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At the top of Listing 6-30, you take the difference between the working time (WorkTime) and the system time. You then figure out how many frames that is. Loop that many times, each iteration adding a frame s worth of time to WorkTime. Notice you re adding whole frames to WorkTime, instead of just assuming you re caught up. The problem with assuming you re caught up is that you re never exactly a frame or two over, but rather fractions of frames. However, the work you have completed is exactly a frame or more, not fractions of a frame.

The first step to using Bluetooth is to turn the Bluetooth radio On. 1. 2. 3. 4. Tap your Settings icon. Then touch General. You will see the Bluetooth tab in the right-hand column. By default, Bluetooth is initially Off on the iPod touch. Tap the switch to move it to the On position.

The baseline is the invisible line on which characters sit. Every font has a baseline. Interestingly enough, it s the only property of a digital typeface that is interpreted in a common way (e. g., if you type a ten-letter word and set every letter in a different typeface, all the letters will sit on the same baseline).

WorkTime is the working time snapshot. It s how much actual time you ve finished of real work. You detect when the actual time becomes a frame or more than WorkTime, and catch up. That is frame skipping.

TIP: Bluetooth is an added drain on your battery. If you don t plan on using Bluetooth for a period of time, think about turning the switch back to OFF.

All other metrics, like the x-height or the cap height, may differ from typeface to typeface. What might be hard to understand, even for people who are mathematically talented, is that there is no fixed start (zero point) in the world of typefaces; on the contrary, every typeface comes with its own coordinate system. Luckily, the metrics are consistent within a typeface. Rounded letters, such as e, and acute-angled letters, like v, may extend slightly below the baseline. That is purely for optical reasons to tell our eyes that curves and pikes are sitting on the same base level as m, x, and l. Without such an overshoot, they would appear to hover above the baseline. You will find the same phenomenon at the x-height, which is the line that falls at the top of many lowercase letters and also at the curve of letters like h and d. That line, which some call the meanline, is referred to as the x-height, because it is the height of a lowercase x. This height can vary greatly between typefaces and is responsible for the optical size of an alphabet. The formula goes like this: the larger the x-height, the bigger the writing. For better understanding, compare it with an all capitals setting, and imagine lowercase letters as high as uppercase (i.e., maximum x-height). The cap height (see Figure 9-5) is the distance from the baseline to the top of uppercase letters like H and J . The cap height is a fixed distance within one font, but it might be different among the members of one type family (e.g., Regular, Bold, or Black), and it is certainly different between two typefaces because it cannot be standardized.

So far in this chapter, I ve covered a number of technical nuances related to game loops, frame skipping, style, and portability. I ve tried my best to explain what everything is and where you would use it, but sometimes it s nice to look at a real-world example. So, for the rest of the chapter, you ll be doing exactly that.