Tutorial Art Design: unity3d

RIGGING / Bone Modeling Helper Add-On For Facial Rigging

REALISM vs SUZANNE-ISM

Just yesterday, I stumbled into this website of "Higurashi no Suzuri". Not sure if that is the owner's name. Let's just call it the website of Mr.Higurashi-sama. However, "Ishidourou" is another ALIAS of Mr.Higurashi. I will have to confirm with him via email.

Here is "Ishidourou" YouTube channel:
https://www.youtube.com/channel/UCSNi8Xxsd9Q7hEK6lZPuc2A

Great respect for him for writing and sharing his Blender Add-On to help when creating Bone in Blender (aka Armature object).

After installing the Add-On, you will get this additional Panel, this is quite intuitive.

Bone Modeling Helper Add-On

However, you want to check out his long video demo for the Add-On (around 30 minutes). I cannot read Japanese myself, however, the video is pretty self-explanatory.

VIDEO DEMO:
https://www.youtube.com/watch?v=s_BEGXA0pEo

ENGLISH VERSION (Update!)
https://www.youtube.com/watch?v=1fFv9znBZOo

WEBSITE:
http://stonefield.cocolog-nifty.com/

Feel free to spend some time to watch the video demo.

This Blender Add-On is simple and practical. It does not try to do too much setup, but more for general usage. Such as converting to BONES from SELECTED MESH.

For that particular function, I also wanted to point out this interesting setup where ishidourou is showing how we can rig Suzanne Monkey Head just by using the Edge Loop, around the are of Circular Face Topology.

This is not a totally new concept, however, I figured out a few things after studying his video and trying it myself in Blender:
https://www.youtube.com/watch?v=Nk8Ma5ne2pk

FACIAL RIGGING AND SETUP

With the topic of Facial Rigging, I actually have a very high interest in it. Sometimes more than biped rig alone. Biped is biped. However EVERY FACE is different. Unless it is a generic facial rig.

I have a bit obsession of Human Faces back then (and still now) and I do draw a lot of portraits. One my old dream is to be a character designer for more cartoony and stylistic character.

These days, we all know it that "realistic looking" and "hyper realistic" high detailed creature is the big thing or in high demand. I think stylistic character still have place. Both equally important.

JASON OSIPA's book "Stop Staring" has become THE ONLY CG BOOK that talks in details about facial rigging and goes about explaining how to set it up, particularly using commercial software called Maya.
http://au.wiley.com/WileyCDA/WileyTitle/productCd-0470175044.html

That book has been updated and republished few times. "Osipa Style" has become really famous and becoming the "Industry Standard" of Facial Rigging. Both for realistic and stylistic face.

There is also another book that talks about Rigging really well, it is becoming a very rare book:
"CG Toolkit The Art of Rigging Volume 1-3".

That book talks about whole body rigging for human character and mechanical robot creature, but also touch a bit on "advanced facial rigging".

Having been a bit of a rigger and using Maya for over 10 years, I still often need to adjust my brain to really understand the ESSENCE OF RIGGING that is more general and applicable in other packages.

Currently, I am adapting to Rigging system in Blender. I am more experienced in character rigging using Maya. So I want RAGE a bit about Maya Rigging. I have serious love and hate with Maya and rigging.

Maya Rigging in summary:

Maya's Rigging involves JOINTS, DEFORMERS, CONSTRAINS, and CONTROLS. => I think these are some ELEMENTS of RIGGING. Blender has some equivalent to all those. And not forgetting SKINNING (assigning Cluster or Group or Vertices) and WEIGHT PAINTING.
Maya is a node based but also has some familiar and friendlier 3D environment like Blender, on the surface. Unlike Houdini 3D which is a fully node based, can work with almost hardly no interface in 3D view.
Being node based, it is a breeze for Maya to setup Expression, Connection, from one object to another. Blender can do this via Python and Drivers and Bone Constrains.
For Facial Rigging, typical Maya setup is to use Blendshapes and Set Driven Keys => In Blender terminology, it is just like Shapekeys and Drivers. However, there might also be some differences between the two. PROS and CONS. Blender has Action Constrains(!).
Facial Rigging can be created JOINT BASED or BLENDSHAPE BASED. For Game Production, actually Joint Based is what is more commonly used. Vertex Animation is not always supported and can be heavy for game engine.
Maya's "ADVANCE" architecture has become both a curse and a blessing. In one way, it is very flexible, on the other hand, when not careful creating and implementing Tools, CHARACTER RIG can easily be broken.
All "advanced" rigging setup has been cleverly using Maya's systems. Such as MUSCLE, RIBBON, STRETCHY, and so on. Blender has some of those features as a built-in system, ready to be used especially for Rigging.
Maya has thousands of useful MEL scripts and many AUTO-RIGGING scripts, just like Blender's Rigify and others.
Maya is very popular in CG industry for Rigging and Animation. There are PLENTY of good rig setup in Maya. Now, I also found many interesting CHARACTER RIG SETUP using Blender out there. Many of bipedal rig is using RIGIFY. Make Human is using RIGIFY too.
In the end Maya's Rigging == becoming pretty much scripted and procedural.
Maya has MUSCLE and specialized "advanced" like tension map plugins and also things like POSE SPACE DEFORMERS, etc. I talked a bit about it at my Maya blog.

