gav reacted to Radu for an article, 2017: Mapcore's Year in Review
(New logo by Yanzl)
I'm sure that by now most of us have our sleeves rolled up and are ready to tackle yet another year, but before we move forward let's take a moment to look back at what 2017 meant for our community. It was a time of immense growth for both professionals and amateurs alike. A time when everyone seemed to have surpassed their former selves. And without slowing down, some have even managed to land their first job in the industry. I don't know what this new year holds, what challenges to overcome will arise, but I know for certain that I'm excited to see everyone become even greater!
2017: Mapcore's Year in Review
Overwatch - Oasis
by Phillip K, Bram Eulaers, Helder Pinto and others
Dishonored 2: Death of the Outsider - Curator level
by electrosheep, kikette and others
Payday 2 - Brooklyn Bank level
by General Vivi
Sniper Elite 4 - Regilino Viaduct
by Beck Shaw and others
Counter-Strike: Global Offensive - Offtime
Team Fortress 2 - Shoreleave
Art pass, props and sound by Freyja
Wolfenstein II: The New Colossus - Farmhouse
Modeled, textured and composed by BJA
Half-Life 2: Downfall
Counter-Strike: Global Offensive - Studio
by ZelZStorm, TanookiSuit3 and Hollandje
Portal 2 - Refraction
Counter Strike: Global Offensive - Breach
by Yanzl and Puddy
Counter-Strike: Global Offensive - Berth
Counter-Strike: Global Offensive - Kaizen
by Andre Valera and Jakuza
Counter-Strike: Global Offensive - Asylum
Half-Life 2: Episode 2 - FusionVille: The Shadow over Ravensmouth
Unreal Engine 4 scene
by Dario Pinto
Counter-Strike: Global Offensive - Grind
by The Horse Strangler, `RZL and MaanMan
Counter-Strike: Global Offensive - Aurelia remake
Counter-Strike: Global Offensive - Tangerine
by Harry Poster
Counter-Strike: Global Offensive - Abbey
by Lizard and TheWhaleMan
Counter-Strike: Global Offensive - Apollo
by Vaya, CrTech, Vorontsov, JSadones
Counter-Strike: Global Offensive - Sirius
by El Exodus
Unreal Engine 4 scene
Counter-Strike: Global Offensive - Subzero
Counter-Strike: Global Offensive - Biome
gav reacted to Puddy for an article, Dynamic levels - in Payday 2 and beyond
Payday 2 is a cooperative first person shooter where players band together to commit various crimes in the endless pursuit of wealth, infamy and cool masks to cover their criminal faces with. The game recently celebrated it’s third birthday, yet it still retains a steady player base. How then has the game kept players engaged throughout the years? The many and regular content updates are surely a big part of it. Another draw must be the fleshed out progression systems that offer tons of customization. I would argue that the lifeblood of the game is its dynamic level design; it is what keeps the game replayable and fun. In this article I will discuss what dynamic level design is and how it was used to build “Hoxton Breakout”, one of the game’s most popular missions.
Payday 2, Left 4 Dead 2 and even XCOM2 all use some form of dynamic level design.
What is dynamic level design?
Dynamic level design is all about creating levels that are as replayable as possible; it is about retaining the challenge and keeping players on their toes. This is achieved by introducing elements that change between playthroughs, things that make the level a bit different each time you play. Dynamic levels are still designed and built by hand, so to speak, which makes them different from procedural levels which are created from automated algorithms.
Dynamic levels are useful in games where the developer wants the levels to provide more gameplay than a single playthrough would. This approach has the added benefit of allowing different players to come together and enjoy the same level, irrespective of whether they have played it many times before or not at all. This can make dynamic level design ideal for co-op games and it can be essential for retaining players over longer periods of time, just like Payday 2 has done.
Building a dynamic level
The process of building a dynamic level certainly differs from more traditional single player level design. Instead of crafting a linear experience in meticulous detail, a designer must seek to create a broader structure of what will happen in the level and then design dynamic elements, things that change between playthroughs, within that structure. These dynamic elements need to be designed with care, so that the level actually changes in meaningful ways between playthroughs. The process of making a dynamic level will vary from game to game; it all depends on the game's mechanics, setting and other details. By sharing the design of a Payday 2 level I hope to illustrate what a dynamic level can look like and also showcase the overall possibilities of dynamic level design.
