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In this chapter, we have looked at all the different mechanisms that you have at your disposal when dealing with user interaction with your game. The limited standard control mechanisms available to Windows Phone 7 devices mean that some thought might be needed to set up the input approach for your game. With no buttons or directional pad, some types of game can be a challenge to implement, whereas other game types will hugely benefit from the presence of the touch screen. The accelerometer is also useful as an input and can be used either in isolation or alongside the touch screen. Before you start working on a game you should have a clear idea of how you expect the user to interact with it. These ideas might change during development, of course, but it is important to consider them before starting to try to avoid unexpected input problems once you have invested time in your game. Cosmic Rocks is now looking and playing like a real game, and hopefully you are already finding it fun to play. It is, of course, still missing some important elements, such as moving to new levels, a score, and player lives. We could implement them with a little effort, but there is one other thing that it is missing that we haven t explored at all yet: sound. It will be the subject of the next chapter.

Binary-Space Partitioning BSP (binary-space partitioning) is a perfectly valid scene organization scheme, but its primary benefit in modern applications is for fast collision detection, not so much for geometric polygon organization. Ogre comes with a sample BSP (Quake 3 Arena format) scene manager, but the Quake 3 scene file format in particular does not play well with modern graphics hardware, as it organizes its geometry into many small chunks of data as opposed to larger batches of polygons (which is what modern hardware likes to process). For that reason, development and maintenance of this sample implementation has long since been abandoned (even though the scene manager still exists for those who want to load and use their existing Quake 3 level content and tools).

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Our worlds have been very quiet so far; apart from the occasional sound of the screen being tapped, everything has moved in complete silence. That s no way for a game to be, so in this chapter, we ll make some noise by adding sound effects and music to our games. Game audio plays a significant role in the experience that a player has when playing a game. A game with little or no sound feels hollow and empty, whereas distinctive and characteristic sound effects and music can really draw a player into the game and make it a much more absorbing event. Mobile devices typically have less opportunity to impress in this regard than desktop PCs or game consoles because they are usually limited to smaller speakers, whereas PCs or consoles might well be hooked up to powerful surround sound systems. Headphones are likely to be commonly used with mobile devices, however, and they can provide very effective sound to your players. Regardless of the way that the device is producing sound, you should still ensure that your games sound as good as possible. In this chapter, we ll explore just how you can go about achieving that goal.

There is room for code generation when using an abstract data object layer, which extends your object model, but that is a different situation that I discuss in the next chapter I think that code generation can be useful when working on a project in which the database schema is static, and the customer understands the ramifications of using this approach (see the Bottom Up approach) However, even though LINQ to SQL and EF support code generation, I m not a big proponent of it I think that the semantics of the object model get lost along the way and the database schema becomes the focus, thus making the application rigid and inflexible Nonetheless, code generation is an important aspect of these tools, so the text does present some examples Multiple object-oriented framework support: This is blue sky.

XNA makes a distinction between two types of sound that it can play: sound effects and music. Sound effects are ideal for sounds that correspond to the actions taking place within your game, while music can be played on a loop in the background to accompany your game the whole time it is playing. Each of these has certain requirements that must be taken into account, and various options that can affect the sound playback. Let s start with looking at sound effects.

The opposite of movable objects in a scene is static geometry. Well, not so much opposite: static geometry often is made up of otherwise movable objects that are no longer set to move. The idea, again, is batching efficiency. Modern GPUs prefer to render a few large batches of geometry instead of many small batches.

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