The program is popular with indie and mid-tier developers, but many big-name companies also participate, including EA.

Not all games are destined for success in Early Access, however. Some fail miserably on the platform and their reputations never recover. Early Access is a tricky platform, but there are ways to do it right. Below we discuss the pros and cons of releasing games on Early Access along with tips on how to maximize your chances of success if you do put it to use.

Early Access is a program where game developers can release early builds of their titles for the public to purchase. When customers buy an Early Access game they get to play current and all future builds.

Most players who participate in Early Access purchases develop a sense of ownership from the moment they hit the buy button. They offer feedback and suggestions the developers often add to the final build.

This creates a sense of ownership and helps turn one-time buyers into lifelong customers. The most obvious advantage of releasing a game on Early Access is the ability to engage in public beta testing.

I had a bunch of testers buy and play the game and give great feedback that improved the game. At that point I had been working on the game for about 6 years. Even if your game stays in Early Access for long periods of time it can still benefit from accumulated hype.

For example, the number of concurrent players and Twitch viewers skyrocketed when Besiege released after 5 years in Early Access. The Early Access market is extremely volatile and unpredictable. One rocky launch could cause irreparable financial ruin for your game or studio.

Steam specifically warns against using Early Access solely for generating income. Unfortunately, Early Access has its own reputation, and if you choose to release here first, some of that reputation might rub off onto your title.

A lot of shovelware and low-quality asset flips dominate Early Access from time to time. Many players see the platform as a haven for these throwaway titles. While you might be months or years away from official release, remember your Early Access customers still expect updates and bug fixes.

Worse still, unresponsive developers during Early Access can lead to a complete loss of trust. Going with Early Access also runs the risk of stealing momentum from your official release. You want to maximize buyers at release.

Early Access also might be a bad thematic fit for your game. Wolcen: Lords of Mayhem , on the other hand, found success in Early Access as a story-driven game. Its developers started with a Kickstarter campaign in mid and released on Early Access early the next year.

Their trick was to only offer a limited number of chapters during this period, almost like releasing a demo. As with many things in life and business, timing is critical. Early Access is meant for games in the alpha or beta stages.

Customers actually expect significant changes during Early Access. If your game is almost finished, releasing here could cement your reputation as a developer that ignores community feedback. Your game needs to have enough substance to get people excited about it.

Simon, Creative Director of Legends of the Traveler , chose to avoid Early Access while his game was under-developed:. Nothing to show for it, only a few visuals and a plan. We wanted to be honest.

We work very hard to make sure that customers understand what they are buying when they get an Early Access title on Steam, and this expectation continues wherever Steam keys are distributed. You must include the Steam Early Access branding as well as current information on the state of your game, and a link to the Steam Early Access FAQ on any site where you are selling Steam keys for your Early Access title.

Additionally, you should also include a copy of the Early Access questionnaire. You can read more in the Steam Branding Guidelines.

Do not make specific promises about future events. For example, there is no way you can know exactly when the game will be finished, that the game will be finished, or that planned future additions will definitely happen. Do not ask your customers to bet on the future of your game.

Customers should be buying your game based on its current state, not on promises of a future that may or may not be realized. Steam Early Access titles need to be available to customers through Steam. If Steam enables your Early Access game, we expect you to have the Early Access game available for sale on the Steam store.

Do not offer it for sale on Steam any later than you offer it anywhere else. Don't overcharge Steam customers. The Early Access price of your game should be no higher than that offered on any other service or website.

Please take care of your customers on Steam. Make sure you set expectations properly everywhere you talk about your game. Be transparent with your community. For example, if you know your updates during Early Access will break save files, make sure you tell players up front. And say this everywhere you sell your Steam keys.

Don't launch in Early Access without a playable game. If you are trying to test out a concept and haven't yet figured out what players are going to do in your game that makes it fun, then it's probably too early.

You might want to start by giving out keys to select fans and getting input from a smaller and focused group before you release in Early Access. At a bare minimum, you will need a video trailer that shows gameplay. Even if you are asking for feedback that will impact gameplay, customers need something to start with in order to give informed feedback and suggestions.

Don't launch in Early Access if you are finished with development. Early Access is intended as a place where customers can impact the final game.

You know your product best, so treat the answers below as guidelines. More than anything, you should try to be detailed and transparent with customers. This is your opportunity to talk about your plans, set overall expectations, and start the conversation with your community as you work towards a final release.

You may also find it helpful to find inspiration from the products or developers you admire. Why Early Access? What are your goals? Leave a comment Cancel reply. Comment Reblog Subscribe Subscribed. Karen K. Sign me up. Already have a WordPress. com account? Log in now. Lee Customize Subscribe Subscribed Sign up Log in Copy shortlink Report this content View post in Reader Manage subscriptions Collapse this bar.

