Pampers

yeah that's why he mostly works in these roles, Constantine is another example

I think @Minos posted a decade ago as it had and still has some pretty cool environments, but love the soundtrack even more
 

I've designed my first CS:GO skin! If you wanna see more renders they're in the ArtStation link. Definitely wanna do this again, just have to take a bit of a break first.
Workshop Link | ArtStation Link

Between 1990 and 1996 i lived in a house together with my family and it was the period of my life that i remember most fondly. 
We got a Super Nintendo while we lived there and after my mother and step-father broke up and we sold the house life kind of went spiraling downwards. By 2004 My grandmother and grandfather died of cancer, my father had commited suicide and my mother started abusing heavy drugs. 
All i ever really wanted was to find the same stability and family-life i had as a kid. 
My kids mother (we were together between 2004 and 2012) destroyed my hope for women but i got two amazing kids out of that relationship. 
I met a woman through internet after years of terrible dates and extremly low self-esteem. I remember thinking when i first saw her that "she is waaay out of my League". Fast forward and this weekend we moved into a house, on the same street i grew up on. I would never have dreamt of this in a million years and i get all teared up watching my daughters playing Sim City on the SNES mini. 
Sorry for the rant but i never thought a game i played as a kid could make me feel this way today. 

this whole thread was a scam to get myself up the pecking order.

It would not be a true Stalker game if the developers were always making sound and considered decisions. They have to overextend and ship something charmingly jank, or it wouldn’t have that magic on release.
This engine swap is just another crucial part of the masterpiece creative process.

I'm closing this thread as it has outlived its initial usefulness and has been reduced to mostly personal attacks and misinformation, neither of which have a place on Mapcore.
If any mods disagree with my decision feel free to open up a discussion in the Staff section of the forum.

Source?

From everything I could gather, vaccinated people with breakthrough cases are likely just as infectious as unvaccinated people.
However symptomatic cases and likely also asymptomatic cases are much less likely among vaccinated. There don't seem to be clear studies comparing the risks of infection from vaccinated vs unvaccinated people, however the data we do have suggests that the vaccinated to pose a lower risk to those around them.
Because breakthrough cases still do occur in the vaccinated and because we cannot rule out infectious but asymptomatic cases entirely it is still recommended for vaccinated people to wear masks and practice good hygiene and social distancing.
So from what I can tell no clear numbers saying that the vaccinated are fully safe but there is a clear trend towards reduced risk through vaccination. Certainly nothing that says that vaccinated people are somehow a greater risk to others.
Speaking from a purely personal perspective, to me it looks like the people getting their vaccines are also the same people that already were quite conscious of the risk to them and to others. They are the type of people that always kept distance, wore their masks properly and still do with some mask mandates lifted.
However there seems to be significant overlap between the people that engage in dangerous behavior during the pandemic and those that are still doubtful of the vaccines and refuse getting it for non medical reasons.
I'm going to go out on a limb here and call bs on your claim. I think the people that refuse protection and show poor decision making regarding the pandemic are likely the larger risk.

Hello! Good luck on the project!

This sounds insane and would be huge news if true. all I can find about it is a comment taken out of context and spun into fearmongering by conservative pundits (of course).
Might be worth reassessing where you get your "news"
 
EDIT: also, please don't derail the thread with conspiracy stuff guys. There's EOT for that 

ZIPLINE
Simple Titanfall / Apex Legends style VScript ziplines for CS:GO

GIF of ziplines in action.
 
