.)

Artificial Intelligence has a wide range of topics, spreading from simulating flocks of birds to computers beating us at a game of chess. However, when we talk about it in the gaming industry, we usually mean just one thing: the illusion of intelligence in a non-player character (NPC). The illusion that the NPC is smart enough to act on his own, the illusion that an actual human being controls him. It’s getting the player to believe the opponents are aiming the same way he does, it’s getting the player to believe the opponents don’t drive the best laps possible, it’s getting the player to believe his opponents are as bad at playing the game as him.

But Mark, when do you need a NPC to be intelligent?!

Well, I’ll give an example. In one of Little Chicken’s current projects, the player can drive around and has to chase enemies, shooting them down in order to continue to the next level. But to create a challenge for the player we don’t want the enemies to feel like they’re just driving randomly (and through buildings). We want the enemies to be smart. We want them to dodge buildings, chase the player and group up with other enemies. This brings us to the topic of this week’s post: Getting the AI to steer.

The challenge: Getting the enemies to NOT crash into a wall
Let’s start by actually getting the AI to drive. I mean, how can we chase the AI if they’re just standing still? Getting them to drive isn’t hard: all you need to do is to move the AI forward and rotate them so that they steer. It’s nothing fancy, nothing special. The tough part though, is getting them to NOT crash into walls (read: not making them look like idiots).

There are tons of ways to implement collision detection and collision prevention. During the development of this game we thought of, and implemented, several different ways to get the AI to detect walls around them, until we finally got to something we agreed to use in the game.

The first method we came up with was traversing the AI over a grid, using A* to find the shortest path to their goal. Buildings were represented by non-traversable tiles in the A* grid. This ‘perfect route’ was then used to create a curved route that the AI followed. We switched to a different method due to numerous things; balancing quality and performance being the main reason. A* can be performance heavy, calculating a lot per frame. If you have three enemies calculating the path to a point about 200 squares away, it can take a LOT of time to actually get the best possible path if there are lots of obstacles in the way. Also, the quality was not as high as we wanted it to be; AI cut corners due to the curved lines they followed. Having no other form of collision detection on the AI, they carelessly drove through walls. Because of this, the grid had to get smaller and more precise. A goal that used to be 200 tiles away, suddenly got 400 tiles away! This more than doubled the amount of possible calculations!

The most efficient way we found to handle collision detection was through using something I like to call the three-point-raycast method. The method is fairly simple, but shows that the simplest solutions sometimes have the best outcome. It’s light on performance and memory, works fast and creates human-like movement.


A visual representation of the three-point-raycast method

How it works: Every NPC has a point at the front of his bike from which a ray is casted. This initial ray detects a possible collision directly in front of the AI. When this possible collision has been detected, two new rays get casted. These new rays are slightly angled (about five degrees) to the left and the right side of the initial ray. These rays give information on which side has an object closest to the AI. The side with the closest collision should be avoided; there is more space at the other side. The AI steers towards that open space, based on how close the collision in front of him is. The closer the object he can collide with, the tighter he steers. Because of this, the AI moves in nice curves, avoiding all collisions.

Voilà, done. The AI now steers like a human being.

All we had to do next was getting the AI to actually steer towards a goal. This is used for chasing the player. With collision detection out of the way, this was actually quite an easy thing to do. All we had to do is create a simple rule: When there’s no collision detection for a second or so, steer towards the goal. With this one rule in action, we were able to have the AI circle around the player, scatter and race away from the player and much, much more. Such a simple rule made the AI a lot more fun to play against.

So, what did you learn?

Getting the AI to steer ended up not being all that hard once we found a good way to implement the collision prevention. It did however, get me to realize something important: Keep it simple. Keeping things simple help a lot. The three-point-raycast method was so much quicker to implement and required less thinking (math) than the method using pathfinding, but gave much better results. Sometimes, the easiest solution is the best solution.

Keep It Simple, Stupid.

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Programmer’s Weekly: Performance in Minecart Madness

Minecart Madness Logo

Minecart Madness Logo

Written by: Mark Bouwman

Minecart Madness? What’s that?!

One of the newest projects of Little Chicken Game Company: Minecart Madness.
Minecart Madness is an entertainment game for iOS, aiming at casual gamers who play games on their phones and tablets. The game is a 2D racing game with a view from the side.

