jd40 reacted to Radix for an article, Static Prop Combine in CS:GO
Static Prop Combine in Counter-Strike: Global Offensive
A step by step guide
thanks to @untor
What is Static Prop Combine?
Static prop combine, or informally speaking "autocombine", is a new feature in CS:GO's VBSP.
It allows VBSP to merge together multiple static props into a single static prop, either automatically or with user-defined rules.
What is static prop combine good for?
Static prop combine is another feature to optimize your maps. Most people might think that "the less geometry rendered the better". So if you use small props, it's easier to hide what is not visible.
That's not wrong. But there is a problem:
In Source, there is one draw call per model per material. And these draw calls are very performance-hungry.
That's where static prop combine comes into play:
By combining models sharing the same materials, less draw calls are performed, which greatly helps optimization.
Valve has stated that Nuke runs 40% faster after they implemented static prop combine.
How do I use static prop combine?
The static prop combine feature was added in 2016 with the release of the reworked de_nuke. But since then it was not (?) used by community mappers, there are no (?) guides on the Internet except this documentation.
@untor helped me to make static prop combine feature do its job. So we decided that it's time to publish a step by step guide how to use static prop combine.
We presuppose that you are already familiar with the creation of props
0. Backup your CS:GO folder (optional)
We do not take responsibility for any damage done to your files. So it's time to backup your game files now if you have not already. In general we recommend to duplicate your "Counter-Strike Global Offensive" folder, so you can use a separate installation of CS:GO for mapping while keeping the other one clean for playing.
1. Source files
You must have the source files of the models you want to be combined. Usually 3 files for each prop:
*.qc reference mesh (supported formats are *.smd, *.dmx and *.fbx) physics mesh So if you want to combine props made by you, you should already have these files.
If you want to combine props made by Valve, you will need to decompile them first. And then change the names - otherwise, the version of the prop that is packed in the VPK would overwrite your version.
In this guide we will use two different pipe props:
You can download the example files here (contains the *.qc and *.smd files) :
Browse to "...\Steam\steamapps\common\content\csgo\"
Create a folder "models". In our example we have another subfolder "example". Save the model source files there:
These are our QCs:
Restrictions for the *.qc:
Only the first $body is recognized. $model is not recognized. $appendsource and $addconvexsrc are not recognized. You can only use $upaxis Z or Y.
2. Compile your props
Your models have to be compiled from this directory now:
Open your model compile tool (I use Crowbar)
Then browse to "...\Steam\steamapps\common\content\csgo\models\example\" and compile the QCs.
The compiled model files should be in "...\Steam\steamapps\common\Counter-Strike Global Offensive\csgo\models\props\example\" now.
Browse to "...\Steam\steamapps\common\Counter-Strike Global Offensive\csgo\scripts\hammer\spcombinerules\"
There you will find "spcombinerules.txt". In this file the combine rules for Valves props are defined. It is a standard KeyValues-formatted text file. Each entry follows the format below.
Rename it to "spcombinerules_valve.txt" (or whatever you want) and create a new text file "spcombinerules.txt".
Then copy and paste the following into "spcombinerules.txt" and save it.
4. Stub QCs
Stub QCs are QCs which contain a base template for the QCs which static prop combine generates. Generally, they should only include:
$staticprop $surfaceprop $cdmaterials Any $texturegroups used by the models. Browse to "...\Steam\steamapps\common\Counter-Strike Global Offensive\csgo\scripts\hammer\spcombinerules\qc_templates\".
In our example we create a new subfolder "example", open it and then create a text file and rename it to "pipe_combine.qc":
Copy and paste the following into "pipe_combine.qc" and save it:
5. Compile your map
Add some of our example props to your map in Hammer and compile the map.
In our example we use the following compile parameters for VBSP
Compile parameters (full list here) :
-StaticPropCombine: Merges static props together according to the rules defined in scripts/hammer/spcombinerules/spcombinerules.txt. This lowers the number of draw calls, increasing performance. It can also be used to lower the number of static props present in a map.
-StaticPropCombine_AutoCombine: Automatically generate static prop combine rules for props that VBSP deems should be combined. Note: This does not write to spcombinerules.txt.
-StaticPropCombine_ConsiderVis: Instead of using the distance limit, combine all props in the group that share visclusters.
-StaticPropCombine_SuggestRules: Lists models sharing the same material that should be added to spcombinerules.txt.
-StaticPropCombine_MinInstances <int>: Set the minimum number of props in a combine group required to create a combined prop. Tip:Valve had this set to 3 for the new Dust 2.
-StaticPropCombine_PrintCombineRules: Confirm: Prints the combine rules?
-StaticPropCombine_ColorInstances: Instances of combined props get colored.
-KeepSources: Don't delete the autogenerated QCs and unpacked model files after finishing.
-CombineIgnore_FastReflection: Combine props, even if they have differing Render in Fast Reflections settings.
-CombineIgnore_Normals: Combine props, even if they have differing Ignore Normals settings.
-CombineIgnore_NoShadow: Combine props, even if they have differing Disable Shadows settings.
-CombineIgnore_NoVertexLighting: Combine props, even if they have differing Disable Vertex lighting settings.
-CombineIgnore_NoFlashlight: Combine props, even if they have differing Disable flashlight settings.
-CombineIgnore_NoSelfShadowing: Combine props, even if they have differing Disable Self-Shadowing settings.
-CombineIgnore_DisableShadowDepth: Combine props, even if they have differing Disable ShadowDepth settings.
The combined props look exactly like the single props. So how can you be sure that the static prop combine process was successful?
- Once the map is compiled, the combined props will be packed into your *.bsp automatically.
- If you add -keepsources to the compile parameters, you can also find the combined props in "...\Steam\steamapps\common\Counter-Strike Global Offensive\csgo\models\props\autocombine\*name of your map*\"
and their QCs in "...\Steam\steamapps\common\content\csgo\models\props\autocombine\*name of your map*\".
- If you add -StaticPropCombine_ColorInstances to the compile parameters, instances of combined props are colored in CS:GO.
7. Additional notes
- You can manually disable static prop combine for individual props with the "Disable Prop Combine" keyvalue.
- Prop scaling (Uniform Scale Override) is not supported yet (?)
- If the original props don't have a collision model, you will have to set collisions to "Not Solid" in the properties. Otherwise the combined prop will be solid (automatically generated collision mesh; causes problems).
- If the props differ in specific keyvalues, in most cases the default (e.g. Alpha) or the higher value will be used (e.g. fade distances)
- Props that differ in the below keyvalues will NOT be combined, unless manually overridden with the appropriate VBSP option:
Render in Fast Reflections (-combineignore_fastreflection) Ignore Normals (-combineignore_normals) Disable Shadows (-combineignore_noshadows) Disable Vertex lighting (-combineignore_novertexlighting) Disable Flashlight (-combineignore_noflashlight) Disable Self-Shadowing (-combineignore_noselfshadowing) Disable ShadowDepth (-combineignore_disableshadowdepth) - Props that differ in the below keyvalues will NOT be combined:
Skin Color Disable Flashlight
some fps tests with an actual map! which gives better results: " -StaticPropCombine_ConsiderVis" or prop combining based on distances? Is there a console command to display the number of performed draw calls/props? ...
