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    (Art by Thurnip) Looking back at 2016, we can only conclude that Mapcore shows no sign of slowing down. We keep growing as a community that shares, gives feedback and learns from one another. Our articles, in which members show their expertise about a wide range of topics in game development, continue to be a valuable source of information. Our growth translates into a even larger amount of game industry professionals among us. It's a testament to the talent we have here and the main reason why high profile companies are willing to collaborate with us on contests and challenges. Before we turn our eyes towards the future, let's celebrate what we've achieved in 2016. 2016: Mapcore's Year in Review Doom - Boneyard Modeled, textured and composed by BJA Overwatch - Lijiang Tower Made by Minos and others Unreal Tournament - Unsaved by Heresiarch Day of Infamy - Mercury by The0rthopaedicsurgeon Unreal Tournament - Croft by Scinbed Day of Infamy - Brest by Lizard, Terri and Vaya Counter-strike: Global Offensive - Havana by Lajron and Tomm Counter-strike: Global Offensive - Republic by Bevielis Counter-strike: Global Offensive - Thrill by Bubkez, Squad and Yanzl Unreal Tournament - Dome by Rusk Counter-strike: Global Offensive - Junction by Hordeu, Holiestcows and MrTwoVideoCards Team Fortress 2 - Train scene by Corvus Unreal Engine 4 - Manor scene by CWardee Counter-strike: Global Offensive - Concert by 'RZL and Skybex Black Mesa - Forlorn by Will2k Popular Articles Contests Hurg Smiles Upon You All! made by DrywallDreams
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    In the works for three and a half years, with the help of Rabbid Monkey (Spencer Rose), looking to release this passion project of mine very soon ™ ! Hidden deep within the jungle, a once-abandoned military base originally intent on destroying the world has been resurrected... Check out these snapshots into the new world of VENOM. Still WIP/Aplha & looking for feedback. Thanks to my brother for helping me make a badge/logo for the map
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    I made a small scene that's an oil refinery in the background
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    Hey hoy hello bonjour, This topic could be placed in Work Release because my work on this is over but the map isn't ready yet, so i'm going to put this here This is a project i've been working during the end of 2016 and this month, it was originally a request from a french dude named Nonix : The goal was to retake a map made by a russian map maker named "❤Аня-Хуяня❤", she created something on CS:GO based on the universe of Stalker games : http://steamcommunity.com/sharedfiles/filedetails/?id=630942745 I had to take the map, change the mood from it to something darker, scarier and add some playable areas. So, for the sake of an easy optimization ( ), I firstly decided to add a fog and reworked the mood of it. In the original map, there are ... A corn field A train station Buildings... Warehouses and stuff... The map is pretty big : And this is what i made on it : So, the most important part of my work was to add 3 bases. The map will be used in a custom gamemode which will be a sort of mix between zombies gamemodes and roleplay. All the players will be playing as humans, divided in 3 different groups. Bots are the zombies. So, even if the other players will be humans, you won't necessarily be friends, it's a hostile universe. The bases are shelters in which you will be able to share ammunitions, share food, sleep, prepare attacks ... The 3 bases are almost the same : There is an outside area with a tower and fences : Inside , it's quite comfy : And, for the rest of the map, it's quite comfy too : If you want to give it a try, i uploaded the current version on my ftp : http://www.citrowagon.fr/leplubodeslapin/maps/csgo/the_last_hope_v15.zip There's a nav file but you should kick the bots, i played a bit with the nav file (to avoid them being able to get inside the bases) and they're extremely stupid. If you want to get inside the bases, you can open the fences with those commands : ent_fire barriere_base_1 open ent_fire barriere_base_2 open ent_fire barriere_base_3 open (sv_cheats 1 needed) So this is not a typical CS:GO map, it was more of a fun project for me to work on post-apocalyptic stuff
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    Messing around with the idea of a cs_office, might be cool?
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    As we are getting closer and closer to the playtest here are some new fresh screens. This is a set up area for T's leading to B bombsite. Best Regards !