http://mayaspiral.blogspot.com.au/2012/09/soup-tension-map-x-peak-auto-squash-and.html

Here is another example of Maya Face Rig by Image-Metrics showing Face Control on the right. This is a Blendshape based.

BLENDER BONE FOR FACIAL RIGGING SETUP

I am actually fairly new to Blender Rigging, in fact, I know very little about the whole workflow. From the HUMANE RIGGING DVD by Nathan Veghdal, I learned a things such as:

Blender Armature object has 2 Modes: Edit Mode and Pose Mode
Edit Mode to draw and edit the BONES
Pose Mode to setup Controls and Animate.
Blender use Bone inside Armature Object. Maya uses Joints. Joint is a single point source, Bone is more like a Capsule.
Blender has specialized Bone Constrains apart from normal Bone Constrains
Blender CONTROLS is built in and setup inside Armature System. Unlike Maya where we actually use NURBS Curve.

I have reserved a seat for JEREMY DAVIDSON's Biped Character Rigging in Blender at PL Puppeteer Lounge (PL), hopefully after the workshop I can understand Blender rigging a lot better:

http://www.blendernation.com/2014/05/30/biped-character-rigging-workshop/

I remember there is an old Maya Rigging DVD that talks about how to rig a Baboon, the Rig uses Joints that goes along the Edges:

So the concept of using Bones along facial lines is definitely not new, however in Maya the issue is:
- Joint Weighting
- Keeping Joint as Broken Hierarchy
- To be able to reset the Joints

Maya's Capsule based Skin Weighting helps a bit when weighting Joints, however, Blender Bone does it better.

There are many conventional rigging in Maya to make the above works. Joint based will work, but can be painstakingly harder.

However, I figure out that in Blender, somewhat the result of weight is much better, and the Bone system in Blender Armature just perfect for this kind of Joint Based Facial Rig.

BLENDER QUICK FACE RIGGING SETUP

Anyways, in regards to out "Bone Modeling Helper" Add-On, I did a quick exploration on how we could do a quick cartoony rig using Blender Armature system and Bone, below:

NOTE:

The Setup could be much better. I should have done some broken parenting and adding Ear Jonits. I am just showing how it can be done UNDER ONE MINUTE.
This does not mean Blender Armature system is good only for stylized cartoony character. You can use it for realistic head.

BLENDER VS MAYA FOR RIGGING

As a technical artist, I need to be fair. I would say that comparison between tools is PRETTY TIRING. Just like comparing between iPhone and Android phones. Or comparing Canon and Nikon camera.

<<< Personally, I think iPhone has a lots more added value for the price. And for camera choice, I actually like Fuji and Olympus approach, but I have Nikon.
Let them fight or CHOOSE! >>>

However, in all seriousness, IDEALLY it is necessary to be OPEN-MINDED for what tools available that can be suitable for work you are doing. We know that it is very difficult for anyone to accept a new way of working or thinking.

Our mind often goes into "reality distortion field" when COMPARING 2 THINGS for their VALUE and BENEFITS.

In fact, I learn a bit or two by using Blender that I can apply if I need to work inside Maya. I use both.

POSE LIBRARY

Blender has a built in Pose Library for its Armature system:

Blender Armature system and Paint Weighting are very flexible. Accidentally deleting Bones will not kill or crash or break the rig. The painting is much more stable.