jd40 reacted to Radu for an article, 2018: Mapcore's Year in Review
Keeping with tradition, I'd say it's about time we took a look at what our community has achieved throughout the year. If last time I was saying how 2017 was a year of immense growth, then 2018 was surely one of significant change. And it hasn't been without its troubles and anxious moments. No change ever is, but I believe it to be for the best. We've seen some of our friends become parents, change work fields or get their first job in the industry. We've even seen a few pursue their dream projects. And for that, we have to applaud them. It takes courage to keep moving forward and to realise when it's time for something new. In the meantime, I hope this article inspires you and I wish everyone
2018: Mapcore's Year in Review
SteamVR - Gulping Goat Space Farm
by @Steve, @marnamai, @The Horse Strangler, @Sersch and others at Scraggy Rascal Studios
produced in collaboration with Valve
"Scraggy Rascal has been working with Valve to create all new SteamVR content, we've been given a lot of liberty to create these locations. Our goal was to create interesting and fun locations for the player to explore. These projects, over the last couple months, have been a crash course in Source 2,VR, project management, delivering within deadlines, working together as a team and personal growth. It has been an invaluable experience and great opportunity ... and we're just getting started!" - marnamai
Darksiders III - Art
by @The Horse Strangler and others at Gunfire Games
"Probably one of the biggest challenges the artists and designers faced on Darksiders 3 was working with both a platforming and fully connected streamed world. This meant that everything exists all the time. While we streamed levels in and out, areas couldn't intersect and we couldn't do the classic "Small exterior, big interior" swap. This was especially challenging because of how much verticality our design must support. We had a few "vistas", but for the most part every aspect of the level was accessible. If you can see it, you will likely be able to get there, jump on it, fight around it, etc. Fury, the main playable character can double jump, swing, float, glide and even rocket jump over 10 meters high. Personally for me it completely changed how I looked at art filling up a space. Every single mesh we placed impacted design. Art was design, and design was art." - The Horse Strangler
"Europa is a relaxing narrative experience. The goal with this game is to offer just enough challenge that its rewarding to get from one area to the other for more than just the visuals by using environmental hazards, platforming sequences and light puzzles that you can beat by exploring.The game is split into linear sections and wider areas, that's at the core of the game and as you play, you keep improving your characters moving ability, which will further exploration and give you the ability to solve newer light puzzles. There's none of the typical character upgrading systems, rather, the levels will offer the incremental challenges and the sense of progression. Europa's main focus lies in environmental storytelling and immersing the player in it's universe with passive storytelling, evoking awe and bliss with colorful watercolor-like art and music." - Helder Pinto
Counter-Strike: Global Offensive - Turnpike
"For a while the "Highway Restaurant" theme has been sitting in my little Concepts.txt file. When the Wingman Contest was announced, it felt like the perfect opportunity to turn this idea into a map, as its relatively small size would be fitting for the Wingman gamemode. The casual nature of Wingman made me add some elements that I would not normally add to, let's say, a Defusal map, like the TF2-esque team color coding (albeit subtle), the moving vehicles and the silly bomb target. Additionally, since the playable space is (almost) completely indoors, making it nighttime felt right, as it both emphasizes the interiors and makes for an atmospheric blorange background." - Squad
Dying Light - A New Hope
"A full-fledged custom single player campaign that ties in to the original story of the main game. It will see the main protagonist, Kyle Crane,leaving the City for the countryside to search for a specific elusive medicinal herb and bring it back to Dr. Camden who believes it could be the cure to the Harran Virus. This campaign is a one man show as I’m doing everything myself: level design, environment art/detailing, story creation, scripting/quest creation, custom dialog, custom audio, custom materials/textures, custom foliage systems, custom brushes for terrain painting/sculpting, lighting, manual nav mesh tuning, scripted NPCs…" - will2k
by @General Vivi and Michael Voeller
"Prodeus is the first person shooter of old, re-imagined using modern rendering techniques. Oh, and tons of blood, gore, and secrets. Creating Prodeus has meant a lot to us over the last year. It feels great to finally be doing something for ourselves. It can be pretty ambitious at times since there are just two of us, but I’m confident we can pull it off. Keep an eye out for the end of February for a big announcement." - General Vivi
Counter-Strike: Global Offensive - Ruby
"When I was on vacation in Portugal years ago I was so impressed by the city Lisbon that I really wanted to build a map that has the same vibe. At the time I was already working on different projects so I decided whenever I got enough time to work on a map this size I would go back. So early 2017 the moment was finally there, I went back to Lisbon to shoot (~2000) reference photos then made a list of things that are iconic for Lisbon and started working on Ruby. Adding a lot of height differation, warm colors, tile patterns and ofcourse trams was essentiental to get the Lisbon vibe." - catfood
by @dux, @PogoP and others at Unknown Worlds Entertainment
"A mix of Survival, story, mystery, resource gathering, base building with some accidental horror and plenty of deep, deep water. We had not long finished up with Natural Selection 2 and were hungry to develop a different kind of game. During development we were (and still are) a small team but the game kept getting bigger and grew into something far larger in scope than originally planned. So we soon realised that what we had could be turned into something really unique if we put our heads down and just cranked on it." - dux
Unreal Tournament 4 - Chamber
"I used Halo and Warframe artstyle as a reference. The goal of this project was to make fun and cool looking map with 100% custom art that is 100 mb in file size. To achieve that I used several advanced techniques such as custom vertex normals, deferred mesh decals, no bake, tiling base materials and masks. There are basically 5 or so texture maps used in the entire map, most of the filesize space was taken by lightmaps. I learned a lot doing this project in terms of composition, art direction and optimization. Hope you enjoy this map as much as I do!" - Ubuska
Counter-Strike: Global Offensive - Pitstop
by @Quotingmc and Quadratic
"It is not often that CS: GO receives a new game-mode, especially one as competitively focused as Wingman. I was understandably pleased at the announcement of the 2018 CSMapMakers contest for the mode. Pitstop was my entry where I set out to create a thematically bold centre piece for my portfolio. With the help of my teammate Quadratic and support from multiple Mapcore members, I learnt a lot about taking a level from a simple blockout to completion; I can say for certain I’m thrilled with the end result!" - Quoting
Black Mesa - Xen
by @JeanPaul, Adam Engels and others at Crowbar Collective
"While building Xen we had to design, iterate, and iterate (then iterate some more). We took what we thought we knew, and put it to the test. We learned how design and scope work together, and how to build momentum as a team. We are extremely proud of what we have accomplished over the year(s)! Despite the long and occasionally frustrating timeline, it has been a real testament to the commitment that this team and this community have for Half-Life." - Adam Engels
Unreal Engine 4 scene
"So I decided I would step out of my comfort zone and create a small environment in an engine I've never used before, UE4. Although I think I did a fairly decent job at the time there were ultimately many nuances I could have done better, but that is the artist dilemma. This project taught me the value of properly blocking out your environment, gathering as many references as you can and to have patience and not rush through assets, when breaking any of these rules I was punished for it. Stay tuned for my next project which will be a giant mech, coming soon Valve time TM." - Vorontsov
Counter-Strike: Global Offensive - Opal
"My goal with this project was to make a fun and compact defuse map, with a simple level flow, ample verticality, and an overlapped layout! I wanted to have interior and exterior, and break the grid a lot, to avoid having that "90 degrees grid" feel in the layout. I needed to have a vista on one side of the map to help with orientation, so I decided to make it a coastal town, inspired by those found on the island of Skopelos, Greece. Expect more updates in the near future, as I'm not yet satisfied with it. Since this is my only CSGO map, I want to put all my time and effort into it, and focus on quality instead of quantity. Thank you everybody for your support and feedback! <3" - MikeGon
Insurgency: Sandstorm - Precinct
by @Xanthi, @Squad, @Jonny Phive, @LATTEH, @Steppenwolf and others at New World Interactive
"Precinct, was a fun and challenging map to work on. We decided early on to melt District and Contact two of our very nostalgic maps together into a single large-scale urban environment. The goal was to preserve the nostalgic feeling and at the same time create something unique and fresh not just a 1:1 copy. In the block-out stage we started playing with different terrain heights, which eventually was the key to accomplish our goal. Terrain height was a bit of a trial and error process; I remember driving up a hill and not having enough torque, oops!!" -Xanthi
Counter-Strike: Global Offensive - Killhouse
"Killhouse showcases brutal duels, player reaction times, and close-quarters combat. A highly vertical layout ensures the sort of unpredictability and replayability ideal for CS:GO’s 2vs.2 "Wingman" game-mode." - FMPONE
Counter-Strike: Global Offensive - Station
by @Roald and @untor