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    The following article contains quotes from interviews with Todd Papy, Design Director at Cloud Imperium Games, Geoffrey Smith, Lead Game Designer at Respawn Entertainment, Paul Haynes, Lead Level Designer at Deep Silver Dambuster Studios and Sten Huebler, Senior Level Designer at The Coalition. A big heartfelt 'thank you' goes out to these guys who took the time out of their busy schedules to answer my questions! On the MapCore.org forums many amateur level designers ask for feedback on their portfolios or for advice on how to break into the games industry. But once you have signed your first contract and you have your foot in the door you will realize that this step marks merely the beginning of your journey. It is a winding path with many diverging branches and without much information available on the road ahead. This is the reason why I decided to interview professional designers in Senior, Lead or Director positions to share their personal experiences and advice with others trying to navigate this field. It is worth mentioning that the questions were not selected and phrased with the goal in mind to compile a ‘how to get promoted fast’ guide. Instead I wanted to give level designers insights into the careers of others - who have stood at the same crossroads before - in hopes that they get the information to pick the path that is right for them. Hands-On VS Management At the beginning of his career, Todd Papy started out as a “designer/environment artist” – a job title that dates back to times when team sizes were much smaller and one person could wear both hats at the same time. As the project complexity and team size grew, he specialized in level design at SONY Santa Monica and worked on the God of War titles. During his time there he moved up the ranks to Lead Level Designer, Design Director and eventually Game Director. From level design to directing a game - a career thanks to careful long-term planning and preparation? “It wasn’t even on my radar” says Todd. “I just wanted to build a game with the team and soak up as much information from the people around me as possible.” So how do level designers feel who step into positions where the majority of their daily work suddenly consists of managing people and processes? Do they regret not doing enough hands-on-work anymore? Todd says he misses building and crafting something with his hands, but instead of going back to his roots, he decided to look at the issue from a fresh perspective: “As a Lead or Director, your personal daily and weekly satisfaction changes from pride in what you accomplished to pride in what the team has accomplished.“ Today Todd is designing the universe of 'Star Citizen' as Design Director at Cloud Imperium Games. Geoffrey Smith - who created some of the most popular multiplayer maps in the Call of Duty and Titanfall series and who is now Lead of the ‘Multiplayer Geometry’ team at Respawn Entertainment - says his output of levels remains unchanged thus far, but he can “easily see how being so tied up with managing would cut into someone's hands-on work”. Geoffrey calls for companies to provide the necessary training to employees new to management positions: “Managing people and projects is hard work and is normally a vastly different skill set than most of us in games have. Maybe that is why our industry has such problems with meeting deadlines and shipping bug-free games. A lot of guys work for a long time in their respective disciplines and after many years they get moved into a lead position. They certainly know their craft well enough to teach new guys but managing those guys and scheduling would be something brand new to them. Companies need to understand this and get them the training they need to be successful.” At Respawn Entertainment, the studio provides its department leads with training seminars, which helps the staff immensely, according to Geoffrey. Sten Huebler, currently working as a Senior Level Designer at Microsoft-owned The Coalition, in Vancouver, says he definitely missed the hands-on work when he worked in a Lead capacity on 'Crysis' and 'Crysis 2': “I was longing for a more direct creative outlet again. That is why coming to The Coalition and working on Gears of War 4, I really wanted to be hands on again.” To Sten it was the right move because he enjoyed working directly on many of the levels in the game’s campaign and could then experience his fruit of labour with others close to him: "After Gears 4 shipped, playing through the campaign, through my levels with my brother in co-op was a blast and a highlight of my career. He actually still lives in Germany. Being able to reconnect with him, on the other side of globe, playing a game together I worked on...So cool!" 'Gears of War 4' developed by The Coaliation and published by Microsoft Studios Paul Haynes, Lead Level Designer at Deep Silver Dambuster Studios, encourages designers to negotiate the amount of organizational tasks and hands-on work before being promoted into a position that makes you unhappy: “I always told myself that I wouldn’t take a Lead position unless it could be agreed that I retain some hands-on, creative responsibility, after all that’s where I consider my strongest attributes to lie. I agreed to both Lead positions (Cinematic/Level Design) under that principle - I never understood the concept of promoting someone who is good at a certain thing into a position where they potentially don’t get to do that thing anymore, as they spend all their time organising others to do it. So far I’ve managed to maintain that creativity to some degree, though I would imagine it’s never going to be quite the same as it used to be, as I do have a team to manage now. On the flip side though, being able to control and co-ordinate the level design vision for a project and having a team to support in fulfilling that is quite an exciting new experience for me, so not all the organisation and planning is unenjoyable.” Specialization VS Broadening Skillsets For the level designers who aren’t afraid of management-related tasks and who are willing to give up hands-on work for bigger creative control, what would the interviewees recommend: specialize and strengthen abilities as an expert in level design further or broaden one’s skillset (e.g. getting into system design, writing etc.)