The entire game is developed using Unity3D, a free program that allows developers to create games on multiple platforms. We however, are using the licensed Unity3D Pro and iOS Pro features, in order to obtain the best gameplay results possible.

This week I would like to talk about performance for iOS. It’s one of the most valuable things to have: good performance. You can easily notice the difference between 10 frames per seconds or 60. Our goal is to keep the game at a steady 60 frames per second.

Minecart Madness, ingame screenshot

Minecart Madness, ingame screenshot

But Mark, how do you do that?!

Well, there’s a lot of ways you can increase the performance in a game. There’s all sorts of things you can do to keep the graphics down, but there’s also some real nice things you can do by programming. I’ll list a few, just to get you started.

Tip #1: Profiler
This is where getting your performance to the best possible starts. The profiler. It tells you exactly what you need to know: What is killing your game’s performance? Unity allows you to dig deep into your scripts, telling you exactly which calls take performance and how much those calls hurts. You’ll quickly find out that those nasty Debug.Logs you’ve been calling take up a lot of performance compared to the rest!

The profiler has two modes, normal and deep profiling. With normal you can get an overview of the actual performance you have, with deep profiling you get more information at the cost of some performance. It’s really nice when you need just that extra information.

Whenever the framerate drops, it’s represented by a big spike in the profiler. You want as little as spikes as possible, with as little difference from the average as possible. If you do this, your game will be running as smoothly as possible!

Unity3D profiler

Unity3D profiler, found under Window –> Profiler

Tip #2: Pools
That’s right. Pools. Not the swimming pool type, no. The ones where you instantiate objects at the start and reuse them. Instantiating and destroying objects at runtime is a killer for any program. Instantiating the objects first and then using them over and over again keeps the overhead of instantiating to a low. You can do this for a lot of objects! You can use it for bullets, audio sources, small graphic effects or even entire randomly spawned worlds!

The math: I’ll explain the math using the audio system we use in Minecart Madness. In MM, we have an average of five sound effects playing every second. Since every sound only lasts a second and a half tops, we can have ten audio files playing at the same time. Knowing this number, we create ten objects at the start of the game. It increases the loading time by around 3ms, but that’s hardly noticeable. Creating a sound object on runtime takes about 0.3ms, removing it around 0.5ms. This might not sound like a lot, but let’s calculate.

We want to reach 60 frames per second. A whole second is 1000ms. This means we have around 16ms for each frame to use. Out of this, we need 10ms for the actual rendering of the game. This leaves us with 6ms to use for coding, or 360ms in a second. With ten objects a second, that takes 8ms. That’s roughly 2% of the calculations we are allowed to make, just from creating an empty gameobject with two scripts (I’m not even talking about playing the actual audio file!). If you instantiate and destroy a lot of objects (or complicated objects, like geometry with scripts on them), consider this neat trick!

Tip #3: Object Culling
Culling happens when an object is outside of your view. By default, every object still calculates the rendering and updates whenever it’s in your world. Always. Even when you don’t need because it’s outside your view. This is where Object Culling helps.

A big part of the culling can be handled by Unity3D itself. There’s a thing called occlusion culling, which handles the culling for the camera in the game. Unity’s website has some pretty nice documentation about it, give it a quick read:

Another part of the culling happens in programming. Would you need something to check for precise collisions with a specific part of the player, when they’re miles away? No. Imagine you’re casting a ray to check for a certain collision, but this ray has a high overhead (Let’s say, 2ms each frame). If you first check the distance from the player, which shouldn’t take more than 0.02ms, you save your program from casting this calculation-heavy ray!

Occlusion Culling

Occlusion Culling in Unity3D, found under Window –> Occlusion Culling

Tip #4: Using the cache (save object references for later use)
Wow, this one can save so much time. Imagine you have 20 enemies, all checking if the player is close to them or not. They check their own position and compare the distance to the player. Nothing special, right? Nope. However, you can make this quite heavy on your program. If you don’t save the player’s transform in your script, you have to get it every single frame. GameObject.Find might seem harmless, but you should really take care using this!

The math: Let’s think about this simple calculation: The distance between the player and the current object. If we use GameObject.Find for this it takes around 0.5ms every frame, for each object that calculates the difference. However, if we already declared the player’s object at the beginning of the game, and just use that reference each frame it takes just around… 0.002ms. That’s. 250 times better!

Alright, I believe you.

There’s a lot of small tricks like these to increase the performance of your game. Feel like you want to share yours? Just reply to this post!

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