"All experiences contribute to where I am at this point. I am just a hobbiest but I think I learned alot about level design just by doing it and enjoying it. Overal my goal is to improve myself on level design, but also enviorment art. I think I archieved a goal on level design and it's now time to continue on enviorment art. This is where untor morozov comes in. I have met untor a while ago. He made this map 'Waterfall' which was pretty populair. I liked his designs and added him as a friend. When I had this wingman map going on with positive feedback I just contacted him again to work on it with me and since this moment we have had a incredible teamwork. I am gameplay orientated and he is art orientated so we were a great couple. We just enjoyed work on this project and respected eachother and had alot of fun." - Roald
by @Yanzl and Sara Lukanc
"The Gap is a sci-fi thriller first person narrative exploration video game. You play as Joshua Hayes, a neuroscientist trying to figure out what happened, barely remembering anything about his past. It started as a project for our BA thesis and has now grown into a standalone game. It's also my first "real" indie game project, helping me learn a lot about Unreal Engine 4 and game development in general." - Yanzl
Counter-Strike: Global Offensive - Alexandra remake
"My first successful map was born 10 years ago for CS1.6. It was done in just 4 days. Since then it has been ported/improved several times on CS:S then finally on CS:GO. It always had a "dust" theme. Initially i wanted to remake it with an "inferno" style but when the new dust2 came i switched the plan to use the new assets. The map was and is frequently played on public servers especially in Eastern Europe so i had plenty of feedback to improve it. For some it's just another "dust" map, but for me it's my dust2." - Serialmapper
Far Cry 5 - Wetland Turmoil
"I wanted to try working with location design in an (imaginary) open world game for the first time, so I made this backwater cabin neighborhood. At the time I also wanted to see what the limits were in Farcry Arcade and how far I could push it. The level has fixed spawns (a limitation of the editor), but I toyed with the idea of making it work regardless from which direction the player would have approached it. The pathing and player guidance is more or less shaped like the number eight, with the church acting as an outlook. Your task is to eliminate all the bad guys. In the end I wanted to do so much more, but couldn't due to technical limitations. All in all it was a fun experience to make it." - grapen
Counter-Strike: Global Offensive - Trailerpark
by @OrnateBaboon and @Skybex
"We wanted to make a map for CSGO, using a theme that had not been seen in any previous version of Counter-Strike.The map had to incorporate everyday plausibility, provide for enough variety so that things remained visually interesting, but also be flexible enough to allow for the use of low geometry for easy grenade strategies. Being able to immediately recognize a theme in a map is always important, so with all this criteria in mind, A trailer park fitted the bill perfectly. There is still some way to go before a full release, but 2018 was a great year for progress on this project." - OrnateBaboon
Unreal Engine 4 scene
"I was inspired by games like stalker and the last of us. The goal was to make something photoreal with a lot of foliage. It took a couple of iterations but I think I achieved the goal in the end. While making this project I've had to learn a lot about Speedtree to make all the foliage, it was a really cool experience. Right now I'm in the army so unfortunately I can't make any more scenes right now, but after I'll come back I'll try to make more scenes like that." - Corvus
Overwatch - Busan
by @Minos, @[HP], @PhilipK, @IxenonI, Phil Wang, Lucas Annunziata and others at Blizzard Entertainment
"Busan was a challenging map to make. Due to the game having 12 different heroes on screen we have a somewhat limited memory budget for maps, that includes all models, textures, effects, collision data, lighting information, etc... Fitting three radically different areas (Downtown, Sanctuary and MEKA Base) into one single map budget required us to find new ways to optimize our work. In the end, we were even squeezing kilobytes out of collision data to make it all fit, no kidding! But the result speaks for itself, the map was fun to work on and we are very proud of what we accomplished!" - Minos
Counter-Strike: Global Offensive - Highlands
by @ElectroSheep, @El Moroes and @'RZL
"We wanted to make a map in Scotland because, thanks to dishonored 2, we were browsing a lot of references froms this area and we really loved it. I also went myself here in holliday after that. We asked one of our close friends to make some special props, like the police van, the taxi, the phonebox and some others. Unfortunatly the hard development of Dishonored 2 put us in a difficult state where we weren't able to work on the map. So we lost motivation. Then RZL contacted us because he didn't want the project to die so we gave him the keys. And RZL became busy too ^^. Life sometime say NO I guess, hehe. Now Highlands Is my only advanced project I still didn't finished and I'm ready to give it a try, I hope." - ElectroSheep
"Highlands...is this map is a joke? Certainly no but we can say that the development is quite longer than what we expected. Perhaps we learn well how the famous "Valve time" works? :p No seriously I think we can explain that with the motivation. Of course we were motivated to create something cool with this map but with the time and, I think, with what we live in our life we never took the time to do it correctly...I mean we never had a constant rythm on the map. This (and other personal things) led to the current statut of the map; a still "work in progress" map started in 2014. But ElectroSheep came back and his goal is to finish it, and because he's right, I'll come back too to help him. Just, be patient (again) ;)" - El Moroes
Battlefield V - Fjell
by @Puddy, @Pampers and others at DICE
"Fjell was an explosive experiment which paired a new Battlefield dynamic, planes and infantry only, with an epic gosh darn mountain top. Tackling this design combination was like dealing with a bear after you've kicked it in the balls. It was a fun challenge and even though its extreme gameplay is quite polarizing when compared to more middle-of-the-road maps, I am happy that we went there!" - Puddy
Counter-Strike: Global Offensive - Iris
by @BubkeZ and @Oliver
"Iris was born out of a shared interest in the TV-show "Seinfeld", funnily enough. One day BubkeZ noticed I had changed my Steam profile picture to a photo of "George Costanza" and just like that the wheels were in motion! In the beginning, BubkeZ had the vision of an old city environment with lots of dirty alleyways and brick architecture. We didn't want to fall in the trap of making the map look too bleak, so we came up with the idea of making a mid-century town set in autumn. While the map certainly have visual elements from the 50's, I would say the overall theme of Iris is american auto-industry. Making the old cars was definitely my favorite part of making this map!" - Oliver
Unreal Engine 4 scene
"I have always been a fan of retro and vintage, so this was like a dream to me. After watching the first season of True Detective, I immediately fell in love with the office set and the way the series was shot. I have definitely learned a lot from this project, mostly lighting techniques that can fill your scene with a story. The goal was to recreate their environment in my own style, and I'm pretty satisfied with how it turned out. I definitely wasn't expecting this much of positive feedback and I'm really thankful for this community. I want to do something with the environments, not just as a portfolio piece, but make a short film or make a small adventure game out of them." - Brightness
Counter-Strike: Global Offensive - Insertion 2
"Being the follow up to the first Insertion it will have the same overall concept with the spawning and open-world like layout. However this time it will be a more urban setting and overall higher quality art assets. I always love to make environments that feels real. And that are familiar. Its all made up. But the details and various elements in Insertion 2 is from my childhood basically. Friends that grew up in the same place I have recognizes it aswell." - Oskmos
The Door Challenge
Designing Highly Replayable Stealth Levels for Payday 2
Level Design in Max Payne: Roscoe Street Station
Effect and Cause - Titanfall 2 Level Breakdown
2017: Mapcore's Year in Review
Hurg smiles upon you all!
jd40 reacted to Rusk for an article, Effect and Cause - Titanfall 2 Level Breakdown
Titanfall 2 was one of the best FPS titles of 2016, featuring a very strong single-player campaign with interesting combat and puzzle gameplay for both players and their Titan. Additionally, each level featured its own special twist: "Effect and Cause", for example, presents players with a memorable time-traveling mechanic.
The time-travel mechanics of "Effects and Cause" serve couple of purposes, influencing not only the way players traverse the environment and its associated obstacles, but also how they fight through the level's combat scenarios. Two different time periods are a threat to the player, so the designers decided to allow players to see where the enemies from the past are located.
Once you move from past to the present, enemies leave a small blue particle in the place where they had been standing. Although the effect lasts no longer than two seconds, it’s enough to help players plan their next move. This twist on encounters makes them much more interesting and dynamic.
For "Effect and Cause", the developers created distinct enemies archetypes with different engagement distances and attacks for each time period. In the present (a destroyed version of the map) the player deals with robots and wildlife. In the past, players face armed guards in the facility. Eliminating the danger in one reality does not make it disappear in the other, forcing players to think constantly about their position versus the enemies in the different time frames.
Let’s discuss three selected encounters from "Effects and Cause" in-depth to see how they work in action!
The first encounter where players freely use the time-shift mechanic starts shortly after players exit a lab area. Here, enemies are located only in the past, when the facility is operating and functional. This prevents players from becoming overwhelmed with two types of enemies in two different realities within the first big encounter of the level.