It takes me a while to adapt to this "new" rigging system in Blender (it's simpler than Maya), but I am really happy with Blender system because of it's SIMPLICITY. I got too familiar with Maya's INPUT system where we need to be careful with the order of inputs for Rigging, such as:

UV => must be be done before Skin Cluster
Blendshapes => need to be before Skin Cluster
Skin Cluster => skinning mesh into joints => normally the last in hierarchy

Of course, we can do "transfer" etc, but does not always work perfectly.

MAYA: It does not always work. We need a script solution. Google Search

BLENDER: there is always a way around that. If not, ask Blender developers.

While in Blender, I found that:

We can change the TWIST of BONE anytime
We can edit the bone position easily at anytime
Armature Bone in Blender can in a hierarchy or as "a broken rig" and both will work fine.
Bone can always be reset to original position.
Blendshapes can be added anytime and there is a specialized Library for Blendshapes
Bones Pose Library is provided.
Animation Action of Armature
1000+ bones will not slow down Blender.

Blender Rigging System is SIMPLE and PRACTICAL. We can get complex if we want to.

Blender Game Engine (BGE) also respect the Blender Facial Bone Rigging

BONE FACE RIG AND ANIMATION INTO UNITY

Blender's Armature and animation imported into Unity via the BLEND.

When importing to Unity:

Delete the Polygon Subdiv => conversion does not seem to always work 100%
Delete the default cube, can be deleted inside Unity too I think.

When we want to make changes, we can just do it in BLEND and updates inside Unity actually Blender

BLEND and Unity are seriously made for each other.

ANISCULPT SHAPE KEY

Once upon a time ago, there is a Blender Add-On called Anisculpt allowing animator to sculpt and refine the "profile" of their animation from the shot. This is called "Blendshape Fixes" in other package to fix an ugly pose on pose basis. "Pose Space Deformation" is kind of related to this, but not exactly the same.

The Add-On is no longer needed because Blender Shape Key can do it:
https://vimeo.com/27100314

GENERALIST AND SPECIALIST

There is a trend that has been going for years: a trend of SPECIALIZING. In reality, a good 3D Artist needs to have some good understanding of general knowledge of 3D, as well as specializing in one or two areas.

To stick with our topic, I think (COMPUTER) ANIMATOR should have knowledge of RIGGING. Animators will work very closely to riggers, but animators SHOULD NOT be dumb. Especially Computer Animators. Computer Animators SHOULD NOT look down on the traditional hand drawn animations either. If one being ignorant of the others, the result could be disaster.

Sometimes, with matter of rigging, ANIMATORS can CHEAT. Sometimes a complex rigging is unnecessary. All Animators need for animation just Bones.

However, for some complex animations, we do need things like constraining objects, advanced IK, crowds, motion captures, animators should take advantage of what computer offers.

Obviously, some animators are more technical like me. Some are not. Some are more artistic and just amazingly good with understanding of TIMING and SPACING, etc.

The problem is usually TIME and ENERGY required for a single person to do everything. However, I think most of really good BLENDER artist is a good generalist and as well a specialist.

It is a debatable topic. However, if we care about being INDEPENDENT and making sure ARTISTS have freedom to produce works and no dependency on the "state of industry", we always need to be adaptable and have multiple skills. Both equally important and so balance is needed.

In a way, the more IDEAL RIG is to GIVE MORE CONTROLS to ANIMATORS to build shapes themselves for ANIMATION. Of course the are certain boundary within productions, like to maintain the shapes, ANIMATOR need to be aware of the model.

RIGGER <=> ANIMATOR <=> MODELER. Animator should push the Model.

A bit like DEVELOPER/PROGRAMMER/CODER <=> ARTIST, the intermediate solution seems to be NODING, the procedural or parametric way to do things.

BECAUSE YOUR TOOL IS STUPID...

Clever artist choose the right, practical, simple tool.

Anyway, that's all my rants on rigging and Maya. Both Maya and Blender have something to like about, in term of rigging. Blender Rigging can hopefully continue to improve.

Here is an advice:
Make the tools work for you. Do not be dependent to other's complex script. Know your tool inside out and always learn for alternative.

Maya under Autodesk is NOT good. I have serious doubt with this company. Slow in development, no proper support. I do like Maya as the tool, I really don't like the corporation that ask for $$$$ for yearly update that does not update the basic tools.

Blender should be in every University and education institution and NOT big greedy giant like Autodesk.

Thus, for me, love for Blender continues to grow. Make this Baby Godzilla works for you.

ADDITIONAL CREDITS

Thanks also to my friend, Veta, for sharing the link to Mr.Higurashi-sama website above. Otherwise we could have missed such great add-on!