? Paul believes it doesn’t necessarily have to be one or the other: “I think it’s possible to do both (strengthening abilities and broadening skillsets) simultaneously, it would really depend on the individual involved. I would say that a good approach would be to start with the specialisation in your chosen field and then once you feel more comfortable with your day to day work under that specialisation, take on work that utilises different skillsets and experiment to see if you find anything else you enjoy.” He started out as a pure level designer but subsequently held roles that involved game and cinematic design at Codemasters, Crytek and Dambuster Studios. “I’ll always consider myself a level designer at heart”, says Paul, “though it’s been incredibly beneficial for me to gain an understanding of multiple other disciplines, as not only has it widened my personal skillset but it has enabled me to understand what those disciplines have to consider during their day to day job roles, and it has helped me to strengthen the bond with those departments and my level design department as a result.” This advice is echoed by Todd who encourages level designers to learn about the different disciplines as “that knowledge will help solve issues that arise when creating a level.” 'Homefront: The Revolution' developed by Dambuster Studios and published by Deep Silver Sten also gained experience in related disciplines but ultimately decided to return to his passion and do level design. He explains: “It’s a good question and I feel I have been wondering about this myself regularly in my career. I think those priorities might change depending on your current situation, your age, your family situation, but also depending on the experience you gain in your particular field. (…) In my career, I was fortunate enough to try out different positions. For example, I was a Level Designer on Far Cry (PC), Lead Level Designer on Crysis 1 and Lead Game Designer on Crysis 2. Each position had different requirements and responsibilities. As a Lead Level Designer I was more exposed to the overall campaign planning and narrative for it, while on Crysis 2 I was more involved in the system design. However, my true passion is really on the level design side. I love creating places and spaces, taking the player on a cool adventure in a setting I am crafting. My skills and talents also seem to be best aligned on the level design side. I love the combination of art, design, scripting and storytelling that all come together when making levels for 1st or 3rd person games.” Picking The Right Studio As you can certainly tell by now, all of the interviewees have already made stops at different studios throughout their career. So each one of them has been in the situation of contemplating whether to pass on an offer or put down their signature on the dotted line. This brings up the question what makes them choose one development studio over the other? To Geoffrey it depends on what stage of your career you are in. “If you're trying to just get into the industry for the first time, then cast your net wide and apply to a lot of places. However, ideally, someone should pick a studio that makes the types of games they love to play. Being happy and motivated to work every day is a powerful thing.” This is a sentiment that is shared by all interviewees: the project and team are important aspects, but as they have advanced in their career other external factors have come into play: “It’s not just about me anymore, so the location, the city we are going to live in are equally important.” Sten says. Paul is also cautious of moving across the globe for a new gig. “The type of games that the company produces and the potential quality of them is obviously quite important – as is the team that I’d be working with and their pedigree. More and more over the years though it’s become equally important to me to find that balance between work and life outside of it. Working on games and translating your hobby into a career is awesome, but it’s all for nothing if you can’t live the life you want around it.” And it is not just about enjoying your leisure time with family and friends, but it will also reflect in your work according to Todd: “If my family is happy and enjoys where we live, it makes it a lot easier for me to concentrate on work.” He also makes another important point to consider if you are inclined to join a different studio solely based on the current project they are working on: “The culture of the studio is extremely important. I consider how the team and management work together, the vibe when walking around the studio, and the desk where I will sit. Projects will come and go, but the culture of the studio will be something that you deal with every day.” 'Star Citizen' developed and published by Cloud Imperium Games; screenshot by Petri Levälahti But it goes the other way around, too: When it comes to staffing up a team of level designers, these are the things that Todd looks for in a candidate: “First and foremost, I look for level designers that can take a level through all of the different stages of development: idea generation, 2D layouts, 3D layouts, idea prototyping, scripting, tuning, and final hardening of the level. People that can think quickly about different ideas and their possible positive and negative impacts. They shouldn’t get too married to one idea, but if they feel strongly enough about that specific idea they will fight for it. People that approach problems differently than I do. I want people that think differently to help round out possible weaknesses that the team might have. People who will look for the simplest and clearest solution vs. trying to always add more and more complexity.