Hoxton in all his glory, featured here in this promotional art. Shortly after his breakout, he leads a daring break-in at the FBI to uncover who ratted him out.
In the Payday 2 mission “Hoxton Breakout” players are tasked with breaking their old heisting comrade Hoxton out of custody. During the breakout Hoxton shares his suspicion that his capture was caused by an unknown snitch. To uncover the truth, the PAYDAY gang set their sights on the headquarters of the Federal Bureau of Intervention (not to be confused with any real life organization...). This sets the stage for the mission’s second level and the one I will be discussing here.
In this level, the players will enter the FBI headquarters together with Hoxton (an NPC). They will fight their way to the “Operations Room”; the place where the FBI servers are kept and where the Payday gang is hoping to find the information which reveals the identity of the snitch. Hoxton will search through the servers and when he has found what they need, the gang will escape. No matter how many times you play the level, the overall structure will stay the same. Instead, it’s the dynamic elements within this structure that change and make it replayable. What are those, you ask? Let’s take a look!
Clockwise from top right: The FBI HQ lobby, a central area in the level. The FBI director hides behind his desk. Hoxton and the Payday gang enter the lobby.
The Operations Room
Players will spend a lot of time in the FBI Operations Room. Hoxton will be hard at work searching through the servers, leaving players to defend him from relentless police assaults. The combat space will change in a number of ways between playthroughs.
Entrances - Most of the entrances to the Operations room are selected dynamically in various combinations, which changes which choke points the player must defend.
Windows - The ‘Operations’ room is two floors in height and the second-floor windows overlooking the room are placed in different positions. Players must watch them for enemy fire.
Fuse box - The fuse box, which enemies use to cut the power to the servers and pause your progress, can be placed in a few different positions. Players must defend it.
Ceiling breaches - SWAT troops can breach the ceiling of the ‘Operations’ room and rappel down right into the thick of it! There are a few places where this can happen (it doesn't always).
These dynamic elements will vary and change independently. This can be very desirable, as it will give you a large set of different combinations and improve the replayability of the level. For example, even if the fuse box is in the same location in two separate playthroughs, the positioning of the entrances and windows will change how the players approach the situation, which will help reduce level fatigue.
The Operations Room. The Servers are kept in the room under the illuminated FBI logo.
There are four servers Hoxton must search through in the Operations Room. Between the searching of each server, Hoxton will need the player's assistance and send them on a “quest”. There are five different quests, though only three are selected and used in each playthrough. They can be selected in any order and combination. Each quest and its gameplay have been designed to have a slightly different flavor.
Security Office - The next server happens to be heavily encrypted. You need to break into the Security Office, download the encryption keys and get them back to Hoxton.
IT Department - The next server is missing and the log states it was taken to the IT Department for maintenance. You must locate the IT Department, find the missing server and bring it back to Hoxton.
Archives - Hoxton finds a reference to some physical files kept in the archives. You need to go down to the basement, search through the archives and bring the paper files to Hoxton.
Forensics - Hoxton learns that the FBI has evidence related to the traitor. Players need to break into the evidence locker, find the right piece of evidence and then scan it in the nearby laboratory for clues before returning to Hoxton.
Director’s Office - Hoxton encounters some files on the next server that can only be accessed by gaining direct approval from the FBI Director. You must head to the director’s office and use his computer to approve all of Hoxton’s security clearance requests.
What this means is that players won’t know exactly which “quests” they will tackle each time they play the mission, or in which order they will face them. As the difficulty slowly ramps up during the mission and the players’ supplies generally are lower towards the end, completing the same quest as either your first or last one can become quite a different experience, even though the quest itself doesn’t change that much. Allowing the quests to be arranged in any order and combination simply gives the mission a slightly different flow each time.
The five quests, clockwise from top right: IT Department, Security Office, Archives, Forensics. Center: Director's Office
The Combat Now, it’s about time we talked about the combat. It is essential for the replayability of a level that the combat isn’t static and that encounters vary between playthroughs. To solve this, Payday 2 has a spawning system that serves up dynamic enemy encounters. The system unburdens individual level designers and creates a consistent and tweakable way for the game to spawn enemies in all levels. For those of you who have played the Left 4 Dead games this may sound very familiar. The system isn’t completely automated and the level designer can control a few variables.