VETA ANTARES:
http://blenderia.blogspot.com.au/
https://www.youtube.com/user/dotline11/videos

RECOMMENDED BOOKS

Facial Expressions - A Visual Reference for Artists by MARK SIMON
Jason Osipa's "Stop Staring"

INTERACTIVE + REAL-TIME

Recently, I found some big interest in interactive applications and real-time Computer Graphics creations. Game productions make use of these "procedural" real-time stuffs. Animation (like dynamic), music/sound, shaders, etc. all working and can be controlled in real time.

The great thing about game or interactive applications is its immediacy. Unlike Film production where we need to worry about render time where the result is final, in Game production, we will end up with products and applications that is interactive and continuously being changed and rendered in real time. The users have control over the final product.

I mean, this is obvious, right? But very powerful if you think about it.

If we can connect the interactivity and real-time nature, we can create automation which relates to robotic. Customization is also possible.

UNITY 3D

By some chances, recently I had access to a game design workshop on Unity at Sydney's Powerhouse Museum. It is basic workshop for young brilliant kids (7+), however, I like the approach of going through a complete project from A to Z.

The teacher at Powerhouse Museum, James, said their method is to teach game hollistically. Meaning like going through whole production, not getting too much details with things, but giving enough general (yet complete) understanding of game production and design concepts, so that learners can then continue on their own.

I found that Unity 3D is a very "scripted" game authoring tool. You need to know or understand programming or coding if you want to go far. However, Unity is also very good and organized. I love the Unity interface and workflow.

Unity works well with Blender.

There is this great book on Unity by Penny de Byl:
http://holistic3d.com

https://vimeo.com/channels/412849'

The book is very balanced in Technical and Artistic contents.

SCRATCH AND STENCYL

If programming and coding feels scary, you can start with Scratch programming. Then you can move to Stencyl, which is like a more advanced version of Scratch, specially made for game programming.

These kind of tools are great for starting.

Blender BGE & its Python programming

BGE is interesting. Unlike other 3D packages, BGE inside Blender is quite solid. It is probably "limited", but it is sufficient for many applications or game creations, and can be expanded.

I am hoping that slowly, I can collect some informations about BGE and Python game programming and reshare it with you as I understand it.

These areas are what I interest the most

Animation and Procedural Animation
Procedural Shader (GLSL, CG language)
Some scripting trigger and action, such as creating control and automation

USING BGE AS MOSQUITO REPELLANT

Ok, this one is probably the weirdest subtitle you will ever read, that sounds like totally unrelated to Blender.

But read through, it will make sense very soon :]

We are going to create a super simple Colorful Motion Graphics "Mosquito Repellant" using BGE. How can that possible? Let me explain.

Do you often have Mosquito problem at home? Everyone must have experienced how annoying it is to have mosquito flying around before sleeping. You can turn on Air Conditioner, mosquitos are usually afraid of cold temperature. But for me, I don't like using A/C to repell them.

I figure out a strange theory that mosquitos are either attracted or totally distracted by a bright colorful light that keeps on changing. So, if you actually have a "computer screensaver" that keeps on changing color, mosquito will stop disturbing you (hopefully). Work best in a dark bedroom.

NOTE:
If you have iPad or iPhone, I recommend this app called "Flashlight" that allows you to create a changing color. Other smartphones probably can find similar apps.

ANYWAY, for the rest of people without iPad or iPhone, do not be afraid or feel disappointed, we have a computer (with monitor) and Blender, and definitely we can create that "Flashlight" program. Very easily and no programming or coding!

We just need to use this ability in BGE:
Changing Color (RGB) value and Alpha transparency of an Object in Blender and make it Looping.

When I am researching for "how to change Material color" in BGE, I found too many answers. Some answers are too old (older version of Blender) and some are not straight forward. However, luckily, there are few exceptional people that explain and answer the right problem, the right way.

Blender always needs more Blender evangelists and teachers who are developers and artists. Thanks to forum like Blender Artists and many blogs out there, everyone can continue advancing their Blender skills.

