CRYENGINE is the first all-in-one development solution with truly scalable computation, multi-award winning graphics, state-of-the-art lighting, realistic physics, intuitive visual scripting, high fidelity audio, designer friendly AI, an efficient 3D stereoscopic solution across all platforms and much, more - straight out of the box.
Crytek's groundbreaking development technology is now more accessible than ever! For just 9.90 USD/EUR per month, developers everywhere can subscribe and gain total access to the industry-leading feature set of CRYENGINE, without ever having to pay licensing fees or royalties.
CRYENGINE is the first all-in-one development solution with truly scalable computation and benchmark graphics technologies. With CRYENGINE, developers are fully equipped to create standout game experiences, using the engine behind games like Ryse: Son of Rome and Crysis series.
The Famous CRYENGINE Sandbox editor is a production proven, third-generation real-time tool suite designed and built by AAA Developers. All development features of a CRYENGINE game can be produced, edited and played immediately with the “what you see is what you play” (WYSIWYP) system. The engine deals with the instant conversion and optimization of assets in real-time, enabling cross-platform changes to all elements of the game creation process. This increases the speed and quality of development, while significantly reducing the risk of creating multi-platform games.
Who is it for?
It is for anyone who wants to play and develop games with CRYENGINE. We feel that everyone should be able to achieve their vision by using CRYENGINE technology.
What can I get with my monthly subscription?
Getting in with our EaaS program has a number of benefits: first of all, you will always have access to the latest build of our CRYENGINE, and be the first to hear about any upcoming updates. You have instant access to all graphic features and tools, including the powerful renderer behind our Xbox One title Ryse: Son of Rome, C++ and Lua API interfaces along with a full game implementation written in C++, and demo levels and assets for different types of games.
You will also be granted access to all our Engine and Tools documentation, such as programming API references and multiple tutorials by our talented CRYENGINE professionals, as well as access to our CRYENGINE community, full of equally dedicated individuals to help you with any question or issue that might surface.
Is it really royalty free?
Yes, the monthly subscription fee is all you have to pay, there’s no royalty share required when you commercialize your game projects.
What version of CRYENGINE is on Steam?
The current version of CRYENGINE for launch on Steam is V3.6.2. By subscribing, you will continuously receive all the upcoming updates and new features of CRYENGINE.
Where can I find the Eula?
You can find the EULA (End User License Agreement) on our website
What is Wwise?
Wwise from Audiokinetic is the world-class audio engine and integration tool that we’ve chosen to include with CryEngine. Used in AAA games across console, desktop and mobile platforms, Wwise provides a complete audio integration pipeline that we’ve deeply integrated into CryEngine. You can learn more about Wwise here. Wwise ships with CryEngine in Evaluation mode, allowing for projects with under 200 sound files and for non-commercial use. You must upgrade to a commercial license to ship your game.
How do I upgrade my Wwise license?
There are two ways to upgrade your license of Wwise. If your project uses under 200 sound files, you can use the Wwise Free Limited Commercial License. You can start the process by creating an account at the Audiokinetic website, and then you can request your Limited Commercial License key by creating a project here. Be sure to fill out the form completely, as it will need to be approved.
The other method is for projects that go beyond the 200 sound file limit of the Limited Commercial License. For these, please contact Audiokinetic directly to request a full commercial trial or purchase a full commercial license. Licensing price details can be found here.
Is there a FAQ for other questions I might have?
You can find our FAQ for the CRYENGINE subscription on our website
What kind of features will I get with CRYENGINE?
You can find an overview of the engine's features on our website
What will happen to my project if I cancel my subscription?
Stopping the subscription means that CRYENGINE and its Tools are no longer available in your account.
Is there some Documentation for CRYENGINE to learn more?
You can take advantage of our extensive online documentation to help you learn how to get the most out of CRYENGINE.
If you are using CRYENGINE for the first time, the Getting Started with the SDK article will assist you with the first steps.
Additional instructions on how to set up 3ds Max, Maya and CryTif exporters can be found in the Installing Exporter Plugins section.
The Basic Engine Usage section contains fundamental information useful for everyone using CRYENGINE.
Ambience in the levels act as a base layer of audio, providing location-based sound for when the gunfire falls silent. The wind, birds, and rivers are low in the mix and usually masked by weapon fire, but without it the gameplay area would feel empty and unnatural.
The fun part about game audio is that no matter how realistic you try to make it, it is always entirely fake. Unlike with film where you return to the edit room with some audio from the shooting location, the silent game world is the audio equivalent of a blank canvas. You can apply anything you want as the level ambience, provided it makes sense to the project! In our Pegasus Bridge map for example I use several main wind recordings, mixed with localised bird chirps and rustling trees. The ambience sounds different in each part of the map and you can hear the changes as you are running through it.
While we don’t use a dynamic time cycle in our maps, it was important to create a setup that would cater for it anyway. This means the two different times of day for each of our maps are able to have distinct ambiences that can change just as easily as the lighting, without requiring multiple triggers or map layers.
There is a lot more to weapon audio than the simple ‘bang’. You want to be able to hear the weapon fire, the casing drop to the floor, the bullet impact, the echo around the landscape, and then the bullets from the enemy whizzing past you as they return fire. It is with all of these stems working together that you get close to the intensity that the game requires.
The bullet impacts are some of the most aggressive sound effects in the game; I wanted every individual bullet to be noticed whether it hits you or not. If you are taking cover behind a crate then expect to hear the wood splinter and crack in front of you. Similarly, hiding behind a car or the metal structure of Pegasus Bridge will cause loud metallic pings to ring out around you, and if a bullet flies past you will hear the ‘swish’ as it whizzes over your head. When this is combined with the visual suppression effect it heavily affects your ability to pinpoint your attacker, and when all of this is combined with our HRTF-based 3D audio, gunfights can be a very tense experience!
I set out with an aim to have as much of the ingame audio created by the players as possible. I didn’t want an overly complex atmosphere, instead preferring a focused yet understandably hectic audio mix. I wanted the gunfights and explosions to be harsh and disorienting, but most importantly to be influenced by their real-world characteristics. This is why you can hear every weapon in the game from no matter where it is fired. I have spent far too many hours creating and refining a complex filter system, along with intricate crossfading to make each weapon sound as you would expect it to at 10 meters, 50 meters, and 200 meters distance. This has been time consuming and the parameters are constantly being tweaked as the mix changes, but the outcome is a very dynamic and responsive battleground. I’ve even added a delay that increases with distance, so at range you will see the explosion before you hear it, modeling the speed of sound.
Just like many aspects of the game, the audio is constantly being tweaked and adjusted, and will continue to be refined up to release. Obviously there are many audio requirements that have not been mentioned here, but the weapon audio system has been a large project in itself and thankfully it’s easy enough to expand to additional firearms and equipment in the future.
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