This encounter is set up in two distinct spaces. The first space is a big room with a single entry point in the form of a double door opened by a panel, with combat focused at the far end of the room. The second space is a large corridor with a pocket in the middle and a security room at the end. A panel in the security room must be used in order for the player to progress.
Both encounter spaces are divided by a time-shift puzzle, the only way to continue onto the next arena. This time-shift puzzle serves as combat gating and also adds variety to encounters that are otherwise only about shooting. The gating also teaches the player that some spaces cannot be traversed in any time period, and that the only solution to the obstacle is to find alternative routes.
There are eleven enemies in this encounter: four located in the first room, and seven in the second room. Once you eliminate the two enemies in the first room, the remaining two enemies get into position. The second space has a fixed number of soldiers, with no additional waves. All the soldiers are using guns or rifles. The advantage/challenge to the player in this encounter comes from the number of the enemies, not their abilities.
Once the player enters the first space, they see two soldiers talking to each other. It’s up to player to start the fight and pick their preferred attack method. Once the first two enemies are eliminated, players enter an area with clearly defined architecture and a no-man’s-land inbetween. Players should also see a weapon lying on the desk, a gameplay "carrot" which helps to draw players into the fight. The enemies will hold their positions and try to shoot the player from behind the safety of cover.
The second area gives players more options, and also allows them to scan the area earlier (both from the first room through the lasers, and also from a vent). The designers ramp up the difficulty here, introducing more enemies into a tighter space.
With the time-switching mechanics at hand, players can prioritize threats in order to set up their own tactics. It’s clearly up to player how to plan and play this encounter. As there is no threat in the past timeline, players can experiment with going back in time without punishment, ‘escaping’ the combat at any given moment in order to reload, reposition and jump back to the action. This encounter is memorable as it is the first time that players fully use their time switching mechanic, functioning as a safe environment to learn. In other words, it's a skill check and a preparation for what lies ahead...
The second encounter worth analysis is much more varied with how it positions enemies throughout the level. It also places enemies in both time periods, serving as a playground for prioritization strategies and other interesting player tactics. This encounter also features more verticality, which helps prevent players from feeling too overwhelmed with enemy forces, while also allowing players to use more of their Titan-piloting skills.
This encounter is located in a fairly large room with ample verticality. Players enter the space on the upper floor through a single entry point and continue their way onto a balcony, letting players familiarize themselves with the space from above. At the far end of the room, players will spot a staircase going down to the lower level where elevators are located. This area has two big areas of standing cover, accessible on both heights, and a variety of crouch-height cover such as railings, desks and potted plants. This space also has a small side-room allowing further tactical options. This whole area is gated with an elevator door which does not open until the combat encounter is over.
This encounter is quite varied in terms of the enemies players face. In the past timeline, players face eleven soldiers: nine regular soldiers and two heavy soldiers with shields. These soldiers come in four groups of two or three each. The solders come with short intervals inbetween each wave, so that the player has time to react and make more intellectual choices.
In the present, players face three robots appearing almost at once when they walk along the balcony at the top of the space. Once the player goes down, they have to fight four prowlers which appear one after another with a couple of seconds delay between each new spawn.
We start the encounter in the present timeline, with the gate blocked in the past timeline. On the way to the staircase, three enemy robots spawn but do not pose a big threat to players. Once players move down, their attention is drawn to a desk with guns. This helps players to immediately position into a location in front of the elevators.
Once players shift to the past, enemies start to appear from the elevators. There is not enough cover to fight off all of the attackers, forcing players to prioritize and switch in time to better position themselves for attack. Once players go back into the present, prowler enemies will start to appear, forcing players to continue constant movement.
This encounter may feel a bit hectic, but it is a good test of both pilot skills and thoughtful time switching. It's the first encounter which forces players to prioritize which enemies they want to deal with first in different time periods. Due to the designer's smart use of the elevators, vents, and robot storage, enemies are brought into the field in an interesting way. But at the same time, enemies are introduced to the player with clear sound and visual cues, so they remain alert to upcoming surprises.
The third encounter I want to breakdown is by far the most robust yet. It features different height levels, space divided into two areas, and flanking paths which can be accessed only through certain time periods. It serves as the "final skill check" for all of the pilot abilities and time-shifting gathered thus far in "Effect and Cause".
This encounter is spread across two areas of vertical space, connected by multiple paths that create nice loops for players to use to their advantage. There is one clear entry point with a wide view of the whole combat space and one exit located in the second area, but the space inbetween offers a great deal of choice in terms of how players can tackle the encounter.
Playing through the encounter, players will learn that there is a geometry difference between the two different time frames that can be overcome with some of the pilot skills at their disposal. A big catwalk goes around the whole room with additional rooms with guns and ammo on the bottom level, for example. The amount of space available is needed, because the combat space is packed with enemies.
In the past, players have to fight twelve soldiers: nine regular soldiers and three heavies with shields, as well as three robots. The enemies are spread out across the whole space of the encounter, but because the areas are connected with each other through multiple paths, the enemies will try to chase and eliminate the player. This means that the encounter feels very dynamic and tense.
In the present, players face robots: eight prowlers inside, and even more of them outside fighting with BT (the player's Titan). The enemies in the present are hostile to each other, showing players an example of how the enemy AI can actually fighting eachother: information which players can then use to their advantage.
Players enter this area in the past, where they witness a single back-facing enemy, instantly inviting them to perform a takedown. From this point, the encounter is very open to experimentation: the player can either continue in the past and fight a big wave of soldiers coming through the main path (a staircase in the middle), or they can switch to the present, where they will find open flanking paths on both sides of the level. Going with the latter option offers a moment to breathe before prowlers are spawned, but it will also disable an ammo dispenser in the first area, adding consequence to player choices.
Staying in one place will result in a massive pile-up of enemies in the area, so players are motivated to move around a lot, time shifting when needed. The second area of this encounter is one of the level's biggest in-door combat spaces. If players choose to go into this second area in the past, the encounter will be quite vertical with soldiers located both on the ground and on the upper catwalk. Switching to the present will cause a bigger concentration of enemies on the ground floor.
Players are given enough space to fully use pilot’s zip-line ability to create shortcuts across the room, accessing the various loops and ammo dispensers needed to create a fair fight despite overwhelming enemy forces. There are very few conditions placed upon this encounter, so players can leave the area and jump into his Titan to deal with different threats at any time. Overall, this encounter serves as a test of everything learned previously, with players having the option to ‘lower’ the difficulty of the encounter using their titan.
The above examples are just a slice of Titanfall 2 gameplay contained within the excellent level "Effects and Cause", but in my opinion clearly shows how this great game was enhanced by its time shifting mechanic. The idea is fairly simple: time-shifting is nothing more than teleportation between two different levels, one layered on top of another, but the strong execution makes for a memorable experience that really stands out in comparison with other shooters. I highly recommend playing "Effects and Cause" as it is both challenging and fun, a level where Titanfall 2's time-shift mechanics comes into focus, providing additional depth to the whole game.
Thanks for reading!
jd40 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
jd40 reacted to will2k for an article, Optimizing An Open Map in Source Engine
An open map?
Source engine, which is funnily a Quake engine on steroids (a bit of exaggeration but still), inherited the same limitations of its parents in terms of visibility calculations: BSP and PVS. This fact makes Source, as was Quake engine before, more suitable to rooms and hallways separated by portals where the BSP shines in all its glory.
Inheritably, Source does not like large open maps where the PVS is of considerable size and the over-rendering is a real issue.
If you work with Source engine, then you already know the importance of optimization in a large, detailed map. Optimization becomes even more imperative when the said map is open.
What’s an open map? Good question. The word “open” is an umbrella term to denote any map that does not have traditional hallways and corridors that connect indoors to outdoors. The map is mostly large, outdoors with an unbroken skyline; in other words, the same stuff that source engine nightmares are made of in terms of PVS and BSP.
In a traditional “hallway’d” map with twisted corridors leading to open areas followed by other hallways, and even if you “forgot” to place hints and areaportals, the geometry itself allows the engine to cut visleaves and limit visibility; granted the visleaves’ cuts will be subpar and messy and the PVS will be in excess, but still, the visibility and fps will be relatively under control. A twisted hallway is a remedy to long sight lines after all.
