| Shinobi-san said: easy there....i think you missed the point of my post :( Perhaps i didnt word it well enough. I absolutely undoubtedly acknowledge the step up shown in the UE4 demo...hell even watch dogs which doesnt look insanely next gen had me freaking out with over exposure to pure awesomeness. My point is that current console games like U2, U3 and other cinematic games that have amazing visuals, vistas, facial detail, animations, etc. already look pretty darn good for a game. Now other technologies that are significantly better technically, dont appear to be as advanced to the average guy. Lets get this straight by virtue of us being on this site...i wont consider anyone here the average guy. But i can get where Spurgeonryan is coming from with his point of view and others who share his opinion. Tessellation is a good example of this....as a PC owner (somewhat of an enthusiast), I have been exposed to tessellation already...and to be honest it doesnt create much of a difference while playing a game. Yet...the processing needed to do proper tesselation is quite high. This is a good example of a technology that is much more advanced than what we currently have yet to the average person wont really pick up a major difference...this is all imo ofcourse. But i do mess around quite a lot with benchmarking tools and playing games on ultimate settings, playingwith all the different graphic setting trying to see the difference etc. You know the usual nerdy stuff :) |
Easy there? Why do you say that?
I honesty think that tesselation has been widely underused because of the 360 and PS3. Most big name PC games are just ports from those 2 consoles and the exlsuves are usally indie games that are at the graphical level of last gen games.
The few things that do use it just tack it on with no major optimizations. I'm still waiting for games that look like the Froblins demo. That demo just shows how sad PC gaming has become, because it was a DirectX 10.1 demo and it uses tessellation better than any Directx11 game to date.