Difficulty - The player selects the overall difficulty of a level before starting, but a designer can tweak the difficulty to a factor between 0 and 1. This can be adjusted at any point during the mission and can be tied to certain events.
Spawn locations - A designer designates spawn locations manually. The designer can toggle spawn locations on and off, change how often they can be used to spawn enemies and which kind of enemies are allowed to spawn from them.
Enemy Wave Mode - Police assaults occur regularly and this is generally handled by the system, but a designer can force a police assault or a complete break from them.
Snipers/Harassers - The placement of snipers and so called harassers, regular SWAT troops who harass players from vantage points, is done manually. It is up to the designer to place them in challenging, but fair, positions and script logic which decides when and if they appear.
What this all means is that while the spawning system does the heavy lifting and creates varied combat encounters, a designer can fine-tune the experience and still direct the combat somewhat. For example, in Hoxton Breakout the difficulty is slowly ramped up after each completed server, the spawn locations are continuously tweaked throughout the mission to make fights fair and when it is time to escape an endless police assault is forcefully triggered to increase the stakes!
A dynamically spawned enemy squad moves towards the Payday gang.
The keycard economy
In Payday 2, keycards are single-use items that are occasionally used to open certain doors. In order to add depth and strategy to the level, I added something to this level which I like to call “the keycard economy”. In every playthrough, players can find 3-4 keycards which can be used, i.e. “spent”, on a variety of options like overriding doors to seal them off from enemies, unlocking rooms that contain precious resources or opening doors that lead to objectives. The value of the different options can change between playthroughs, depending on dynamic variables and which loadouts the players have. Since players can’t have all the options, they must choose wisely. This allows players to refine their strategy over the course of multiple playthroughs, adding to the level’s replayability.
The little things We’ve discussed all the major dynamic elements of the level at this point, but it is worth mentioning that replayability also arises from smaller dynamic elements too. These smaller surprises can throw players off and force them to adapt accordingly. A good example can be found in the Security Office, where the police sometimes pumps in tear gas when players are trying to complete the objective inside. This forces players to leave the relative safety of the room and charge head first into the police forces which are surely waiting outside. Part of making a dynamic level should be to identify and implement these little game changers!
Clockwise from top right: The Security Room fills with gas. A keycard has been used to seal a security door. An innocent keycard. A SWAT team rushing to thwart the payday gang.
To summarize, the level we’ve looked at is about defending a location and completing short “quests”, with both activities changing in different ways between playthroughs. In addition to this variety, enemies are dynamically spawned, occasional surprises appear and players are able to learn and master the keycard economy over the course of multiple playthroughs. These dynamic elements, this variety between playthroughs, is what turns the level into a dynamic one.
This level was made for Payday 2 and, as mentioned, dynamic levels will look a bit different depending on the game and its needs. The Left 4 Dead games have less emphasis on objectives and focus more on linear progression through a level, with dynamic enemies, items and minor path changes along the way. The Killing Floor games have arena levels that suit the game’s wave-based horde mode and these levels feature fairly simple dynamic elements: enemy and item spawning as well as the location of the weapon and item shop. The revived XCOM franchise uses levels which have designated areas or “slots” where different buildings and structures can fit in and shift the layout accordingly. The XCOM games also allow different missions to be played on the same level, enabling levels to provide even more gameplay mileage.
The dynamic level design approach may fit these games, and others like them, but it is not suitable for all kinds of games and it definitely comes at a price. Since dynamic levels are designed to be replayable, heavily scripted story moments and set pieces may have to be deemphasized or removed outright. Playing through such sections may be thrilling once or twice, but they generally lose their appeal very quickly. Furthermore, some degree of polish is generally lost in the process of making dynamic levels. The fact that you are making an experience that can’t just happen “in one way” means you can’t necessarily polish, and control, every moment of gameplay to an insane standard, like you would expect in an Uncharted game for example. Additionally, an incredibly strong core gameplay loop is almost a requirement for a game with dynamic level design. Since the levels can’t be overly scripted, directed and set-piece heavy, the levels can’t compensate and “lift up” a slightly weaker core gameplay. Finally, one must also consider that creating dynamic elements in a level takes time, time which could be spent polishing or making more non-dynamic levels.