Features:
Simple usage, make a move_rope, name it with '_s' as a postfix, make another, name it the same but with '_e' as the postfix, you've got a zipline. Can choose if they work in both directions or only one ('_e' for both ways, '_ee' for one way). Ability to instantiate ziplines on the fly (if you know what you're vscripting, check main.nut). Can be configured (speed, height, func_button distance, jumping off / dropping manually). Ability to Jump off the zipline or Detach (Crouch) like in Titanfall/Apex. Quadratic movement for rope slacking (thanks ficool). Template zipline pole and arm models. Uses existing Danger Zone sounds. Very lite game string table impact. Anti player stuck. Example map  
Usage:
Unzip to the location of your choice (CS:GO folder or Project folder) Insert the zipline_core.vmt instance in your map, set the Entity Name Fix Up to None Create a zipline with two move_rope, one named yourzipline_s, the other yourzipline_e or yourzipline_ee Turn off SmartEdit on the '_s' and add a KeyValue named health with a value corresponding to your curvature Test it in-game You can test new health curve values with this console command until it's right: script zip_setCurve("yourzipline", X) Assign the new health value Make more ziplines Pack your BSP  
How does it works?
The VScript will find every move_rope corresponding to the start of a zipline ('_s' suffix) and will find its exit ('_e'), then will spawn func_buttons along that rope.
It gets the direction of each starting move_rope, their curvature value, etc.. then stores them afterwards.
Once a player press Use on a spawned func_button, that button will retrieve its zipline parameters and make the player move toward their desired direction (forward or backwards) in a loop until they press Jump / Crouch or arrive at their destination.
Players that were on a zipline check if there's a player inside them until there isn't, if there is, they'll be pushed backwards on the zipline to get unstuck.
 
Tips:
Be careful where you put ziplines, players are 32 HU large and 72 HU high, if they're placed too low they'll get stuck inside the floor.. ziplines have a height offset too, then there's the curvature on top of that. You can change the speed and other settings in scripts/vscripts/zool/zipline/config.nut  
Issues:
There's no animations for players on a zipline, they'll just float bellow them. No clue if hitboxes are correct while being teleported but they're likely fine. It's possible to miss the zipline if you're inside the func_button you're trying to press.  
Enjoy!
Zipline.zip

Two months ago I became a dad for the first time. Mom was amazing and I can't be more proud of her and baby is doing really well. Sleep was hard at first but we're finally getting some kind of routine going and I'm getting maybe 4-6 hours of sleep at night which isn't bad and since I'm working from home it's not really an issue, no danger of me falling asleep at the wheel driving into the office!
We've also been in our house for a year now, decorated thoughout and had the garden completely redeveloped so we can spend time in it and our little one with have somewhere to play outside when he's older.
To top it all off I just got promoted to Assistant Lead Level Designer at Rebellion. I would never had imagined I'd get to a leadership role when I joined the industry just under 10 years ago and young me would never have thought I'd even get into the industry!
Fair to say I'm pretty happy with life at the moment... just wish I had a bit more time for some games ?

Dunno if you noticed, but there's heavy use of screen motion blur in this game, for these kind of environments you can afford to stick to object motion blur man.
Also the look of the game goes from blurry to overly contrasty sharp look in less than a second as you play, that doesn't help either and it's head ache inducing. Specially where there's so much strong red and green, one trick I often use to get away from deep red is to just slightly hue it back towards deep orange, your mind still registers as red and it has a much softer and natural read to it.
I've noticed they slowly started to introduce fogged lights into the environments, which helps giving the sense of depth a little bit, but it's not enough imho, they could have fogged it up a tad more, it really helps reading farther away stuff a bit better.
 
\
 
Alien isolated nailed this, environments are really dark but usually soft on the eyes and they never get any pixel get to pure black through good post tweaks.

sponsored by Corsair RGB
like the music though

sponsored by Corsair RGB
like the music though

Well, it's actually quite simple.

Ideally, you want to minimize the filler areas and maximize areas of type alpha and omega. You do this by learning how to think in 3 dimensions and how to generate interesting areas, while working within the constraints of nature and human architecture. Here is the formula for what makes a good area:

Goodness of narrative comes down to story-telling, which is a very expansive topic in and of itself so I will focus on goodness of color and goodness of shape. So we'll use a simplified formula for goodness of area, shown below:

Formula (1) is the lego approach to area engineering, where you deal with large presets, since you're not yet experienced enough to work on area microarchitecture. Now I will show you the wizard approach. You won't read about this in LD text-books.
Let H be the set of architectural components used by humans and let N denote the set of architectural components used by nature (God / evolution). Then we'll use Z to denote the available language of architectural expression. Z is the proper set of the union of H and N. Naturally, you cannot use the entire language of expression at your disposal so let's say the language you're going to use is some subset of Z, which we shall call L.

