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NikiOo last won the day on June 22

NikiOo had the most liked content!

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    Nick Stefano
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  1. For me the pandemic was a major puch in the gut. I would have been in a very different place right now had it not been for COVID. Even before the pandemic, mapping had grown to seem like sort of an escapist thing so I had decided to take a break from it and make some major life changes to figure out why I am so inefficient at inter-humous relationships. So here I am, all out of my comfort zone and walking through this swamp, fighting unseen creatures, stress levels through the roof, when all of a sudden the sky gets dark. And then the COVID storm hits and trips me over. I manage to crawl my way underneath the roots of a tree, where I feel relatively safe. Problem is, now I can't go forward. The swamp is eating up my legs, mosquitoes laying eggs inside my ears while I sleep, and the eggs are hatching faster because of the moisture from the storm. Also the wind was brushing up swamp water onto my legs, which was catalyzing with my peasant clothes. I felt trapped and my condition was getting worse. I thought to myself, my legs are under-leveled, I cannot resist the entropy. Then I heard a voice from the sky and I looked up. "You have some fine legs, son! You are on teh path to cerebro-fuego". "Thank you, Mufasa! You are truly as brilliant as they say!" This elevated my spirit and I decided to keep looking for whatever the hell he was hinting at. I would rest to gather up strength during the day and then leave at night to hunt for small swamp creatures. Then one night I hear footsteps, I look outside and I see the legendary meat-man. He was traversing the swamp with such elegance as if he was skating on ice. Enthralled by his magestic movements, I called him out and asked, "legendary meat-man, how come the swamp is not eating up your legs?". To this he replied, "It is because my legs are covered in meat, young padowan. You should try this too." I thanked him and the next day I did what he'd suggested. (he also taught me martial arts) I covered my legs with meat and voalha! I could now walk through the swamp as if it wasn't there. This is great, I thought. At this rate I can make up the time I lost hiding from the COVID storm. So I kept walking until I reached the swamp cave. And in the swamp cave lay the swampnauceros. It was sleeping and I was all pumped up, adrenaline drooling out of my mouth, my muscles all tensed up, so I pull out my knife and charge directly at it. Then out of nowhere comes legendary meat-man. He speaks to me, "Yo, amigo, stand back! This is not you amigo, you cannot defeat this beast at your level, even though you know karate! You have to visit mountain level and acquire the money printer from the traveling salesman so you can shoot the beast with money. "But, mr. meat-man! How can I find this traveling salesman?" "Oh, you'll eventually find him, the mountain level is walled-off. He can't run away." "Okay, mister meat-man. Thank you for your precious advice! Bye-bye!" So here I am trekking through the forest, approaching the village at the root of the mountain-level. In the village I find a guide, named Fuejo. And naturally the first thing I ask him is, "Fuejo, man, why be the mountain so green and mushy?" "Oh, you don't know, amigo? The mountain is covered in swamp!" "This swamp...it's unlike other swamp. It's very thick and hostile, it won't let just anyone through." Stealthily, I looked around the bar to ensure no cats were around, then I spread my coat for Fuejo to see my meat armor. "Oh, I've seen this type of armor. It will protect you, but it is not enough. Here, take this..." He passed me a dirty jar with some white powder in it "What is this?" "It's called diezo-diazo. You snort it up your ass and it will inflate your armor." "Is this safe to use", I asked him. "Well, if you take too much, your armor will explode and cover you with blood, which will attract the swamp sharks." So here I am crawling through a swamp once again, when suddenly I realize that I would need something to trade for the money printer. After all salesmen tradesmen aren't called tradesmen for nothing. So I dig into my pockets and pull out this half complete wooden house that I'd been chipping away at before I started my odyssey through the swamps. But I had not tool. I looked around and I saw this man who was carrying a wood-chewing tool. I had no choice. There was simply no other way. I stabbed him in the back of the head with my knife, then after the sharks devoured him, i came back to scrounge the remains. Freshly nutrified, I managed to complete the wooden house. And lo and behold, I found the traveling salesman. "Here, take this house, travelling tradesman. All I want in return is the money printer." "Okay, here you go." "nice, I can defeat the swampnaucerous now. Thank you traveling salesman! In return, I shall build you a big house on top of the hill." "You already paid me with the wooden house model". "Oh, ok".