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To view the dark world, enable the Dark World data layer. To view the light world, enable the Campfire Replace , Foliage , and Hero Area Mountain Range data layers.

The Campfire Geometry data layer should always be present. You can experiment with enabling and disabling these layers to compare both versions of the world. More details about these systems, how they are implemented in the sample, and their workflow benefits are available in Collaboratively Constructing a Large World.

Unreal Engine 5 aims to provide not only a new standard in high-fidelity visuals, but also the most accessible pipeline for real-time high-resolution applications in the world. In this section, we will detail how UE5's new rendering features contributed to the level of detail in the Valley of the Ancient, as well as the speed and convenience of the team's process for constructing it.

All of these are available in the Canyons of Utah Megascans pack. Moreover, Quixel Bridge is now integrated directly into Unreal Editor, removing the need for any external programs when importing or managing Megascans assets. UE5 automatically generates the needed material instances and meshes, and they can be used directly in-game.

In the sections below, you will see not only how easily UE5 handles these high-resolution assets, but also how its tools gave the environment art team an impressive range of flexibility in crafting the landscape. None of these assets use traditional LODs or require additional optimization.

Instead, all of them have Nanite enabled. Nanite streams static mesh assets from disk, then represents them using virtualized geometry, dynamically scaling the number of polygons they use based on the resolution of the user's viewport.

Virtual texturing behaves similarly for texture detail. This representation changes as the user moves through a scene, updating the level of detail on the fly. Closer objects receive more detail, while farther objects receive less -- but the total detail onscreen is roughly uniform.

Thanks to Nanite, the Valley of the Ancient environment can use hundreds of incredibly polygon-dense Megascans assets directly in the scene without any additional preparation. Even cliff faces weighing in at tens of millions of polygons and using massive textures render instantly, with no additional setup necessary on the part of technical artists.

Even a high-polygon Zbrush sculpt can be used directly in a game. Nanite does not support deformations, so it functions only with static meshes. However, this is more than enough to vastly simplify the pipeline for developing environments. Meanwhile, although Nanite can not use skeletal deformations, the towering Ancient One in the finale uses static meshes attached to a skeletal mesh, taking advantage of Nanite to render its ultra-high-resolution armor.

For more information about how to use and configure Nanite, refer to the Nanite documentation. Lighting for this detailed valley is powered by Lumen, Unreal Engine 5's new fully dynamic global illumination and reflections system. Lumen creates dynamic, believable scenes where indirect lighting adapts to changes in direct lighting and geometry, combining new and old techniques to achieve high-quality real-time results.

Lumen is built with next-generation consoles and high-end PCs in mind, and is targeting FPS on these platforms when Unreal Engine 5. Lumen is scalable, and supports a wide range of DX11 and DXcapable hardware using Software and Hardware Ray Tracing modes.

Valley of the Ancient uses Software Ray Tracing, which combines Screen Traces or screen space tracing with a Surface Cache representation to generate indirect lighting in the scene. Lumen uses Screen Traces to cover the mismatch that can happen with the lower quality Surface Cache, which is generated from the individual mesh's Signed Distance Field.

The Surface Cache only operates for the first meters before falling back to screen traces for the distance scene. Lumen is versatile and has quality options that enable it to work with both Nanite's virtualized geometry and traditional Static Mesh geometry, and screen traces enable skinned meshes to receive and contribute to indirect lighting, but they are limited by what's visible on screen.

Lumen works with all movable light sources, including emissive materials as light sources. Skylighting uses Lumen's Final Gather for sky shadowing, which allows indoor areas to be much darker than outdoor areas, and helps bring out lightly-colored surfaces that reflect more light.

Thanks to the balance of quality, speed, and the "it just works" nature of Lumen, the team was able to light Valley of the Ancient's massive landscape intuitively without needing to worry about all the configuration options that are present with traditional lighting techniques.

For more information about Lumen and more details about how it works, see Lumen Global Illumination and Reflections and Lumen Technical Details. Many of the Megascans meshes in the environment are not "stock" meshes as originally imported, but rather have been altered inside Unreal Editor to suit the unique needs of the landscape.

The environment artists for Valley of the Ancient achieved this with the new Modeling Editor Mode in UE5. While you can use the modeling editor to build meshes from scratch the same way you would in any DCC tool, you can also select any static mesh or instanced static mesh in the environment and modify its geometry.

While editing these on a per-polygon basis would be cumbersome, the Modeling editor mode features numerous deformers and sculpting tools that can perform quick alterations on dense meshes. You can toggle the Modeling editor mode, select that mesh in the viewport, and then apply a Bend deformer to it.