“ For lead positions, it goes to show yet again how important a designer's professional network is, as Todd for example only considers people that he already knows: “I try to promote designers to leads who are already on the team and have proven themselves. When I am building a new team, I hire people who I have had a personal working relationship before. Hiring people I have never worked with for such positions is simply too risky.” Ups & Downs While the career paths of the designers I interviewed seem pretty straightforward in retrospect, it is important to note that their journeys had their ups and downs as well. For instance Geoffrey recalls a very nerve-wracking time during his career when he decided to leave Infinity Ward: “We had worked so hard to make Call of Duty a household name but every day more and more of our friends were leaving. At a certain point it just wasn't the same company because the bulk of the people had left. The choice to leave or stay was even giving me heart palpitations. (…) After I left Infinity Ward, I started working at Respawn Entertainment and by work I mean - sitting in a big circle of chairs with not a stick of other furniture in the office - trying to figure out what to do as a company.” But he also remembers many joyful memories throughout his career: Little things like opening up the map file of multiplayer classic ‘mp_carentan’ for the first time or strangers on the street expressing their love in a game he had worked on. To him, shipping a game is a very joyful experience by itself and the recently released Titanfall 2 takes a special place for him. “The first Titanfall was a great game but we had so many issues going on behind the scenes it felt like we weren't able to make the best game we were capable of. (…) After all the trials and tribulations of starting a new game company, Titanfall 2 is a game I am very proud to have worked on.” 'Titanfall 2' developed by Respawn Entertainment and published by Electronic Arts As a response to the question of what some of the bigger surprises (good or bad) in his career have been thus far, Paul talks about the unexpected benefits of walking through fire during a project’s development and the lessons he learnt from that: “It surprised me how positively I ended up viewing the outcome of the last project I worked on (Homefront: The Revolution). I’d always thought I would aim to work on big, successful titles only, but I guess you don’t really know what’s going to be a success until it’s released. Obviously it was a disappointing process to be part of, and a lot of hard work and effort went into making it, despite the team always knowing that there were some deep lying flaws in the game that weren’t going to be ironed out. We managed to ride the storm of the Crytek financial issues in 2014, coming out on the other side with a mostly new team in place and yet we carried on regardless and managed to actually ship something at the end of it, which is an achievement in itself. I see the positives in the experience as being the lessons I learnt about what can go wrong in games production which stands me in good stead should I decide to take a more authoritative role somewhere down the line. Sometimes the best way to learn is through failure, and I don’t believe I’d be as well rounded as a developer without having experienced what I did on that project.” Last Words Of Advice At the end I asked the veterans if they had any pieces of advice they would like to share with less experienced designers. To finish this article I will quote these in unabbreviated form below: Geoffrey: “I guess the biggest thing for guys coming from community mapping is figuring out if you want to be an Environment Artist or a Geo-based Designer and if you want to work on Single-Player or Multiplayer. Each has its own skills to learn. I think a lot of guys get into mapping for the visual side of things but some companies have the environment artists handle the bulk of that work. So figuring out if making the level look great is more enjoyable to you or thinking it up and laying it out is, will help determine which career you should follow. Other than that, just work hard and always look to improve!” Todd: “BUILD, BUILD, BUILD. Have people play it, find out what they liked about it and what they didn’t. Build up a thick skin; people will not always like your ideas or levels. Try out new ideas constantly. What you think looks good on paper doesn’t always translate to 3D. Analyse other games, movies, books, art, etc. Discover what makes an idea or piece of art appeal to you and how you can use that in your craft.” Paul: “The games industry is not your regular nine to five job, and everyone is different so it’s difficult to lay down precise markers for success. Different specialisations have different requirements and you can find your choices leading to different routes than your fellow team members. You need to make sure you carve your own path and try everything you can to achieve whatever your personal goals are within the role; success will come naturally as a result of that. You need to be honest with yourself and others, open to criticism and willing to accept change. I’ve seen potential in people over the years hindered by stubbornness, succeeding in the games industry is all about learning and constantly adapting. Also it’s important to keep seeing your work as an extension of a hobby, rather than a job. The moment it starts to feel like a means to an end, you need to change things up to get that passion back.” Sten: “I always feel people should follow their passion. I firmly believe that people will always be the best, the most successful at something they love. Of course, it is a job and it pays your bills, but it’s also going to be something you are going to do for gazillions hours in your life, so better pick something you like doing.” Written by Friedrich Bode for mapcore.org What are your personal experiences? Do you agree with the statements made by the interviewees? Any advice you would like to share with fellow level designers or game developers in general? Let us know in the comments!
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    Spent a few evenings working on my skybox. It's not Monte Grappa, but it's not half bad either. This is not the final color pass though, so that needs some work. I also need to blend it with some textures for added detail. Mesh is currently 9,800 tris with a 2k texture. Should be able to trim it down a few thousand by culling that which can't be seen.
