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Everything posted by icyhotspartin

  1. @Soldat Du Christ You have to pay for everything except Blender. You can get student or studio prices for most programs though. I know 3DS is part of the Autodesk suite, so they definitely have student/professional rates. I think they also have a 30 (+?) day trial. Maya, I don’t know - but Epic is now offering in-engine geo editing and modeling with UnReal. Just depends how much you want to give away to the GYNAH, really.
  2. For a guy who has described himself as illiterate that’s some pretty good writing 😉 Only thing I can add is that, from my nosing through spoilers and grilling friends with PS4s, I have determined the overarching goal for the treatment of that theme in the game is to show that: moral, epistemological subjectivity are the result of a ‘soft metaphysical subjectivity’ (“Have y’all heard of me or something?”) and that when everyone is their own hero everyone loses - especially you. Packaged in there is the conclusion that “you can only know what it’s like if you have lived experience”, conversation, amends, revenge, whatever is useless - existence is loneliness, victimhood at the hands of reality and of other people, and that knowledge and integrity are impossible. Not a great theme. Not a great use of established characters. Not a great use of players’ time. “Overstayed it’s welcome” is something I’ve heard a lot of.
  3. This is the tamest, non-spoiler review I could find for TLOU:PII. Has anyone played it yet, or do none of us own any Sony Hardware? If you’ve played it, how would you review the game?
  4. 5, because you scaled it for classic Halo and have the option of adding a piece of cover/jumpcrate to the center of the lowest floor. 3, because there’s no corners to camp. But the shape is odd, to say the least.
  5. if you make the transition between turn 6 and 7 into a downhill zone, you could keep the shape of the turns and have turn 6 runoff area on top of the exit of turn 7 your (?) solution there is also good
  6. I don't think that's semantics, those are good questions to ask. I agree with you on a lot of that. I agree in particular with the notion that emotions are the consciousness's way of communicating its response to a particular input to itself. But I do not think that emotions transcend our ability to communicate. Nor do I think that our language is rudimentary in its ability to define or categorize things accurately. I do think that many emotions are misidentified, in part because many times the inputs and premises that give rise to them have not been clearly defined in the person's mind. That's that complexity you're talking about, which makes the identification of exactly what internal message is being sent a little more difficult. As to the method of identification, that requires a dive into epistemology. I'll offer my own brief answer to the questions: Emotions are the consciousness's immediate feedback response to 1) external observation, 2) internal observation, 3) held premises (which run the gamut from simple to complex, concrete to abstract, value/disvalue, implicit/explicit, and all combinations thereof). They are, in my view, built up over years and years of experience, and can only be altered by the conscious effort of the individual. They are not tools of cognition (i.e. you cannot think by emotion) but they are often important to consider in cognition, especially with regards to the identification of one's own premises. Emotional states have been linked to particular brain states. As to how those particular brain states and emotional states affect the particular individuals - what they think about them and do about them - is entirely particular to that one person. There is also the influence of the brain's basic architecture, in that hormonal deficiencies or neurological disorders can cause some messages to be garbled, so to speak. Defining the emotions is a matter of identification. What is the proper method of identification? How do we know that such a method is valid and accurate? I think the proper method of identification is one of distinguishing between essentials. This is to be done on various levels. Think genus, species, etc. This ensures that entities and concepts will be properly linked distinguished from each other on some objective grounds, rather than arbitrary grounds; a gorilla does not become a human because it is given a pair of glasses. As to the labeling of newly identified things, I couldn't tell you what method is best - but typically, the new label is connected to some previous label that exhibits similar or related characteristics to the new entity, or combinations of such terms that loosely describe the definition of the new thing. @Westin, I've been meaning to respond to one of your posts re. objective principles and 'how do I know whether or not to make this door wider' or whatever. I'll get to that soon...
