The demoscene is an anti-commercial art movement predicated on programming ultranerds (hello) flexing real-time graphics as hard as possible. Some famous examples:
Menger sponges are those cube fractals. They’re easy to generate as polygons, and possible to render directly using some deep magic. UV mapping is how textures apply to models, and that can be incremented to make the image slide around the surface. Near and far clipping are just where objects stop rendering, which I think is how “Blackbox Life Recorder” handles the organic objects that we kinda x-ray through. Their distortion is similarly done by modifying the frustum, which is a fancy word for a sort of pyramid shape that video-game cameras have.
Feels close to a demoscene production. Menger sponges and sliding UV mapping. The near-clipping through lumpy objects is nice at the end.
I feel like I need to look up half the stuff in this comment.
The demoscene is an anti-commercial art movement predicated on programming ultranerds (hello) flexing real-time graphics as hard as possible. Some famous examples:
Agenda Circling Forth.
Number One / Another One.
Fermi Paradox, in 64 kilobytes.
Titan Overdrive 2, on Sega Genesis.
A Mind Is Born, in 256 bytes.
Menger sponges are those cube fractals. They’re easy to generate as polygons, and possible to render directly using some deep magic. UV mapping is how textures apply to models, and that can be incremented to make the image slide around the surface. Near and far clipping are just where objects stop rendering, which I think is how “Blackbox Life Recorder” handles the organic objects that we kinda x-ray through. Their distortion is similarly done by modifying the frustum, which is a fancy word for a sort of pyramid shape that video-game cameras have.