In an open map, and without hallways and enough geometry to help the engine, the PVS risks to be huge and the whole map could be rendered at once from any point (over-rendering). We are talking here about a severe fps killer and a potential slideshow on a medium to low range computer. Source does not like over-rendering; I repeat, Source does not like over-rendering.
I believe a screenshot should be welcome at this stage to illustrate an open map. I’ve chosen a nice medium-size map from CSGO to showcase the issue: de_stmarc.
The shot is taken in Hammer obviously, and you can immediately see that the skybox is one big unbroken body from one edge of the map to the opposite one. This is the classic definition of open map.
Let’s see this map in 2D view from the side.
I have highlighted the skybox in blue so you could see the continuous sky body all over the map. Please note that an open map can have varying skybox shapes but I’ve chosen the simple and classic one to showcase my point where it is easier to see and visualize the concept of open map.
In contrast, a “traditional” map will have several skyboxes, often not connected directly but rather through a system of indoor rooms or hallways, varying in size and shape.
I will have my map de_forlorn as example here.
I have also highlighted the skybox in blue and you can easily notice several skyboxes for CT spawn, T spawn, and Mid/bombsites. These skyboxes are not directly connected to each other but the areas related to them are linked on the lower levels through various indoor locations, some vast (like garage, tunnels…) and some small (like lab hallway…).
If you are not that comfortable with source optimization or feel that certain terms are alien to you, then please read my previous optimization papers and articles before proceeding further in this article (Previous papers can be found here Source Engine Optimization roadmap).
The necessary tools
I’m not revealing a secret when I tell you that the same tools used to optimize any map in Source are exactly the same ones used for optimizing an open map. If you were expecting some magical additional tools, I’m sorry to bust your bubble.
Since the tools are the same (nodraw, func_detail, props, hints, areaportals, occluders…), it is more about how to use them in open maps that makes all the difference.
So, how to properly optimize an open map? Well, you could always pay me to do so for you (joking…not…maybe…I dunno!!)
If the above option is off the table, then read on the rest of this article .
While in a traditional map one might get away without using horizontal hints, it is virtually impossible to skip them (pun intended) in an open map unless you want to witness single digit fps burning your eyes on the screen. They are of utmost importance to negate the "tall visleaves across the map" issue.
In a traditional map, even if you bypass adding horizontal hints, the damage in fps will mostly be local since the skyboxes are not connected and areas are mostly autonomous in terms of PVS. In case of my map “Forlorn” and referring to the 2D diagram above, if I remove horizontal hints from CT spawn, then only this area will suffer from tall visleaves and over-rendering. Obviously, this is not cool in terms of optimization, but at least the effect will be somehow restricted to this area only.
In the case of “Stmarc”, you can certainly see that not including horizontal hints will have tall visleaves seen from across the map as the skybox is one unit. The PVS will grow exponentially and the over-rendering will take its toll on the engine.
Let’s move on to some screenshots and diagrams, shall we.
This is our glorious open map in side view. The blue lines denote the skybox, the dark grey one is the ground, and the green rectangles represent solid regular world brushes such as building bases for example. The red starfish little-man-with-arms-wide-open is the player. The orange hollow rectangles denote the various visleaves that the engine would probably create in the map (most go from ground level to skybox level and this is what I refer to as “tall visleaf”).
If you know your optimization, then you certainly remember that BSP relies on “visibility from a region” approach (for a refresher, please consult my papers Demystifying Source Engine Visleaves and Source Engine PVS - A Closer Look. This simply translates to the following: the player is in visleaf A and visleaf A has direct line of sight to visleaves B, C, D, E, F, and G. The PVS for A in this case would be stored as BCDEFG. Once the engine recognizes that the player is in A, and regardless of the exact position in A, it will proceed to render the whole PVS content. Everything in visleaves BCDEFG will be rendered even though the player is at the extreme end of A and has no line of sight to most of this content.
You can immediately notice the extent of damage you will inflict on your open map if you neglect adding horizontal hints: excess PVS with additional useless content to be rendered at all times.
Now that we established the importance of these horizontal hints in open maps, the question remains: where shall I put these hints?
In the diagram above, the most logical places would be on top of the 3 green rectangles.
We added 3 horizontal hints (H1, H2, H3) on top of the 3 regular brushes in our map (the hint face neatly resting on the top of the regular brush while other faces are textured with “skip”). This will create more visleaves as can be clearly seen in the above diagram, and vvis will take more time to calculate visibility due to the increased number of leaves and portals but this is done for the greater good of humanity your map’s fps.
Now the player is in visleaf A1 and the PVS is reduced to (sit tight in your chair) A2, A3, A4, B1, B2, C3, C4, D1, E4, F3. On top of the nice result of a greatly reduced PVS (and therefore content to render), keep in mind that leaves A4, B2, C4, D1, E4, and F3 are mostly empty since they are way up touching the skybox.
Some folks will start complaining and whining: what the hell dude, I don’t have 3 green rectangles in my map; where would I put my hints?? My answer would be: deal with it!!
Joking aside, open maps will greatly differ in size, shape, geometry, and layout. What you need to do is choose 1 to 5 common height locations in your map where you would implement these hints. Medium maps with mostly uniform building heights can get away with 1 horizontal hint, while complex, large maps with various building heights can do with 4-5 hints.
If your map has a hill made of displacements that separates 2 parts of the map, then it is also a candidate for horizontal hints. You just need to insert a nodraw regular world brush inside the displacement to be used as support for the horizontal hint (the same technique can be used if you have a big non-enterable hollow building made mostly of func_detail/props/displacements).
These might not come into play as much as their horizontal siblings, however they could see a growing potential use depending on the map’s layout, geometry tightness versus openness.
I cannot go through all combinations of open maps obviously to show you how to lay vertical and corner hints; what I will do is choose one diagram representing a typical open map scenario with some scattered houses, streets, and surrounding fields. Once you see how I proceed with these hints, it will become a lot easier for you to implement them in your own map regardless of the differing geometry and layout.
Here’s our typical map viewed from top with grey lines being map borders, green rectangles being houses (solid world brushes), and our tiny red player at the rightmost part of the map. The map has a main street that goes in the middle between houses but the player is not restricted to this path only.
The diagram below shows how I would proceed with my hints for such setup.
This is basically what you get when you give a 5-year-old some crayons.
Seriously though, I just gave each hint a different color so you could discern them on the spot, otherwise it would be hard to tell where each one starts and ends.
Most of these hints go from one side of the map to the other while going from ground level to skybox top; don’t be afraid of having big hints that cross your entire map.
Notice that we have both straight vertical hints (shown from above in the diagram obviously) and corner hints; what I did is that I compartmentalized the map so wherever the player is, chances are they will have the least amount of leaves to render in the PVS (this is just a basic hint system and more fine tuning and additions could be done but you get the gist of it).
To get more details on hint placement, please refer to my paper Hints about Hints - Practical guide on hint brushes placement
If your map has enterable buildings, then it is imperative to separate indoors from outdoors using areaportals; this is top priority.
Make sure to slap an areaportal on each door, doorway, cellar door, window, roof opening, chimney, etc. that leads inside the house in question.
What about outdoor areaportals? Good call. In an open map without much regular world brushes to maneuver, it could get very tricky to set up an outdoor areaportal system to separate areas. However, you should always strive to have one, even if it is one or two areaportals across the map. The reason is very simple: the view frustum culling effect, which, coupled with hints, will yield the best results in cutting visibility around the map.
Continuing with our previous diagram, a simple outdoor areaportal system setup could be as follows (top view).
This setup will make sure that the map is split into 4 areas and whenever you are in one of them as player, the view frustum culling effect will kick in to cull as much detail as possible from the other areas.
Let me show you the setup from a side view to make it easier to visualize.
This is the same areaportal that was closest to the player in the top down view diagram but this time viewed from the side. Unlike hints where it’s fine to have one big hint going across the map, for areaportals, it is best to have several smaller ones that tightly follow the contour of the geometry eventually forming one big areaportal system.
Another possibility for outdoor areaportal system is to have a combination of vertical and horizontal (yes horizontal) areaportals.
If your map is a village for example with a highly detailed central square where most of the action takes place, a potential system could be made of several vertical areaportals that sit in every entrance to the square from adjacent streets, and a horizontal areaportal that “seals” the area and works as a “roof”.