  7. "And HALO’s use of reusable environments in the place of idiosyncratic puzzle-driven levels brings architecture to the fore, as it is used to for three purposes: to establish a sense of place, to tell a piece of the storyline in a visual format and to provide a physical platform for the gameplay experience. In this, the game’s architecture is asked to fulfill a role similar to that played by the cathedrals of the medieval period, buildings which were expected to tell a story as well as serving a purpose. That the architecture of HALO is more ethereal than that of the cathedral and that it serves more mundane ends does not lesson the similarity of the usage. Indeed, there are devotees of pure materialism who might reasonably insist that the game’s ultimate object of temporal amusement is more concrete than the cathedral’s purposeful glorification of a trans-temporal sky deity." https://www.amazon.com/Halo-Effect-Unauthorized-Successful-Video/dp/1933771119/ref=pd_bbs_sr_3/102-9331982-9775369?ie=UTF8&s=books&qid=1176709259&sr=8-3 Thought this was interesting, given the recent discussion surrounding performance art and poetry and their relation to the experience of an artistically integrated game world. The essay is pretty long, but has a lot of good historical details in it. I caution the zealous embrace of the Wagnerian aspects, since it's important to realize that games are games, first and foremost - and that no art can ever be totally transcendent in the manner he describes. But man, games sure are useful for telling stories with. And definitely can elicit emotions, depending on what situation they put you in. And how invested you are in that situation. You can't elicit any strong emotion from someone's experience of gameplay if they haven't already bought in to your setting, and the context/system of gameplay. Can you imagine how much more stressful a game of CoD would be if every life cost you $5? How much more would be on the line for the average player, financially and emotionally? Take a hint from another luck-based game; high-stakes poker is probably the most stressful game you can play. No one's really gone and done that with an FPS yet. (Maybe Wall Street comes close for a few...) But that's only two, maybe three emotions: fear, anger, and elation. I don't think stress is an emotion - just the overwhelming experience of many different motivations and value-pursuits at the same time. My question: can a game elicit any strong emotions other than the three I listed above? And can those other emotions be experienced as the primary result of gameplay, rather than as a result of the artistic direction, music, storyline?
  8. icyhotspartin


    Soon this page will be updated with links, a short description of the level, its contents, and the thinking behind the design. Enjoy some pictures and sounds. 🙂
  9. The version I was discussing in that post is now outdated but the general shape of the map is still basically identical. It was my intention to get the feel of that level of Halo 3's Campaign, yes. That includes the experience of fighting uphill for one team, and the other team defending their higher position - but the holding of that position is not the only thing I want players to do. I want them to drop down and push for the sniper, so that they can then push back uphill and use it to its full advantage. That way both sides are put in the mindset of pushing. The same thing goes for the placement of OS, with the strange detail that a successful push for OS can give the player the ability to both reset the map and grab the sniper, beginning the push uphill once more. I do need to find a way to better incentivize the use of the eastern side of the map, but so far the new paths are holding up well, I think. I'm surprised at how nice Mythic feels on it. Major priority is the framerate, as usual. The other thing is making sure everything looks the same variety of Forerunner, and that the lighting is fixed.
  10. That was a very interesting read @a Chunk, very cool. I haven't yet played the original DS, so your experience is giving me a(nother) very good reason to pick up a copy. It makes me think back to playing Sekiro - the FromSoft formula is pretty strong in that one too, but the way that the tells are really blatantly telegraphed, with red glows/indicator lights has always bugged me. This same thing goes for that Respawn Star Wars game. The rhythm and flow of combat that you describe as being something you discover and learn in DS is not 'organic' to the experience of either of those other games, and makes them feel more like a percussion or rhythm exercise, like Parappa the Rapper or DK Bongo Beats. The effect of including visible tells is similar for the final function of gameplay, but the effect on the experience is completely different. It's less learning the nature of the enemy/world than it is an infantilized form of call and response. I think this topic extends into the field of real education, too. Cool stuff.
  11. Both are meant to put the first to sniper spawn on edge, not to the point where anyone porting gets a free kill, but so that they are able to create or continue an engagement and fight for sniper. Eyes on the exit while fighting, allowing for chases. The closer one is meant to be the more obvious and dangerous route in, but the one with the least visibility in and out. I may move it closer to the cave room entrance. The Green one is similar in that both are meant to allow players to see each other and choose how to engage. Sniper is meant to be easy in, but limited options out - either you go low, or you go along the ridge. Or you can stay and are in the flattest, most nadeable place on the map. It’s not a really dominating place to snipe from either. I’ve also just never seen a map with teles that end up at the same spot. Adds some spice. So far that’s how it’s played in testing, so I’m pretty pleased. Edit: I’ve been told that the tele exits/sniper is a bit too easy to hold at higher levels. I’m considering various changes to address this, including raising the height of the central donut and adding a second path out of it, towards the weapon pod. I’m also considering my options re. Terminal room aesthetics and geometry, and Tele Room size/depth.