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    been a while since i posted anything here, here are some wips from a sci fi map for tf2, we have played it a lot over at tf2maps.net, a ton of more screens here: http://steamcommunity.com/id/invalidnick/screenshots/ spawn room team connector outside of spawn, vent, middle, control point, subtle hell area, edit, forgot to add the screens...so silly
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    Finally got some more personal work to show off after a bit of a dry spell The Allegorithmic guys invited me to give the new Substance Designer 6 a test drive, so I made a new substance using the new nodes. Mostly the curve node which allows you to precisely control gradients.
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    Im working on my submission for the reddit 1v1 contest - hope ill get it finished
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    am_chicken complete, I get it, it's a wip thread but creating an entire thread about this? http://steamcommunity.com/sharedfiles/filedetails/?id=860768797 Minus a few shadow bugs I'll have to recompile for, it's done
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    Lots of new stuff in my rts project : I have create a little "behind the scene" to share the way i placed all my blueprints trees in the level :
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    Wanted to share some work I did on the skys in day of infamy. I used vue studio to render out all the skys. There is more, I just dont want to spam with a ton of images Also wanted to thank the other level designers and environment artists that made the levels awesome! edit: does this really count as a texture? (I mean they are but maybe I should of posted it somewhere else idk)
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    Thanks for feedback! catfood - with regards to the lighting and colours, for the time being I tried to copy games that have a lot of colour in one area. Example image below. I think if too saturated, things might get a bit crazy! leplubodeslapin - thanks for those images. I played Life Is Strange as well and took images, but was on such low settings, so things looked a bit crap. Will definitely be using them for ideas - got the back of the beach ready to art in last image. I think maybe rocks, trees and foliage instead of whales! The watchtower would also be good to add. Will see what can be done with lighting when the map is more complete. What might look good in one area, might look too saturated in another. Worked more on CT spawn - did a build with trees as well, but they are so dark, I think the only solution to fixing them so they are not almost black is to lighten the texture a lot, and recompile. Turning off shadows etc makes the trees look radioactive.
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    Let me quickly introduce myself and the concept behind Bauer Design Solutions. I'm a AAA game dev since 2007, originated from the mod community and wrote a few articles. Now however I want to change things up and share my experience and learning in video. I strongly believe in a healthy exchange of knowledge and opinions, especially in our field. The first video in the series is about High Level Composition of primarily multiplayer levels. It sums up the beginning of my older article "Ben's small bible of realistic multiplayer level design" plus some additional thoughts and of course in a more entertaining format. Video: High Level Layout Composition - Bauer Design Solutions Please share, like and subscribe. It takes a lot of time to create such videos and any support is highly appreciated.
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    Night Borough - Hostage Rescue by Will2k cs_night_borough, a hostage rescue map, is the night version of my own map cs_east_borough (2012-2013) with updated/upgraded visuals and hostage location. It is based on neighborhoods from The Bronx borough and Harlem neighborhood in New York City. The map incorporates most of the details that make New York so unique for the authentic experience. Funny billboard, building, and bus stop ads are scattered throughout the map. Some are brands that I modified and parodied (Grey Van shades, Lesswiser beer, Redbook footwear,...) while others are my original idea/work that I designed and created from scratch (Crook law firm, LOL insurance, Family jewels,...). Many others will be discovered while roaming the streets. The map supports 64 players (32 vs 32) and features SWAT vs Professionals. A manually-tuned nav file with place names is included for bot play. Enjoy the map. http://steamcommunity.com/sharedfiles/filedetails/?id=852441498
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    Still working on this. Decided to take a second look at the waterfront and clear out all the "terracotta-style" buildings that just cluttered up the view. I think this approach compliments the main building alot more:
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    It has recently come to New World’s attention that map contest entry Kruppstahl used some art assets for which it did not have permission. As such, it has been withdrawn from the contest and will not receive any prizes. The contest rewards will be shifted up one placement for maps Tobruk, Bure, and Brest who placed fifth, fourth, and third respectively. These maps will receive prizes as though they scored one place higher in the top five. Kruppstahl will still remain in second place because the art in question does not affect judgment of the map. After an investigation we determined that the art in question, taken from Half-Life 2 mod Resistance & Liberation, was included accidentally by Kruppstahl’s creator JakHalz. While working on his previous map called Resistance for the Day of Infamy mod, he wanted to use Resistance & Liberation as inspiration. Due to issues launching the R&L level editor, he decided to import the models to his Day of Defeat: Source folder in order to view them. Six months later while creating Kruppstahl, he accidentally used these art assets thinking they were from Day of Defeat: Source even though they were not in the VPK file. We stated that the use of art from Day of Defeat: Source and Counter-Strike: Global Offensive in the contest was permitted, and because he forgot the true origin of the assets, he believed that his submission for the contest was legitimate. The contest permitted the use of third party assets provided that relevant permissions were obtained prior to submission. However, permission to use these R&L assets was not sought because they were used unknowingly. Upon realizing where the assets came from when it was reported by members in our community, JakHalz voluntarily took his map off of the Steam Workshop and reached out to us to say he wanted to withdraw Kruppstahl from the contest. We appreciate his honesty and integrity in doing so. As with any of the five contest winners, the other submissions in the contest, or anything that is to our standard of quality from the Day of Infamy community now or in the future, we are still considering Kruppstahl’s inclusion in the official game. In the event that we do include Kruppstahl, we will ensure any unlicensed content is removed or replaced with original content or content used with explicit permission.