For a practical guide on areaportals placement, please check out my article Practical guide on areaportals placement
Props fade distance
This is a really, really important tool when optimizing large open maps. In case you got distracted while I was making the announcement, I’ll go again: props fading is definitely vital when tackling open maps optimization.
What you need to do is to set an aggressive fade distance for all trivial props that do not contribute to gameplay. Players will look closely at how detailed your map is when they check it out solo on the first run; however, when the action starts and the round is underway, adrenaline, focus, and tunnel vision kick in, and all the details become a blur.
During an intense firefight, players will not notice small props and details up close, let alone at a distance. We need to use this to our advantage to fade props thus releasing engine overhead; a faded prop is not rendered anymore and engine resources will be freed and allocated elsewhere.
Your map geometry will dictate the proper fade distances, but as a rough guideline, small props could have a fade distance anywhere from 800 to 1200 units (flower pot on a window sill, small bucket at the back door, a bottle on the sidewalk…), while medium props could do with 1400-1800 range (a shrub, a power box on the wall, an antenna on the roof, wood plank, gutter pipe, fire hydrant…).
Be very careful though not to prematurely fade critical props used for cover or game tactics (car in the middle of the street, sandbags, stack of crates, dumpster on the sidewalk…).
Many people forget about this technique which is more than needed when it comes to open maps that tend to have larger average PVS than traditional maps.
I showcased in a previous article of mine the fps cost of cheap and expensive assets (Source FPS Cost of Cheap and Expensive Assets).
Get in the habit of using the low-poly model version as well as the cheap texture version in the distant non-playable areas and the high unreachable areas where players won’t have much of close contact with the environment. Potential candidates could include a distant field, the unreachable opposite bank of a river, a garden behind hedges/walls, high rooftops, the 3D sky…).
Fog/Far-z clip plane
This technique, when correctly used, can provide a big boost to your frame rate as parts of the world beyond the opaque fog won’t be rendered at all.
For this technique to work properly, your map should have a foggy/rainy/stormy/dusty/hazy/night setting (use as applicable) where a fully opaque fog won’t appear out of place. Obviously, if your map takes place in a sunny and clear day, this technique won’t work much and it will look inappropriate.
Using this is simple: For example, if your map is set in a rainy and foggy day, you just need to set the fog end distance while having its density set to 1. You will then set the far-z clip plane to something slightly higher than the maximum fog distance (if the fog end distance is 8000 units for example, the far-z could be set to 8200).
This is another good technique to reduce engine overhead and the cost of rendering.
It is true that the 3D sky is used to expand the limits of your level and decorate its surrounding, however, since it is built at 1/16 scale (and expanded in-game), it is also a nice way to decrease rendering costs. Use this to your own advantage and relocate assets in the non-playable areas with limited player interaction to the 3D sky.
One thing to keep in mind though, the 3D sky’s visleaf is rendered at all times on top of the PVS in the playable area. Do not go overboard and make an extra complex, highly expensive 3D sky or you would be defeating the purpose of this optimization technique.
You thought I forgot about occluders? Not a chance as these are the big guns when it comes to large open maps with little world brushes to use for other optimization techniques.
Let’s clear one thing first; if your map is made mostly of brushwork and displacements with little to no props, then there is absolutely no need to resort to occluders as they’d be totally useless in this case. Only when the map is loaded with models and props in an open setup with little regular world brushes that occluders come to play in force.
To place occluders, you would search for areas where these occluders could make the most impact (low fps, high traffic, props abundance) since they run in real time and are expensive, otherwise their cost would outweigh their benefit in terms of frame rate variation.
Remember that occluders rely on the player’s position and field of view relative to the occluder to calculate what gets culled. You need to place them in a way to maximize the number of props to be culled behind them when the player stands in front of these occluders.
Let’s see some examples.
We go back to our famous top down diagram; the occluder is dark blue placed on the left wall of the large house while the little black stars represent various props and models. The 2 diagonal black lines denote the player’s FOV relative to the occluder. Anything behind the occluder and within the view frustum will be culled.
That’s nice; we are able to cull 4 props but is it enough? It is not optimal as we can still do better. What if we move the occluder to the right wall of the house?
Much better if you ask me. 5 additional props were added to the culling process meaning less overhead and fewer resources to render for the engine. That is why I said earlier it is all about maximizing the impact of the occluder by placing it in a way relative to the player’s position that maximizes the number of culled models.
Here’s another example (still top down view).
The player has moved to the middle of the central street, and beyond that L-shaped house is an open field with a lot of props scattered around. One way to implement occluders is as showcased in the above diagram. Notice how I arranged 2 perpendicular occluders along the walls for the maximum occlusion effect as all of these props in the field are not rendered from that player location.
Another way to arrange occluders in this case would be diagonally across the L-shaped house (split into 2 or 3 occluders if needed to accommodate the nearby geometry; they can be floating without the need to seal an area).
If you’re feeling brave enough (you should be after reaching this far in this article), you could also add an extra occluder along the wall of the house to the left of the L-shaped house to further enhance the view frustum occlusion effect and cover more props in the field.
The most common places to add occluders in open maps include a displacement hill that separates parts of the map, a hedge that stands between a street and a field full of props, a floating wall between a house garden and the street, the walls of a large house, the walls of a tall building, a ceiling when it separates multiple levels…
To read more about occluders placement and cost, please consult my article Practical guide on occluders placement
The foundation of optimization in Source engine will be the same whether it is a traditional map or an open one. You will heavily rely on func_detail, nodraw, displacement, props… to achieve your goals but it is the way you use these tools in an open map that makes all the difference.
One might get away with being a bit sloppy with optimization in a traditional map, however, make no mistake that an open map won’t be any forgiving if you decide to skip a beat in your optimization system.
Talking about different open maps and formulating varying optimization systems for them could fill articles; I hope this article has shed enough light on the open maps optimization approach to let you easily design a system for your own map.
jd40 reacted to Mapcore for an article, Day of Infamy Mapping Contest
Participants have from the 15th of September 2016 until Midnight (GMT) on the 22nd of December 2016 to create, test and upload an original or Day of Defeat inspired map for Day of Infamy (www.dayofinfamy.com)
Map included officially in game
Void Surround Sound Headphones
M330 Mouse Pad
All Wall Worm Source Modelling Tools
M330 Mouse Pad
All Wall Worm Source Modelling Tools
M330 Mouse Pad
All Wall Worm Source Modelling Tools
M330 Mouse Pad
All Wall Worm Source Modelling Tools
(*All prizes are subject to participant eligibility. No cash value. The contest Organizers and Sponsors reserve the right to change or remove the prize structure at any point with or without reason.)
In addition to the prizes stated above, GameBanana will also be offering a sub-prize for the best development blog, work in progress or tutorial created throughout the process.
This is an entirely optional part of the contest and is open to members of all communities.
To enter simply create either a development blog / work in progress page OR a level design tutorial / guide for Day of Infamy on either GameBanana, MapCore or the Insurgency Forums.
Entries must be uploaded on or before Midnight (GMT) on the 22nd of December 2016, and include “[DoI Contest]” in the title. Entries will be judged by members of the GameBanana team, as they appeared at the deadline.. No changes or updates are permitted during the judging phase.
Rules and Frequently asks Questions
The submission must be a playable map for the PC version of Day of Infamy.
Remakes of existing maps are not allowed, however maps inspired by classic DoD maps are encouraged.
Entries must be submitted to the Day of Infamy mapping contest section of BOTH GameBanana.com and the Steam Workshop before the deadline.
Multiple entries are permitted, however submissions will be judged on individual quality rather than quantity.
Team based entries are permitted, however the entrants will have to agree how to split any prizes awarded, prior to prize claim and dispatch.
It is essential to thoroughly test your submission before the deadline as entries cannot be modified during the judging phase.
Exceptions: Changes to the submission profile are permitted after the deadline, provided they are purely aesthetic and that the map file does not change. (E.g. Editing the description / screenshots)
Maps that were under creation prior to the announcement of this contest can be entered, provided a completed version has not been released for public Download.
All custom textures, models or code must be contained within the download file or embedded into the .bsp.