After a few seconds of tweaking, you can apply your deformation to the mesh and see the result. Without having to re-do any UVs, you can create a variety of unique meshes from one high-resolution base mesh, with comparable quality to the original.

This enables artists to gain maximum flexibility from assets of any resolution, and realize concepts with unique needs, without ever leaving the level editor. The landscape in the Valley of the Ancient is large enough that even with the tools discussed so far, it would take an exceptionally long time to construct an environment with so much detail by placing Megascans assets individually.

The environment art team for Valley of the Ancient therefore leveraged Packed Level Instances to kitbash large-scale assemblies. Level Instances are essentially nested levels that you can add to any world that implements the World Partition system.

While you do not need to use Level Instances for World Partitions to work, they are a handy tool for organizing chunks of content in your world into reusable parts, or for breaking a level up into more manageable pieces for editing outside of your main level.

To create a Level Instance, select a group of objects in the world, right-click, and click Create From Selection. This opens the New Level Instance menu, where you can choose the type of Level Instance you want to create.

When you click OK , you can save your new Level Instance as a level file in your project, and it will generate a corresponding Blueprint asset along with it. All of the actors you selected will be replaced by a Level Instance actor that contains them.

You can edit the Level Instance using its level file, and place a copy of the Level Instance using its Blueprint asset.

Manipulating Level Instances is as simple as manipulating other actors in your level. You can also edit the component parts of a Level Instance in-place. In the Details panel for a placed Level Instance, click the Edit button under Level Instance Editing to focus on that Level Instance.

You can then edit the component parts of the Level Instance in the context of the rest of your world. When you have finished, click Commit Changes to finalize your adjustments and return to editing your world. A prompt will appear to ask if you want to save your changes, and any copies of that Level Instance will take the same changes.

The Valley of the Ancient sample primarily uses Packed Level Instances to create assemblies. Unlike standard Level Instances, These ignore any actors that are not static meshes, and convert static meshes to instanced static meshes, reducing the number of draw calls created by their component assets.

This workflow provided a way for the environment art team to independently build a library of large-scale assemblies and edit them non-destructively. These varied from small, versatile assets that make up the observable landscape around the player, as well as massive geoforms that can compose large chunks of distant landscape.

While many of these assemblies are composed with static mesh assets found inside the editor, some were custom-built by the team using the Megascans assets as a base.

This gave the team a flexible assembly line to set-dress over four square kilometers of land with photo-realistic detail in just a few weeks. Refer to Level Instancing for more information about how to use these tools. The process of developing the destructible meshes for Valley of the Ancient, such as the columns in the dark world and the mound that the Ancient One rises from during the finale, drove many improvements to the Chaos Destruction workflow in UE5.

The workflow that the team developed uses a combination of the new Modeling and Fracture editor modes. The destruction team relied heavily on the Modeling tools to prepare the meshes and create targeted fractures.

Simplify , Planar Cut PlnCut , Offset , and Displace to add a noisier surface made it possible for the initial fractures to be sculpted from the source meshes themselves.

The Boolean tool was used throughout this process to remove any overlapping Meshes penetrating through each other, leaving only the geometry on the surface. Stray polygons or floating islands of geometry were removed using the TriSel tool. In the Fracture editing mode, the team used the Mesh Fracture tool to separate the destructible mesh into large chunks.

This tool effectively uses another mesh to take a "bite" out of the geometry, functioning similarly to a Boolean subtraction tool, but leaving both parts of the mesh in place.

The chunks created by this tool act as the primary fractures for the destructible object, providing a degree of control over how they look when they crumble.

After creating these chunks, the team applied a more traditional, Voronoi fracture using the Uniform or Cluster fracture tools to break it into smaller pieces.

Thanks to the Noise settings introduced in UE5, these fractures have natural-looking, non-uniform edges. The team used the AutoUV tool to UV the internal surfaces of the fractured assets. This tool generates a texture that maps to a gradient based on the depth of the mesh.

This provides a way to blend materials together to make different parts of the cross-section have different surface qualities based on depth, providing a more natural appearance. For instance, parts of the mesh deeper inside the cross-section can have a dustier, more dry look, while parts closer to the surface can look darker and more weathered.

Finally, the team cached the physics simulation for the assets using a Chaos Cache Manager. This is a system that can record a simulation in-editor and play it back ingame, ensuring that it proceeds the same way every time once it is triggered. This provides a way to show complex, detailed destruction in-game while conserving on processing, and also makes it possible to author destruction in a way that suits specific in-game needs for level design.

For instance, the first column that Echo destroys will never fall in such a way that it will block the entrance, and the Ancient One's mound won't leave behind debris that prevents Echo from traversing the arena.