These drawbacks must be weighed against the potential benefits. After all, the value of replayability should not be underestimated. As I mentioned in the beginning of the article, dynamic levels seem to be almost ideal for co-op games. Playing games together definitely adds something to the experience and this can help to compensate for some of the potential drawbacks like the lack of set-pieces. Adversarial multiplayer games, i.e. player vs player, don’t necessarily stand much to gain with the dynamic level design approach as the element of human unpredictability and challenge is usually enough to keep players engaged and entertained. By looking at XCOM, we can see that dynamic levels can be used to great effect in a game that isn't a shooter nor a cooperative one. And if we compare them to procedural levels, dynamic levels requires less sophisticated technology to create, but more human labor, and can offer something that feels a bit more handcrafted and unique. Ultimately, game makers need to look at the dynamic level design approach, its pros and cons, and ask themselves: is it the right approach for us?
gav reacted to will2k for an article, Displacement Vs. Func_detail - A comparative fps study
What is the question?
Ever since the dawn of humanity, this question was the center of a colossal debate. Greek and Roman philosophers tried to solve it to no avail. Alchemists in the Middle Ages gave it a go and failed miserably. Even Industrial Age scientists touched on the subject with no big breakthrough.
Luckily for everyone, I am here today to answer this question and put an end to a centuries-long argument: What is better in terms of fps, func_detail or displacement, in the context of the Source engine? If you were expecting an existential question, I am deeply sorry to disappoint you but hey, life is full of disappointment.
This is going to be a short but sweet article; fewer words, more numbers and screenshots. The study is pretty straightforward and systematic. To make things fair and square, I will create 2 exactly identical test maps: In one, everything will be turned to func_detail while the other will have everything switched to displacements. I will then proceed to record the localized fps in these maps from a preset location and compare. Pretty simple, isn’t it? Well, it should be as the whole purpose of this study is to compare func_detail vs. displacement in absolute terms while keeping all other parameters constant.
The first map to test is the one made of displacements. Here is the screenshot showcasing the fps.
The map itself is very simple consisting of 7 identical houses placed at predetermined locations and surrounded by 4 walls. The houses are detailed enough to put some slight pressure on the rendering engine. For the skeptics among you, here is a wireframe in-game shot to show that everything is made of displacements.
To refresh your memories, in Source engine wireframe mode, green is displacements, pink is brushes (world, func_detail, brush entity, etc…), blue is props, and yellow is decals/overlays. The recorded fps in this map is 289. We now move to the second map, the func_detail version to check how the frame rate is faring. Here is the awaited screenshot.
Surprise, surprise. The fps is 330, much higher than the displacement version. Here’s the wireframe shot to put your mind at ease.
Honestly, I was thinking the figures would be more on par as the engine handles both details and displacements pretty well, but in the end, Source is about BSP so I guess brushes would get a slightly preferential treatment over polygon meshes (conspiracy theory ensues).
The question that forces itself now is: Should we rely solely on func_detail in our maps? Of course not. Both func_detail and displacement have their advantages and inconveniences and leaning exclusively on one will inevitably lead you to a dead end. The best thing to do is get the best of both worlds by using them together.
In our little test map, how about we mix things up in a third version: let us make the house walls out of displacements while having the doors, windows, frames, and roofs made of func_detail. Incoming screenshot, brace yourselves.
Much better, isn’t it? We have now 311 fps, a very nice middle ground between the 330 fps of func_detail and the not-so-bad 289 fps of displacements. The mandatory wireframe shot follows.
So, what can we learn from all this? Well, apart from the obvious places where displacements are mandatory for the organic mesh sculpting (rock formations, cliffs, bumpy/twisted roads…), it is a good idea to spread some more displacements around your map to alleviate the total brush-count that you will inevitably hit the maximum in a highly detailed map. Your fps will remain high and you will enjoy the margin to keep adding structures to your map without fear of reaching the maximum allowed total brushes (substituting brushes with models/props is another viable solution that is not in the scope of this article).
I’m a man of science and I know that one example is not enough to draw conclusions. That’s fine, I have a second test map to investigate what we established before. The concept of having 2 identical maps is still the same, however, this time, we will spice things up by adding some static/physics props and some decals here and there. We will start with the displacement version.
230 fps, not too shabby. Let’s check another angle.
220 fps, more or less, on the same level as the previous number. Now for the wireframe shot.