This one video tutorial helps me a lot.
http://www.youtube.com/watch?v=jodWo9ryb4E

Another one also really good demo showing the capability.:
http://www.blenderartist.org/forum/showthread.php?299708-Changing-opacity-of-objects
http://www.youtube.com/watch?v=N2jbxH3BTyQ

More useful links that is related to the topic:
http://blenderartists.org/forum/showthread.php?126051-BGE-materials-textures
http://blenderartists.org/forum/showthread.php?325609-How-set-object-s-material-and-texture-in-game-using-python-script-BGE-python
http://blenderartists.org/forum/showthread.php?202264-Changing-material-in-bge

So, apparently there are many ways you can setup "Object with changing color" using BGE:

Use Python scripting way to change color in realtime, this is more sophisticated and can make a more interesting application.
Use Blender Actions (Animation). Luckily, thgis method is actually quite simple. It can be made by anyone, even someone who use Blender for the first time.

Once you have the Material setup for object and simple animation of changing color, you then just need to LOOP the animation of changing color and then run the BGE creation as a Standalone application.

Enough talk, let's make it.

1. Startup BGE scene
What we are going to create is very, very simple. We just need an object that continuously changes color overtime. Since the final will be a BGE application, it will run in realtime.

ENVIRONMENT: Set Blender to "Blender Game" environment. You should find this option at the top bar.

CAMERA: Reset the default camera, zero the Position and Rotation in the properties and then slightly bring it up.
The final Game/Application should make use of this camera view.

For our application, we really only need a flat basic Plane Mesh with Material that changes color.

Just for reference (on how camera is facing the senece, I added Suzanne the Monkey object, I smooth her and add some divisions. The setup is like below. We can have 3D view on the left and another 3D view on the right layout.

Remember hitting P will activate the Game Engine and hitting ESC will escape that running BGE.

We can test our BGE application using Standalone Player. Which should result like below. You see how in Standalone app we are getting a view from camera. This is what we want.

We get just black looking render, because we have not applied shader yet. We will do that next.

You can set Standalone playback test to be Full Screen.

2. Apply GLSL Materials
Change BGE environment setup to use "GLSL" for rendering. --- CORRECTION: Use "MultiTexture" if you want below to work.

Add some Materials to the object. For my scene, I give Blue Material for the flat Plane and Red Material for the Monkey.

Test the game.

That is the default basic materials. Notice how the default light is shading the scene and the Materials look quite nice.

Look at this old BGE tutorial, I like the simpliticy of this tutorial and look at the result, it is so good looking even back then. Today, with GLSL render, we can get a lot better looking result:
http://otothecleaner.free.fr/tutorials/LevelDesign2/level4/level2-4.html

3. Get rid of jaggies/aliasing.
You may notice the jagginess of Suzanne. We do not really need Suzanne but anyway, increase the AA (anti-aliasing) Samples to higher than zero and now you have a nice smooth blending between Suzanne and the background.

No jagginess on the edge of the monkey.

I actually like BGE real-time renderers look. With proper texturing, nice GLSL shader, you can have a very nice 3D visualization. Definitely something to explore at later stage.

4. Make flat Material (WARNING: Blender Bug) --- Read below, but SKIP FOR LATER
For our purpose, we do not really need a light shading, we actually just make the Material = Shadeless.

HOWEVER, if you at this stage make the Material = Shadeless, there is a bug in BGE that will completely make the next step is not working.

So, I think it is best to make the Material shader flat later. Please skip this step for later.

I recommend you to create Color Animation first, then make Shadeless.

NOTE: Unfortunately BUG like this happens. It took me a while to figure it out. I need to report this to Blender Foundation.

I could be wrong about the bug, but I am using Mac, and I tested many times, if I change Material to Shadeless, I use the ability to animate material color overtime.

CORRECTION:

The reason animation didn't work is because I use "GLSL" mode for BGE. Use "Multi Texture" for BGE instead.

If you want GLSL mode to work, you need to use Object Color. You can animate Alpha (transparency) of object this way.

If you make Shadeless before animating, you will not get the animation as expected. Weird and very annoying bug.

5. Changing Material Color
To change material color overtime, we simply animate the Color RGB. Set keyframes on Material Color, and change the color for 100-150 frames. The animation range is up to you actually.

6. Loop the animation in BGE.
This step is the most important for Blender Game Engine. We will LOOP the animation using Action actuator.

SENSORS: Always (enable that button greyed below)
CONTROLLERS: And
ACTUATORS: Action (use Ping Pong, set the Start and End Frame).

Ensure you select the right action related and linked to the object.

Connect all three.

You are basically done and if you playback in realtime, you will create an app that will repel the mosquitos. Really.

It's very simple, but you just created an applications that will work on any operating systems.