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    This is the last set of screens from this area you will see for a while. I promise! Some parts, like the ground went backwards - I had to change the displacements. Even though three of the buildings are identical (apart from the colour) - I am calling this first pass, and will move onto another area. CT's now spawn on flat ground - previously it was a slope which felt strange. I also got some reference images for a beach tower and a beach hut which I will add for the next pass.
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    update, I'm pretty proud of how clean this oven turned out.
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    I guess it has to be your new profile picture now... Here you go:
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    Hey guys, we just release another pack of Heists. This time we did a collaboration with John Wick 2 in celebration of the new movie. The map I worked on takes place on a yacht and revolves around stealth gameplay. Cool Fact : @Pericolos0 made the original assets and rough layout for the map a long time ago! Even though we reworked most of the level, you can still see his original design. Worktime : 2+ months from start to finish. Steam Page : http://store.steampowered.com/app/591710/ Also, if you want a key, I have a few. send me a PM.
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    Was just messing around with some patterns and curves, ended up with a cool panel type thing.
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    Some more detailing around the CT spawn area:
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    Oh snap its back! I'm now working on this! Well, finishing it. This map is still @Terri's but he doesn't have the time to finish it, so its mine! Here are just a few screenshots from an early art version or detail preview that I've done: # (This is still very early versions, whatever, anyway I just wanted to revive the project after it being dead for a year) Also this was a very early version and I did some sort of weird compile. It was on fast settings, I will be updating this thread, sometimes, maybe. eh whenever.
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    Shoulda work that blorange man. BLORANGE TEAM W/ ME GOGOGOGO and
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    Winners announcement trailer: Congrats to everyone involved!
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    Hey Mapcore! I hear u all thinking "oh dam again starting a new map.." well yeah that's right! Soon I will release de_armory, but first I will have it tested on Reddit for the definitive layout. In the meanwhile I started on a new layout and I came with a drill platform located in the dessert. Bombsite A is a drill platform and bombsite B is a train hangar which transport the products. I hoped to do a more deviant layout which worked on paper but not in hammer really, but still I am kinda proud on what it have been come. It's not tested yet so I guess I probally soon will. Workshop link: http://steamcommunity.com/sharedfiles/filedetails/?id=856122075 Screenshots:
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    Pretty old map from last year ( started like in january or smth) The map was never finished becasue i lost motivation after realising the poop i just did, the map was terrible scaled , didnt have a proper layout , bad lightning and i started detailing before i even finished the layout i had in mind. So to conclusion this map will never be completed or remade
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    The rocks on the left with the pipes are looking just as cute as this kitty
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    fuck i love substance designer... 3 hours just vanished before my eyes
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    Been taking a break from normal stuff to work on something a little more serious. It's an am_map I am hoping to release sometime nest week. Still have a few more props to make, and some small tweaks and house keeping, but the main area is basically done.
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    Hey Mapcore, This is Broadcast being worked on by myself, Hordeau and @Hollandje Workshop: http://steamcommunity.com/sharedfiles/filedetails/?id=810842743 More screenshots: Hope you like it!
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    Tighten up the graphics? On level 3?
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    Base Color | Heightmap | Normalmap | Roughness
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    It seems as though the Dutch have replied It starts at 0:40 seconds.
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    👌 👌 I can die happy now
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    Yet another shitty update has been released on the workshop. Reworked mid a bit, map is like 85% done blah blah no one fucking cares. Go have a look for yourself If you want to.