The tree cards in the background are func_brush in both maps (the detail and displacement versions), so it’s a level playing field in this case.
Now for the moment of truth you all have been waiting for: will the detail version have better fps to support my earlier findings or will I be publicly embarrassing myself? A screenshot to the rescue.
I knew I was right, never breaking a sweat (apart from the nervous cold sweat I just wiped off my forehead). 255 fps for the first location A. Let’s check the other angle or location B.
250 fps. Bam, sweet victory…sorry I got carried away a bit. Ahem…Let’s get back to being scientific, shall we. Here’s the wireframe proof.
Let’s recap all the action and numbers in a nicely formatted table.
You can notice the fps gap between the func_detail and displacement versions in both test maps whereas the “mixed” version considerably narrowed this gap. The numbers have spoken.
The bottom line
The bottom line is, if you rely only on func_detail, you will hit the maximum brush-count allowed in Source and severely limit your map and creativity. You might also run into T-junction issues as well as parts of your geometry flickering and disappearing from certain angles in densely func_detail’ed areas.
On the other side, if you stick to displacements alone, then you will have lower fps than a func_detail map version. You might also run into visible seams and un-sewn displacement issues.
Having a clever distribution of both func_detail and displacement in your map is the way to go. You will have high fps, better lighting around the edges, and organic sculpting while not getting anywhere near the total brush limit; the best of both worlds.
gav reacted to FMPONE for an article, Making a Map: CS_Museum
The creation of a map begins with an idea.
In the case of my most recent project, CS_MUSEUM, I needed a basic look which would resonate with players immediately. The thought of making a Museum worked… it was a simple one, it had been done before (although this wouldn't be a re-make of the classic DE_MUSEUM by Theropod-X). Players would understand a Museum environment, and it fit in the Counter-Strike world.
Forming a map’s final look is complicated, though, and requires thought about what kind of architecture, colors, and lighting you – an artist or level designer – will pursue.
I’d been playing a lot of the classic map CS_OFFICE, which requires players to storm into close quarters for indoor combat. That kind of game-play is fast and unforgiving, I dig the kind of matches it creates. CS_ASSAULT, I shouldn't forget to mention, is another great map that defines the "siege a building and rescue the hostages" genre. Actually, most of my favorite CS_ maps including Militia also foster similarly dynamic games that challenge you to be sneaky but also use brute force to accomplish your objectives.
So, I set out to make a hostage rescue map like Office and its kin. Studying prior maps is a good way to establish what works well, and avoid what doesn't.
One other map that influenced my thinking: CS_CABARET by Alex Roycewicz.
Cabaret is a great map — it got Alex a job at Infinity Ward long prior to that illustrious studio being kicked in the nuts super hard by mega-publisher-that-will-remain-unnamed.
It was from Cabaret that I basically ripped off the front of Museum... with a few changes.
In truth, though, I had some bones to pick with Cabaret.
Unforgivably, there was no sense of vertical space on the outside of the strip club. Also, while the building exterior is convincingly rendered, the overall space is too geometric: everything seems to face the viewer on an imaginary grid, which is no coincidence, that’s how the Hammer editor encourages people to make maps.
Cabaret on the grid:
Museum screws the grid:
If this analysis is starting to sound harsh, it’s worth noting that Cabaret was one of the best custom maps of its time, so this is more of a modern critique of older game art.
As is often the case with older game art, most of the limitations or flaws obvious to modern eyes were not the creator’s fault: Hammer around the era of Counter-Strike: Source (for which Cabaret was made) did not have all the technology I made use of for Museum. One example is “instances” (the pale green elements in the overview above) which are brushwork more akin to models than typical brushwork, because they can be rotated “off the grid” and not cause compilation problems normally associated with brushwork which is off the grid. Thanks to instances, I was able to rotate buildings to achieve a more natural, organic look — such as this bridge:
In order to actually create the specific buildings in the map, concept art and photographic references were key.
Here's an explanation of the Museum front.
The most pertinent point to make here is the difficulty of knowing when a photographic reference is valuable, and what makes it valuable. To explain this in extreme detail might be delving into an area of “talent”... or it might be worth the subsequent explanation I’ll now provide. In any case, this should explain my process.
The best photographic references share one crucial element: readability. Complex buildings such as the one above, if they are to be useful for our purposes, must be able to be broken down into clean, clear shapes. I was confident using the logic explored in the line-work above (I did this part in my head), that the building could be broken down and translated successfully.