You can export it as a packaged app on Mac or exe on PC. Just enable the export as Stand-Alone Running Game inside the Add-On menu.

OF COURSE:
- You probably should add some basic UI to quit the app, etc. Simple controls/interactivity to rotate the monkey for example.
- Add other beautiful looping things

You may think you do not learn much, but wait for the next post in the series. This simple LOOPS is enough for you to create many useful apps. Even interactive point and click games for kids.

This looping thing is an introduction. You can create multiple scenes and add some button interaction to jump to different scene quite easy in BGE.

INTRO SCENE
LEVEL SCENE
CREDIT SCENE

BGE Color Changing, the Python Way

Below is a quicky example:

EXAMPLE CODE:

import bge

import random

cont = bge.logic.getCurrentController()

own = cont.owner

# print(random.random())

myR = random.random()

myG = random.random()

myB = random.random()

myAlpha = 1.0

newColor = [myR, myG, myB, myAlpha]

own.color = newColor

So with above Python script, we can randomly update and change the "Object Color". Apparently it is rather simple to modify the "color" attribute of Game Object like above.

http://www.blender.org/documentation/blender_python_api_2_67b_release/bge.types.KX_GameObject.html?highlight=gameobject#bge.types.KX_GameObject

REGARDING THE GLSL PREVIEW BUG...

GLSL should be the mode where our game just works and displaying properly, but as you may notice, in 3D view, if we tap the P, the GLSL mode does not work properly. But it works on Stand Alone Player!

I am asking this GLSL issue at the forum here:

http://blenderartists.org/forum/showthread.php?327553-Different-GLSL-view-result-when-P-and-Stand-Alone

There is somewhat this "inconsistency" of Multi Texture mode, GLSL mode in BGE that sometimes bug me. Such as having to enable "Object Color" in order for GLSL to obey the Action animation of Color. I believe Multi Texture is the older mode for BGE.

Hopefully we get the answer soon.

UPDATE 2014.02.18:

I figure out myself why I am getting a weird result when using GLSL. Viewport Shading: Texture Mode and Solid Mode. It needs to be in Texture Mode!

By default, it is set to Solid Mode. For users switching to GLSL on BGE, when they press P and getting something flat like below:

All you need to do is change Viewport Shading from Solid to Texture.

And you should be getting a more expected BGE realtime playback below:

It was a bit dumb, but anyway, at least if you encountered this, you know how to fix it. I really think it should not be the default result, or at least there is a notification or something.

Now, the GLSL mode will require you to use Actions from "Object Color" if you ever want to animate the Color RGBA (RGB and Alpha transparency). Material Diffuse will not work. I have to double check this again, but I think that's correct.

FURTHER ON...

Think of different ideas that uses ANIMATION and LOOPING for BGE, you can create SCREENSAVER application this way!

This kind of simple apps is something you can make quite easily using BGE. Of course, from simple apps, we can start building a more complex interactive apps, then games.

GLSL inside BGE

I feel challenged to get into GLSL Programming. I know this is probably more complicated than the OSL, but worth looking into.
http://en.wikibooks.org/wiki/GLSL_Programming/Blender/Minimal_Shader

Looking at some examples of GLSL on WebGL like below is quite amazing:
https://www.shadertoy.com

ONE MORE THING... DEMOSCENE

I don't have much knowledge or experience about things called "demoscene", however, I have seen some DEMOSCENES back then when Internet was still slow. There are some really memorable demoscene, which was tiny in file size, however, it was captivating.

I didn't see "demoscenes" as much, however, I think the artform is still growing.
https://www.youtube.com/watch?v=iRkZcTg1JWU

Now, I am really wondering if Blender Game Engine could be used for DEMOSCENE of some sort. Why not? I think it is there. It's open source, the BGE is great, easy to use. Maybe not 100% DEMOSCENE pure algorithms, however, imagine something that is more interactive, less linear, has some kind of narrative, you got something that is kind of DEMOSCENE. It can be poetic, but most important, it needs to be REALTIME, not rendered. Maybe it also needs funky Machine Made tunes? Tell me what you think in the comments, if you have similar thought. Thanks!

UPDATE 20140216

Researching around the idea of using BGE more than just for game creation, I stumbled into this old post from Blender Nation. Mike's Pan examples. Will check if these examples still work, maybe can learn few tricks.
http://www.blendernation.com/2006/12/03/using-blenders-game-engine-for-more-than-just-games/

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