After recording a simulation with a cache manager, placing a copy of it in a level will place all of the other assets associated with it. The original simulation setups for these assets have been stripped in the final build of the project. Improvements to the flexibility of this workflow are ongoing.

In the meantime, the implementation in the Valley of the Ancient provides a proof of concept for how we are improving the quality, accessibility, and flexibility of Chaos destruction in UE5. To complete the atmosphere in the Valley of the Ancient, we use the new Sky Atmosphere system.

By placing a Sky Atmosphere actor in your scene, you can configure information about a simulated planet, including its ground radius in kilometers, physical parameters for its atmosphere, and art direction overrides. This system works in conjunction with a Directional Light set as the Atmosphere Sun Light , as well as a Sky Light.

With all of these elements in place, the Sky Atmosphere system generates realistic atmosphere, volumetric clouds, and fog on a global scale. The environment lighting in this scene is completely dynamic thanks to the Sky Light's real time capture and convolution process.

In the Valley of the Ancient, the light world uses a Sky Atmosphere actor, showcasing a more subtle atmosphere that is reflective of real-world Earth. It also features animated volumetric clouds, which are dynamically lit in real-time. Meanwhile, the dark world uses a more traditional skydome to achieve its more stylized, fantastical look.

For the finishing touches, such as the mist and sand blowing across the rocky terrain, the team used Niagara particles in conjunction with volumetric paint data to direct them through the environment. Each of them uses two Niagara Data Interface textures: a VolumetricPaintingDensityMap , and a VolumetricPaintingVelocityMap.

The density map uses RGB information coupled with an alpha channel to determine the height and density of particles relative to the terrain, while the velocity map determines the direction that these particles move in. The team used a custom-built volumetric painting tool to paint these layers in the environment and output these textures.

In the image below, the grid overlaid on the environment represents the density map, while the arrows represent the flow map.

With this method, the Valley of the Ancient simulates over , GPU particles across the dark world's landscape using just three Niagara systems. All the Niagara systems are then fitted to the environment and Volumetric Fog, which uses the same volumetric painting data, to add bespoke detail.

While the tools for volumetric painting are still in development, this offers a proof of concept for its performance and utility when combined with the power of Niagara. In the past, users would divide a level into sub-scenes and use either the level streaming system or the World Composition system to stream them in and out of a persistent level.

This requires meticulous organization and makes it difficult for users to collaborate, as typically only one user can modify a scene at a time without encountering version control issues. In Unreal Engine 5, we have re-invented the way you interact with level files to make this process cleaner and more intuitive.

Not only can you edit massive worlds from just one level file, but you can do so in a collaborative environment with dozens of other developers with minimal conflicts. This section will detail the tools that make this possible, and how they benefited the team's collaboration when building the Valley of the Ancient.

The entire world in Valley of the Ancient uses UE5's new One File Per Actor OFPA system. When enabled, this system writes a separate file for each unique instance of an actor placed within a level rather than writing its data into a single map file.

As a user interacting with the level editor, nothing about your workflow is changed. To edit a level, you still open a single level file in the editor. However, since the underlying file system tracks each actor as a separate file, level designers and environment artists can edit different regions or layers of the same level and rarely, if ever, encounter a conflict when committing their changes to a version control system.

Valley of the Ancient has OFPA enabled globally. Streets Of Rogue takes place in a procedurally generated city packed with AI characters going about their day. The game's AI, city, and gameplay systems combine to facilitate emergent gameplay that forces players to think on their feet. Furthermore, the game can also be played in both local and online co-op.

This sci-fi colony-simulation game was an ambitious Early Access title that remained in Early Access for a good while as it was developed and expanded upon to a great degree, fixing bugs and fleshing out the game's many interlocking systems.

RELATED: Most Complex Management Games. RimWorld markets itself as a story generator, which generates "stories" in the form of random events including everything from bad weather to overwhelming raids that force players to react.

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The game features tactical turn-based combat , as well as a deep character creation system featuring twelve classes and eleven races. Furthermore, the game's immense amount of player choice and attention to detail make each playthrough completely different, promoting different styles of play and adding a lot of replay value to the game.

MORE: The Best Free Early Access Games On Steam. Highlights Steam's Early Access program has been controversial due to abandoned and unfinished games, but it has also allowed developers to improve their games with community feedback.

Games like Kerbal Space Program, Slay The Spire, and Darkest Dungeon have successfully utilized Early Access to create rewarding experiences with high replay value.

Vampire Survivors, Streets Of Rogue, RimWorld, and Baldur's Gate 3 are other notable games that have benefited from the Early Access format, offering unique gameplay and immersive worlds. The form can also be used as a way to keep track of applicants and gain information about potential staff.

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