Authors are free to share their content on any other websites or services they wish, however the file must remain free to download and play, without requiring membership or payment.
If the submission is distributed on an external website or service, it must clearly state that the submission was created for the "GameBanana / MapCore Day of Infamy Mapping Contest 2016”.
Authors must be able to accept cash payments via paypal and will be required to fill in a prize claim form prior to payment. Winners of hardware and physical products will also be required to provide a valid shipping address.
Judges and individuals associated with organising this contest cannot enter or assist entrants.
Entries must clearly state which game mode the level is designed for.
Participant eligibility: The “GameBanana / MapCore Day of Infamy Mapping Contest 2016” is open to any individual, or teams of individuals, provided they comply with the following:
Participants may not be an employee of the “Organiser” or “Sponsors”.
Participants may not have taken part in the preparation or announcement of this
Participants may not be a direct relative, spouse, direct employee, or long term
partner of any of the above definitions (a - c).
Legal Age: This contest is open to any individual who meet the above “participant eligibility” criteria. In the event of participant who has not reached the legal age in his/her state winning one or more prizes defined below, he/she must provide contact details for the legal guardian who will claim the prize(s).
TWO (2) copies of the map are required for this contest, and must be uploaded on or before the deadline. The primary version (used for judging) must be submitted to GameBanana.com and placed in the “Day of Infamy > Mapping Contest 2016” category.
The second version must be uploaded to the Day of Infamy Steam Workshop
No changes to the downloadable file can be made during the judging phase. Please remember to ensure that all relevant custom content is included, and that your map is thoroughly tested.
Maps will be judged by the developers at New World along with the staff at MapCore and GameBanana. Each map will be scored on the following categories, and given a total score out of 100.
Gameplay (40 marks)
Visuals (30 marks)
Originality (15 marks)
Performance / Optimization (15 marks)
jd40 reacted to FMPONE for an article, Reddit + Mapcore CS:GO Mapping Contest Finalists Announced!
(Art by Thurnip)
Contest finalists have been chosen!
Before announcing our finalists, we want to thank everyone for participating and giving your feedback: with over 150 entries, this event has thus far exceeded expectations in every way.
We strongly considered adding an “honorable mentions” addendum to this announcement, but realized there were simply too many maps which came extremely close to becoming finalists, lacking only one of our “big three” judging criteria components.
Now, without futher ado…
(in no particular order)
By Andre Valera
By Ornate Baboon
These exciting levels exhibit competitive potential, excellent visual presentation, AND a satisfying level of polish, making them truly strong representatives for our talented community. As finalists competing for the grand prize, the authors of these levels will be able to update their work based on your feedback, including fine-tuning their competitive layouts using public playtesting over on Reddit. Let's support them on their journey!
To check out the excellent prizes awaiting our finalists (including money prizes + official Valve merchandise), click here.
...but who will be the Grand Prize Winner? Find out September 30th.
P.S. – To all our wonderful participants: don't despair. Level design is an art to be pursued for its own sake, and brilliant work should always be celebrated and studied. Additionally, Valve has consistently supported CS:GO community mapping, and Valve Operations remain a lucrative and thrilling opportunity for community mappers such as yourself. Valve’s criteria for Operations can be found here.
"Never give up." - Hurg
jd40 reacted to FMPONE for an article, Reddit + Mapcore CS:GO Mapping Contest!
(Art by Thurnip)
/r/GlobalOffensive and Mapcore are teaming up to grow Counter-Strike: Global Offensive’s mapping community!
Check out the reddit thread for this contest »
The Big Reveal
We’re hosting a map-making contest for original, competitive 5v5 bomb defusal maps AND competitively-minded hostage maps, open exclusively to mappers who have not yet had their work featured in a Valve Operation!
Older projects are fair game: now’s the perfect time to polish up that map you’ve been working on but never got around to finishing. Experienced Mapcore judges and prominent members of the Counter-Strike community such as Sadokist, Moses, DDK, James Bardolph, and Anders Blume will be weighing in – but only one map can win it all.
Every week for the length of the contest, eligible maps will be playtested during /r/GlobalOffensive community nights according to a sign-up schedule. Slots on this schedule will be filled on a first-come, first-serve basis following an approval process, but we will try our best to accommodate everyone at least once. However, because it’s impossible to guarantee that all contest entries will have the chance to be playtested, /r/GlobalOffensive playtesting is a supplemental, helpful tool which will have no bearing whatsoever on contest judging.
You can register for a playtesting slot here. Remember -- playtesting registration is first-come, first-serve!
Enter Your Level
To officially enter your level into this contest, post a WIP thread with a link to your level’s Steam Workshop page in Mapcore’s official event forum.
Posting a WIP thread with a link to your level’s Steam workshop page constitutes your official entry into the contest, however you don’t need to do both at the same time. In other words, you can post your WIP thread and then update it later with your workshop link if you’re not ready to go right away. You can also feel free to continue updating your workshop level after you’ve posted your workshop link – contest entries will not be judged until after the submission deadline.
Your level must be submitted to Mapcore by August 31st, 2015 at midnight Pacific Standard Time (PST).
Our panel of judges will then select four finalist levels based on the following criteria:
Fun factor Visual/thematic presentation (graphics) Overall polish
Grand Prize Deadline
After the top four maps have been announced, /r/GlobalOffensive users will put them to the test!
Once all four finalist maps have been tested, mappers will have two weeks to revise their work based on community feedback. After those two weeks, an official Grand Prize Winning Map will be chosen!
The goal of this event is to raise awareness about Mapcore's incredible level design community and the incredibly useful playtesting capabilities of /r/GlobalOffensive. Both Mapcore and /r/GlobalOffensive are free resources available to all mappers. To date, Mapcore users are responsible for creating more than 70% of Valve Operation levels. Mapcore’s staff are unpaid volunteers, and do not personally profit in any way from additional traffic to the site.
Of course, it wouldn’t be a contest without a reward… In addition to the helpful feedback and free publicity that CS:GO mappers will receive by participating in this event, each finalist will also receive:
Eternal Bragging Rights™ and a showcase on Mapcore (where their level will be highly visible to industry-veteran game developers and the rest of the community) A monetary prize ($1000 + Mapcore swag for first place; $400 for second place; $200 for third place; $100 and Mapcore swag for fourth place) The top-finishing map will also be played in a competitive show-match casted and streamed by goRGNtv, for all to watch and enjoy! *NEW* CEVO has generously agreed to host the winning map in their PUG rotations for one month! *NEW* Added $1,000 to prize pool thanks to Gamebanana.com and EGO DEATH (gun skin creator) *NEW* Valve prizes!
Top 4 will receive
1. Signed CS:GO poster
2. CS:GO Lanyard
3. CS:GO Vinyl Sticker
First place will receive a CS:GO prize pack:
1. Signed CS:GO poster
2. CS:GO Lanyard
3. CS:GO Vinyl Sticker
4. CS:GO SteelSeries Kana Mouse
This is your big chance -- get to it!
Good luck, mappers!
Remakes of older maps are NOT allowed. All works must be original to you and their layouts must not have appeared in any prior versions of Counter-Strike. Custom artwork is allowed and encouraged, but must meet workshop guidelines. Collaborations are allowed and encouraged. Any contest winnings arising from a collaboration will be split in accordance with the collaborators' mutual agreement.
Mapcore staff will rate their top four maps of the contest, results will be tallied and all votes given equal weight. Some time later, the judges and guest judges will rate the top four finalist maps and results will be tallied, with all votes given equal weight. Guest judges will be asked to act as tie-breakers in the event of any ties in the voting.
Jason “General Vivi” Mojica -- Creator of "Rose Iron" Skin (Overkill Software)
Patrick "Puddy" Murphy -- Creator of CS_AGENCY (Overkill Software)
RZL (Independent) -- Creator of DE_RESORT
Shawn “FMPONE” Snelling (Independent)
Johnny “Sprony” van Spronsen (Journalist)
Matt "Sadokist" Trivett -- @Sadokist
Jason “Moses” O’Toole -- @JmosesOT
Daniel "DDK" Kapadia -- @followddk
James Bardolph -- @jamesbardolph
Anders Blume -- @OnFireAnders
Our Thanks to
EGO DEATH (Steam Workshop author)
jd40 reacted to leplubodeslapin for an article, Source Lighting Technical Analysis: Part Two
This is the second part of a technical analysis about Source Lighting, if you haven’t read the first part yet, you can find it here.