The building begins to take shape, with the red lines becoming props. When using Hammer, what becomes a prop and what remains brushwork largely comes down to the default assets you have to work with.
Talented 3D modelers have their choice of creating new content, but their time is precious and each art asset is an investment, so even then it’s best to think about default materials and their role in your work.
This lovely picture inspired the placement of the obelisks, and secondarily the pond on the right of the Museum.
Using concept art and photos in conjunction with my imagination, I had derived a basic visual identity for the map:
Obvious reference: the Brooklyn bridge; non-obvious reference, this lovely piece from Deviant Art:
Making a map is about looking at the world around you and seeing something inspiring enough to create a desire within you to render it and mold it for your own purposes.
By this point in time you may be shouting IT’S A MAP – TALK ABOUT THE GAME-PLAY, TALK ABOUT THE GREY-BOXING YOU FOOL! …and, while the playability of Museum ended up better than I could have imagined, there is no glory in my process for that particular aspect of the map. Uh oh, he’s gonna say he didn’t grey-box it, isn’t he…
First, the excuses: previously, I'd recreated the Natural Selection 1 map NS_VEIL for NS2, based solely upon my own literal eyeballing of the geometry, without any scale-guide, in a different editor and a different unit system. To put all that gibberish into other words, I’d done nothing for two months other than study the rigid grey-boxery of another mapper, then spent another 10 months making that geometry fit into the context of a new game and engine. I’d worked with fastidiously organized layers, done everything by the book, guv, I swear.
While important for a commercial product, that experience had temporarily tired me somewhat of the (smarter) formalistic approach. As a result, no substantial grey-boxing would take place for Museum. Manic energy took the place of “rules” and “common sense”:
Basically, I was creating stuff I thought looked cool, not getting terribly fussed about what direction it would all head. This is the way newbie mappers work, or idiots, or both… but it can be done if you’re smart about it.
Certain things can’t be bullshitted around, though: your map must be in proper proportion to the players, and it must maintain sensible sight-lines considering the game type. You need to know the game you’re making the map for, and know it well.
So working free-form has its advantages, creating a whimsical sense of liberation in the budding mapper. It comes at big costs to him, though, in other aspects. This open doorway, and the entire route it signified, never made it into the final product. People have noticed its conspicuous absence, however, to the point that it may make it's return soon enough.
Working toward a result, with certain restraints in mind, but willing to cut: my method for Museum.
Mistakes were made. Certain areas violated basic good-practice principles, such as this one:
I call this piece of modern art “Abstract Red Light Number 48.” So… this elevator shaft was painful for a few reasons: too noisy inside, not clear enough about what it was meant to be, and the idea of it having a purpose seemed impossible given the amount of crap stuffed into the scene.
I believe I settled on a better, cleaner result:
Which was based off of this reference:
This shipping area was another idea that got cut (considering that it was over-dark, this was not too sad):
Everything else seemed to go swimmingly, however:
My biggest advantage when working with these references is my ability — and perhaps your ability as well — to discern from them what elements are most relevant and work best geometrically. These judgements influence what makes it into the map. While you may be able to follow a similar protocol by examining the pictures, you would be doing so in hindsight; it was quite necessary during this project for me to be able to sift through literally thousands of images in order to find those which, at first glance, provided the requisite inspiration.
References must be clean, they must convey a certain tone, and the architecture they illustrate must be plausible among the rest of the map geometry. This process of looking through seemingly endless references is a task which must be begun anew with every new map.
Back on topic: a month or two after starting out on the map, I recruited a talented 2D artist named penE who had a style congruent with mine. With his help, rooms like this began to form their own identity:
The map began to develop a sense of humor. We based the name of the museum on HURG — Hero of MapCore! (Don't ask.)
PenE brought his full enthusiasm to the project, getting almost all of his work done in a month or so, a rapid pace which would be a major motivator for me while I was working with (read: waging war against) the Hammer editor.
Here is a sample of penE's work for the map:
Nevertheless, the map did seem to require more art…
I had envisioned a T-Rex in the above room, and had designed the room around that eventuality. I was concerned that such a 3D model might not fit well (it’s a relatively cramped room), or might not be appropriate looking, but I put out a call for a talented 3D artist.
