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Let s continue our journey into Silverlight by spending some time looking at XAML. XAML is both intricate and complex, and although not a fully fledged programming language in its own right, it nonetheless contains all sorts of tricks and features and will take time to master. In this section, you will take a crash course in XAML and learn just the basics you need in order to set up a gaming environment. While you will get a good idea of what XAML can do and a high-level understanding of how it works, providing a full and in-depth description of all its features is beyond the scope of this book. As and when you want to further your knowledge, there are many good books and online resources that will allow you to expand and deepen your knowledge. (Matthew MacDonald s Pro Silverlight series is one I can recommend.)

Where keyframed animation is how you animate your meshes, a controller would be what might move, say, the scene node to which your mesh is attached, around the scene, under the control of an arbitrary function. Controller refers to the fact that the position, orientation, scale, etc., of one or more objects in your scene are controlled by a calculated value, instead of tracking toward keyframe data.

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XAML s primary purpose is to define the user interface layout of pages displayed within a Silverlight application Visual development environments have used text-based representations of form designs for a very long time Starting back with the original pre-NET versions of Visual Basic, forms were designed using a visual layout tool, and those designs were stored using a special syntax built purely around the need to define user interface elements and set the values of their properties These designs were systemgenerated and only designed to be system-readable They could be modified by hand, but to do so required the designer to explore the data files outside of the IDE and hack them Such editing was not supported or recommended Things improved somewhat with the introduction of the NET environment The visual form designer continued to result in system-generated code, and it was by default still hidden away.

Note Listing 7-24 shows two expressions in the query, so two sets of row collections are being returned,

The code it created was no longer in a special structure, however; it was plain C# or VBNET, and it could be viewed and edited directly within the IDE if the developer wanted to do so Generally it was still easier to simply use the form designer, however, not least of which because it generated reams and reams of verbose code The approach taken with WPF and Silverlight is somewhat different The UI is marked up in XAML, and it is not only in plain view and editable but also editing is encouraged and recommended In earlier versions of Visual Studio, manual editing of XAML was the only way to build it at all This open and structured approach to layout provides a number of benefits It allows you to see exactly, without any ambiguity, what the structure and content of your user interface actually is.

It lets you interact at a detailed level with its objects and properties without having to navigate through a complex visual interface And with a little practice and experience, it also allows you to create your user interface more quickly than using the visual designer..

When would you use one or the other Both can be used to manipulate an object s state in some way, on the basis of a one-dimensional input variable, and in the most general terms, both animation and controllers run an input variable through a function to produce an output value. In the case of animations, this input variable is always time. For controllers, the input variable can be anything you want. Following is a list of animation characteristics: For animations, the output is produced by one of two built-in interpolation functions that calculate the value of an animation track at a given point in time (based also on the keyframes in the animation track). The output values drive, for example, the actual positions, rotations, and scale of bones or vertices in an animated skeleton or mesh, or the positions, rotations, and scale of a node in the scene, and so on. Animations are treated as a closed-end system; you set the input value, and Ogre takes it from there, updating the spatial properties of the associated object for you (animations must be associated with a node, animate-able object, or vertex data). The interpolation functions are set: either linear or cubic spline interpolation is used. Animations enjoy the full support of the Ogre toolchain (3D tool exporters and mesh/skeleton converter; see Appendix A).

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