Our core market has been historically gamers and digital content creators such as car designers and movie makers.
I've never made a game for a high-definition platform. That's definitely something I'm interested in.
Epic started out with scripting languages in the first generation of the Unreal engine in 1998. I wrote that. There's a place in my heart that comes along with the simplicity of programming in a scripting language.
Virtual reality, to me, seems to have a number of different tiers. Entry-level-tier VR is this experience: on a phone, some simple head-tracking, and some quick and dirty, game-engine-quality stuff.
The trade-off between speed and image quality is a key constraint of first-person action games, and the job of developing a workable engine involves constantly optimizing both elements. Gamers dream of the day they'll be able to haul their arsenals through three-dimensional environments of photographic clarity, playing 'Myst' with a meat ax.
I am a software engineer, a popular public speaker, and an expert in the Unreal engine.
In 1999, I was running my first tech start-up and learning the Unreal Engine, the tool that would define my career as a game developer, when news of Columbine ground all work to a standstill.
You can't build an engine that's just good for one type of game anymore. The economics don't work.
To this day, I run into people all the time that say, whether it was 'Doom', or maybe even more so 'Quake' later on, that that openness and that ability to get into the guts of things was what got them into the industry or into technology.
We're making it possible to publish a multiplayer, physically-simulated destructible-environment game that works on multiple devices and screen types, and can scale to 12,000 concurrent players.
The technology for radiant stories in 'Skyrim' is phenomenal. We tried and pared it back.
Great graphics requires more than just high-performance hardware. Gamers know software is just as important.
Our developers will make great games for whatever high-end platforms exist.
We are a game developer ourselves, and we built everything we need for our games. We share everything we built, including our game engine.
There's no bigger gaming franchise on the console than 'Call of Duty', and we can't wait to see what the community can create with this new tool.
There's a misunderstanding that I've always tried to address straight on when this question comes up, which is that a 'Half-Life' story can somehow exist outside of a game. It can't. The story is created through the process of trying to figure out how to best use the features of the engine within the interesting set of constraints it poses.
Unreal has to be an engine for everyone who wants to build a major game.
The ideal engine of a 3-D game is an intricate and elegant construct of code that allows players to speed through solidly built virtual worlds. The engine allows every picture on a monitor to be drawn there quickly enough to convince hand and eye that it is instantaneous.
By the new year of 1994, it had grown up into Inform 4 and could produce games twice as large.
The thing that excites me most technologically is the ability to use VR not just for games and displaying our content, but also for creating that content. We're putting a lot of thought into what the Unreal Engine editor looks like as a VR application.
