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In each demo is a method named createScene(), called by the framework to load whatever needs loading into the scene (see Listing 5-2). Typically, this includes entities, lights, billboards, particles, whatever. Listing 5-2. Scene Creation Method in the Environment Mapping Demo (EnvMapping.h) void createScene(void) { // Set ambient light mSceneMgr->setAmbientLight(ColourValue(0.5, 0.5, 0.5)); // Create a point light Light* l = mSceneMgr->createLight("MainLight"); // Accept default settings: point light, white diffuse, just set position // NB I could attach the light to a SceneNode if I wanted it to move // automatically with other objects, but I don't l->setPosition(20,80,50); Entity *ent = mSceneMgr->createEntity("head", "ogrehead.mesh"); // Set material loaded from Example.material ent->setMaterialName("Examples/EnvMappedRustySteel"); // Add entity to the root scene node mSceneMgr->getRootSceneNode()->createChildSceneNode()->attachObject(ent); } Again, Listing 5-2 is straightforward, no surprises. The mSceneMgr pointer is stored in the ExampleApplication class, and initialized in the code in Listing 5-1. Listing 5-2 creates a single light named MainLight, and a single instance of the mascot Ogre head mesh. The code overrides the default Ogre material (encoded in the binary .mesh file referenced in the createEntity() method call) with a material that will perform environment mapping. The code also sets the ambient light color in the scene. The Ogre head mesh is left at the origin (where all objects are set when loaded into the scene). Finally, the instance of the Entity that contains the Ogre head mesh data is attached to an anonymous scene node created as a child of the root. There is no need to be able to find that scene node again in this demo because the Ogre head never moves; it would have been just as correct to attach it to the root scene node directly.

Both of these sites clearly describe the license applied to each sound and have search facilities and online previews of each sound in their database. Many other sound sites exist, too, and can be found via your search engine of choice. Selecting a sound can be tricky, and it is essential to try out each sound that you like and see how it fits in with the game environment. Sometimes sounds that initially seem ideal just don t work well inside

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In the second part of Listing 3-13, you have a similar query, but this time you are using the Average() function to average all the Employees vacation hours together. In both cases, you have an int cast on the VacationHours property because VacationHours is a short. Additionally, in both cases the results are added to the ListBox you were using earlier. Listing 3-13. Aggregate Operations in LTS //Sum vacation hours int totalVacHours = (from emp in db.Employees select (int)emp.VacationHours).Sum(); lstResults.Items.Add(totalVacHours); //Average vacation hours int avgVacHours = (int)(from emp in db.Employees select (int)emp.VacationHours).Average(); lstResults.Items.Add(avgVacHours); Listing 3-14 shows the SQL code generated from the C# in Listing 3-13. As you might expect, the SQL queries generated from Listing 3-13 use the native T-SQL aggregate functions, SUM and AVG. What you might not expect is that the cast you specified translated into a T-SQL CONVERT in the code that is generated. Listing 3-14. SQL Generated from Aggregate Operations SELECT SUM([t1].[value]) AS [value] FROM ( SELECT CONVERT(Int,[t0].[VacationHours]) AS [value] FROM [HumanResources].[Employee] AS [t0] ) AS [t1] SELECT SUM([t1].[value]) AS [value] FROM ( SELECT CONVERT(Int,[t0].[VacationHours]) AS [value] FROM [HumanResources].[Employee] AS [t0] ) AS [t1]

a game, so spend some time experimenting to get things sounding just right. Don t forget that altering the volume or pitch can help with getting your sounds to fit in, too. To manipulate sounds that you have downloaded or to convert them between different formats, a sound editing application is essential. This application will let you cut out or exclude sections of a sound, fade its volume up or down, add echo and distortion, and do dozens of other useful things. Lots of commercial applications are available for this task, but if you are looking to keep your costs down, a free application called Audacity is well worth a look. It has a large range of sound processing effects, has flexible editing features, and supports saving to numerous file formats (including WAV and MP3). Visit audacity.sourceforge.net to download a copy.

It is worth mentioning briefly the mechanical nuances of rotations, translations, and scaling in the context of the Ogre scene node hierarchy. We discussed earlier in the chapter the why of the spatial relationships and operations; here I would like to touch on the how. The default translation space is TS_PARENT, so you do not need to specify parent space when you perform a translation: mSceneNode->translate(100.0, 10.0, 0.0); If you need to perform a translation in world space, you must inform Ogre of that: mSceneNode->translate(100.0, 10.0, 0.0, TS_WORLD); Likewise for local space. The following will move a node forward 100 units in the direction it is facing: mSceneNode->translate(0.0, 0.0, 100.0, TS_LOCAL); For rotations, the default is TS_LOCAL; if you need a different rotation space, you must tell Ogre: // rotate around object's own Y axis by 1 radian, about 57 degrees mSceneNode->yaw(Ogre::Radian(1.0)); // rotate around parent's X axis by 1 radian, about 57 degrees mSceneNode->pitch(Ogre::Radian(1.0), TS_PARENT); // rotate around world Z axis by 1 radian, about 57 degrees mSceneNode->roll(Ogre::Radian(1.0), TS_WORLD); Scaling has no relative space; it performs the operation on the node itself, as well as the node s child hierarchy. // scale along the X axis by a factor of two; other axes are left unscaled mSceneNode->scale(2.0, 1.0, 1.0);

Recall the Balloons project that we created in 4 to illustrate mapping input coordinates to objects on the screen. To bring a little more life to the example, an updated version of Balloons is included with this chapter with some sound effects added. Three different popping sounds are included to make the sound a little more varied, and as each sound is played it is also given a slightly randomized pitch as well as being panned to match the balloon position on the screen. This makes for an entirely more satisfying balloon-popping experience!

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