Now in order to learn how to make a good area, you need a way to calculate the goodness quantifier of formula (5). Without that you won't have the much needed feedback-response cycle and you will not improve. So we need to measure koppaI from an already built level. To do this, you take all elements of L and distribute them in a 3-d vector space, based on their position of use in the level. If you want, you can use two separate vector spaces - one for the color subcomponent of every component, and one for its shape. But beware, the natural distribution of the reasonable color spectrum for most components is pretty tight.
Next thing you do, you color code the scattered points based on the spatial locality of the components in the real world. In other words, components that appear together are assigned similar colors. Then you want to reduce the amount of overall entropy in the color distribution. One way to do this, without sacrificing variety is to have clusters of low entropy (which appear as splatters of uniform color) in distinct areas of your map, while the connecting areas should be kept low entropy (without many micro-clusters) so they can compensate for the contrasting transition between the larger areas.

For reference, in the image above, a high entropy area would look something like (c), while the rest are relatively low entropy.
Some easy ways to reduce color entropy in your level are:
using a very limited color palette using painterly textures using photo textures taken from the same real world location Some easy ways to reduce shape entropy in your level are:
using references not mixing architectural styles from different historical periods use large pieces for cover, remove small pieces that only add clutter reducing signs of human life (it is very difficult to prevent signs of human life from skyrocketing your entropy meter) hierarchical procedure (starting from a silhouette blockout and gradually filling in details) Keep in mind, entropy can also be too low. This can happen if you put too much effort into silhouette and visual harmony and don't use any references. You can end up compensating with bad entropy. Bad entropy is when details you add increase visual disharmony very rapidly. Ideally, you want your learning process to lead you to a place where your entropy is similar to the entropy in areas you find visually appealing in real life or virtual environments, and you also want the level of detail to approach the level of detail in those environments.

In formula (6) I show an example optimization model for a realistic style area. You can use this to derive a model for fantastic or stylized areas. You want entropy and detail to move in parallel with one another. The ideal scenario would look something like this:

Keep in mind that adding narrative elements such as signs of human life and natural decay can increase entropy quite alot. For further reading on sings of human life look into How buildings learn by Stewart Brand.
If you get good at adding detail without massively increasing entropy, you will have more confidence to experiment with unique layouts.
Then there is another formula, called the challenge complexity formula. Player enjoyment from playing a map tends to correlate inversely with frustration. Frustration comes from low correlation between expected challenge and actual challenge.

One way to model challenge is as a scalar, representing net difficulty (7).

Another way you can model challenge, shown above, is as a set of micro-games that the player will have to play during the match, determined by the context of each encounter. The phrase "micro-games played in wingman maps on official servers" can be replaced with micro-games anticipated by the user or micro-games user enjoys to play in counter-strike. For this analysis, I assume that enjoyment is maximal on wingman maps on official servers, presuming those maps are examples of prime level design. This is more true for defuse maps than it is for wingman.
Micro-games constitute things like how you peek certain corners, how you play around with cover and position in certain contexts, how you use your utility, and all sorts of other actions you take to become more unpredictable and to put yourself in a favourable situation. The possible situations you may find yourself in are determined by the architecture of the level.
You don't want to introduce too many unique ideas into your level, because it will reflect badly on the micro-games ratio coefficient.
You can just plug those formulas into hammer and watch the magic happen!

been playing in full rtx glory, really enjoying so far

kind of like The Last Night, only with a release date

kind of like The Last Night, only with a release date

kind of like The Last Night, only with a release date

kind of like The Last Night, only with a release date

YAHATA - ヤハタ 21式小銃
If you're interested in seeing more renders they are available at https://www.artstation.com/artwork/xJeXvE



 

remembering that I literally responded to a bot in this thread

looks like it is doing a pretty good job at that though

Authoring collision for large cliff meshes and rocks is such a pain in the ass, especially for the battlefield games where you can go prone and shit, couldn't be too detailed because performance, and if it were too simple you either intersect with the geo and see through it or hide inside it or you would be floating above it. Remote QA didn't understand any of it and would create an endless amount of jiras. Tried countless automated solution, but they are garbage besides giving you a starting point