Last time, we studied the lightmaps, how they are baked and how VRAD handles the light travel through space. We ended the part 1 with an explanation of what the Constant-Linear-Quadratic Falloff system is, with a website that allows you to play with these variables and see how lighting falloff reacts to them. We will now continue with basic examples of things you can do with these variables.
Examples of application
The simplest type of falloff is the 100% constant one. Whatever the distance is, the lighting has theoretically the same intensity. This is the kind of (non-)falloff used for the sun lighting, it is so far away from the map area, that light rays are supposed to be parallel and light keep its intensity. Constant falloff is also useful for fake lights, lights with a very low brightness but that are here to brighten up the area.
Another type of falloff is the 100% linear one. With this configuration, light seems to be a bit artificial: it loses its intensity but goes way further than the 100% quadratic falloff. It can be very useful on spots, the lighting is smooth and powerful. Here is an example:
This is the default configuration for any light entity in Hammer, following as we said before the classic Inverse-Square law (100% Quadratic Falloff). It is considered to be the most natural and realistic falloff configuration. The biggest issue is that it boosts the brightness so much on short distances, that you can easily obtain a big white spot. Here is an example, with a light distant of 16 units from a grey wall:
This can also happen with linear falloff but it is worse with quadratic. Simple solutions exist for that, the most common is not to use a light entity but a light_spot entity that is oriented to the opposite direction from the wall/ceiling the light is fixed to. You can make the opening angle of your light_spot wider, with the inner and outer angle parameters (by default the outer one is 45°, increase that to a value of 85° for example). If needed, you can also add a light with low brightness to light the ceiling/wall a bit.
50% & 0% FallOff
A second light falloff system exists, overriding the constant-linear-quadratic system if used. The concept is much simpler, you have to configure only 2 distances:
50 percent falloff distance: Distance at which light should fall off to 50% from its original intensity 0 percent fall off distance: Distance at which light should end. Well ... almost, it actually fall off to 1/256% from its original intensity, which is negligible. The good thing with this falloff system is that you can see the 2 spheres according to the 2 distances you have configured in Hammer. Just make sure to have this option activated:
An appropriate section for models lighting is needed, because it differs from brush lighting (but the falloff stays the same). In any current game engine, lightmaps can be used on models, a specific UV unwrap is even made specifically for lightmaps. But on Source Engine 1 (except for Team Fortress 2) you cannot use lightmaps on models.
The standard lighting method for models is named Per-Vertex Lighting. This time, light won’t be lighting faces but vertices, all of the model’s vertices. For each one of them, VRAD will compute a color and brightness to apply. Finally, Source Engine will make a gradient between the vertices, for each triangle. For example:
If we take a simple example of a sphere mesh with 2 different light entities next to it, we can see it working.
With this lighting method, models will therefore be integrated in the environment with an appropriate lighting. The good thing is that, if a part of the model is in a dark area, and another part is in a bright area, the situation will be handled properly. The only requirement for this is that the mesh must have a sufficient level of detail in it; if there is a big plane area without additional vertices on it, the lighting details could be insufficient.
Here is an example of a simple square mesh with few triangles on the left and a lot on the right. With the complex mesh, the lighting is better, but more expensive.
If you need a complex mesh for your lighting, you don’t want your model to be too expensive, you have to find a balance.
Two VRAD commands are needed to make the Per-Vertex Lighting work:
StaticPropLighting StaticPropPolys You have to add them here. You can find more information here.
Another system exists, that is much cheaper and simpler. Instead of focusing on the lighting of all the vertices, the engine will only deal with the model’s origin. The result obtained in-game will be displayed on the whole model, using only what has been computed at the model’s origin location. This can be an issue if the model is big or supposed to be present in an area with lots of contrast in lighting. The best example for that is at the beginning of Half-Life 2 with trains entering and exiting tunnels. We can see the issue: the model is illuminated at the beginning, but when it enters the tunnel it suddenly turns dark. And this moment is when the train’s origin gets in the shadow.
This cheap lighting method will replace the per-vertex lighting for 3 types of models:
For prop_dynamic or any kind of dynamic models used in the game (NPCs, weapon models in hand, any animated models...) For prop_physics For ANY MODEL USING A NORMAL MAP (vertex lighting causes issues with normal maps apparently), EVEN IF USED AS A PROP_STATIC
The big problem with these models is their integration in the map, they won’t show any shadow and their lighting will be very flat and boring (because it’s the same used for the whole model). But hopefully there are 2 good things with this cheap lighting method.
First, the orientation from which comes light is taken into account, if blue light comes from one direction, therefore all the faces oriented toward this direction will be colored in blue. And if you have different lighting colorations/intensities coming from different sides of your model, they should appear in game.
Here is an example of a train model using a normal map with 2 lights on both side. If you look closely, you’ll see some blue lighting on the left, on faces that are supposed to be in the shadow of the blue light but are oriented toward the blue light.
The second good thing is that there is still some kind of dynamic per-vertex lighting, but much simpler: it only works with light and light_spot entities (NOT with light_environment), and it just adds some light to the prop, it cannot cast any shadow (it only takes into account dynamically the distance between the light and the vertex). If we use again the high-poly plane mesh we had before as a prop_dynamic, being parented to a func_rotating that ... rotates. Light is dynamically lighting the vertices of the props. There is a limit of 3 dynamic lights per prop, it can’t handle more at the same time.
And if you add a normal-map in your model’s texture, this cheap dynamic lighting works on it:
Projected texture and Cascaded Shadows
Few words to finish the study with dynamic lighting. Projected textures is a technology that appeared with Half-Life 2: Episode Two in 2007, it consists of a point-entity projecting a texture in the chosen direction, with a chosen opening angle (fov). The texture is projected with emissive properties (it can only increase the brightness, not lowering it) and it can generate shadows or not. The great thing with this technology is that it’s fully dynamic, the env_projectedtexture can move and/or aim at moving targets. This technology is used for example on flashlights in Source games. But as usual, there is also a drawback: most of the time you can only use only 1 projected texture at a time, modders can change this value quite easily but on Valve games it is always locked on 1.
The cascaded shadows system is only used on CS:GO. The concept is quite similar from a projected texture but it doesn’t increase the brightness, it only adds finer shadows. It is used for environment lighting, using much smaller luxels than for the lightmaps and it is fully dynamic. It starts from the tools/toolsskybox textures of the map and cast shadows if it meets any obstacle. Shadows from the lightmap are most of the time low resolution and the transition between a bright and a dark area is blurry and wide. Therefore, the cascaded shadow will be able to draw a clear shadow around the one from the lightmaps.
When an object is too small to get a shadow in the lightmap, it will be visible thanks to the cascaded shadows. There are 3 levels of detail for cascaded shadows on Counter-Strike, you can configure the max distance at which the cascaded shadows will work in the env_cascade_light entity at the parameter Max Shadow Distance (by default it’s 400 units). The levels of detail will be distributed within this range, for example:
Since cascaded shadows and projected textures share some technology, you can’t use them both at the same time.
I really hope you have found this article interesting and learned at least few things from it. I believe most of these informations are not the easiest to find and it’s always good to know how your tools work, to understand their behavior. Source Engine 1 is old and its technologies might not be used anymore in the future, more powerful and credible technologies are released frequently but it’s always good to know your classics, right?
I would like to thank Thrik and ’RZL for supporting me to write this article, and long live the Core!
// Written by Sylvain "Leplubodeslapin" Menguy
Additional commands for fun
Mat_luxels 1 // Allows you to see the lightmaps grids Mat_fullbright 1 // Disables all the lighting (= fullbright). On CS:GO, cascaded shadows stay and you should delete them as well (cf next command) Ent_fire env_cascade_light kill // KILL WITH FIRE the cascade shadows entity Mat_drawgray 1 // Replace all the textures with a monochrome grey texture, useful to work on your lighting Mat_fullbright 2 // Alternative to Mat_drawgray 1 Bonus:
Mat_showlowresimage 1 // Minecraft mode