3Dnj answered that call with a stunning T-Rex model based on square-shaped geometric restraints. I basically stacked a bunch of cubes on top of one another and said, “OK now make me a T-Rex that fits inside the squares.” Seems hopeless, right? Thankfully, Valentin, as 3Dnj is known, e-mailed me this bad boy:
Owns right? Imagine waking up and seeing that first image of the T-Rex with that brilliant sheen, I was ecstatic.
At that point I realized I’d found a true collaborator and not just a “prop guy”. Valentin would go on to help me optimize the map, and reform a lot of my map geometry into more sensible models. Here’s how crazy things had gotten:
Hammer is unlike a modeling program in that it is “brush-based”, and things that are not literally six-sided cubes give the editor trouble. Trying to create an interesting shape out of a single brush? Take a hike.
So it’s obvious why a more extensive collaboration was needed: it was never going to be realistic to proceed in such a manner and expect an optimized result which would (ugh) compile. Hence, the logic of making a map which looks the way Cabaret does, unfortunately all the same limitations applied more or less in 2012, with just a few exceptions like instances.
So there were technical challenges, but four months on, most of the major lessons of the map were learned and my vision for the map was realized almost exactly as it existed in my brain.
My workflow can be best summarized as: find a fitting photographic reference, get a basic interpretation of the geometry into the game, and then polish with aesthetics and navigation in mind (lead players with lights and colors).
Rather than attempt to convince you I pursued the traditional level-design approach of iterating a grey-box, I hope this document serves to explain the approach I actually took: a risky and improvisational one that I know I’m lucky was successful. It’s good to state how lucky: a layout that emerged without argument, finding two brilliant collaborators with a lot of faith in the project, etc. Hopefully anyone looking to duplicate my exact method will be given pause, but at the end of the day there will always be logic in working hard and having a well-formed mental image of your goal.
As for Museum, I can promise you one thing: if you load up the map, and I hope you will, I think you will enjoy it. (If only for the giant, motherfucking Tyrannosaurus Rex.)
Thanks for reading.
gav reacted to FMPONE for an article, Congratulations to our finalists and Grand Prize Winner, DE_EMPIRE!
(Art by Thurnip)
It’s finally time to declare a grand prize winner in our exciting Counter-Strike: Global Offensive mapping contest. You’ve playtested the maps on Reddit, you've waited months for the results... let's get down to business!!
GRAND PRIZE WINNER:
By Andre Valera
Sometimes it boils down to consistency: broad strength across several categories. No map in our contest better exemplifies this notion of consistent quality than Empire.
Empire features a stacked bomb-site layout similar to popular official maps like Nuke and Overpass. While this relatively unorthodox design presents level designers with additional challenges, Empire ably sticks its landing. Furthermore, the ambition of Empire’s design is tempered well by its no-nonsense visual presentation. We’re left with a digestible, fun, and very playable level.
Congratulations, Andre Valera!
Featured in a goRGNtv showmatch!
Featured in CEVO PUG rotation for one month!
$1000 and Mapcore swag!
CS:GO prize pack courtesy of Valve:
a signed CS:GO poster, lanyard, vinyl sticker
SteelSeries Kana Mouse!
A truly unique map. Some felt it was the strongest entry in the contest given its strong theme, abundant polish, and beautiful visuals; others, however, questioned the map's small scale. This was a tough map to judge.
CS:GO prize pack courtesy of Valve:
a signed CS:GO poster, lanyard, vinyl sticker
An attractively sleek map, there is plenty of room for Royal to blossom into something very special.
CS:GO prize pack courtesy of Valve:
a signed CS:GO poster, lanyard, vinyl sticker
By Ornate Baboon
A map that was under heavy construction for much of our contest, one gets the sense that Coast wasn't quite ready yet. With a little bit more time, who knows?
$100 + Mapcore swag!
CS:GO prize pack courtesy of Valve:
a signed CS:GO poster, lanyard, vinyl sticker
~~~We at Mapcore would like to thank the r/GlobalOffensive moderators for their assistance, our lovely guest judges, Valve, goRGNtv, CEVO, as well as Gamebanana.com and Steam workshop artist EGO DEATH for contributing to our prize pool.
Last but not least... THANK YOU, for making this 'Core event special and fun!
"May Hurg guide you..."