  2. Watched the first episode. This is stimulating in a unique way. Reminds me of a comic I read recently - Age of Reptiles by Ricardo Delgado. Similar kind of mood, only all the characters are dinosaurs.
  3. Can someone explain why the FOV is always so low in these FPS trailers? Is there some reason for it? It makes me nauseous. Env art looks sick, though. Those shoes are hawt.
  4. Sucks that John Wick is in this film. Didn't really like him as a character.
  5. I remember enjoying my time with Dark Souls 2 more than with DS 3. In retrospective, it looks much uglier but the atmosphere was more welcoming. Perhaps it's because of how much variety there is in the places you visit. And with the slow combat it is certainly a lot more chill.
  6. It's amazing that computer graphics have come so far that we can finally have glossy rocks.
  7. Yes, gimme more of those meaningful games! Frostpunk is awesome. It's like a management game that's not made for psychopaths.
  8. Why do you think a 3 lane layout is not interesting? Most defuse maps follow a very similar four square pattern. That doesn't prevent them from doing a lot of original things within individual areas. Also, I think you'll have better luck coming up with interesting ideas if you play around with it in the editor rather than on paper. Here's something you can do - take a cool real life location that you would like to make in the game (this will motivate you) and think about how you can design a wingman layout around this location. You will find yourself solving interesting architectural problems and even if you end up with a three-lane layout still, it will be an interesting three-lane layout because of the constraints of the theme. You may not even notice that you have a three lane layout just like cache is pretending to not be a four-square layout while it is exactly that.
  9. Well, it's actually quite simple. Ideally, you want to minimize the filler areas and maximize areas of type alpha and omega. You do this by learning how to think in 3 dimensions and how to generate interesting areas, while working within the constraints of nature and human architecture. Here is the formula for what makes a good area: Goodness of narrative comes down to story-telling, which is a very expansive topic in and of itself so I will focus on goodness of color and goodness of shape. So we'll use a simplified formula for goodness of area, shown below: Formula (1) is the lego approach to area engineering, where you deal with large presets, since you're not yet experienced enough to work on area microarchitecture. Now I will show you the wizard approach. You won't read about this in LD text-books. Let H be the set of architectural components used by humans and let N denote the set of architectural components used by nature (God / evolution). Then we'll use Z to denote the available language of architectural expression. Z is the proper set of the union of H and N. Naturally, you cannot use the entire language of expression at your disposal so let's say the language you're going to use is some subset of Z, which we shall call L. Now in order to learn how to make a good area, you need a way to calculate the goodness quantifier of formula (5). Without that you won't have the much needed feedback-response cycle and you will not improve. So we need to measure koppaI from an already built level. To do this, you take all elements of L and distribute them in a 3-d vector space, based on their position of use in the level. If you want, you can use two separate vector spaces - one for the color subcomponent of every component, and one for its shape. But beware, the natural distribution of the reasonable color spectrum for most components is pretty tight. Next thing you do, you color code the scattered points based on the spatial locality of the components in the real world. In other words, components that appear together are assigned similar colors. Then you want to reduce the amount of overall entropy in the color distribution. One way to do this, without sacrificing variety is to have clusters of low entropy (which appear as splatters of uniform color) in distinct areas of your map, while the connecting areas should be kept low entropy (without many micro-clusters) so they can compensate for the contrasting transition between the larger areas. For reference, in the image above, a high entropy area would look something like (c), while the rest are relatively low entropy. Some easy ways to reduce color entropy in your level are: using a very limited color palette using painterly textures using photo textures taken from the same real world location Some easy ways to reduce shape entropy in your level are: using references not mixing architectural styles from different historical periods use large pieces for cover, remove small pieces that only add clutter reducing signs of human life (it is very difficult to prevent signs of human life from skyrocketing your entropy meter) hierarchical procedure (starting from a silhouette blockout and gradually filling in details) Keep in mind, entropy can also be too low. This can happen if you put too much effort into silhouette and visual harmony and don't use any references. You can end up compensating with bad entropy. Bad entropy is when details you add increase visual disharmony very rapidly. Ideally, you want your learning process to lead you to a place where your entropy is similar to the entropy in areas you find visually appealing in real life or virtual environments, and you also want the level of detail to approach the level of detail in those environments. In formula (6) I show an example optimization model for a realistic style area. You can use this to derive a model for fantastic or stylized areas. You want entropy and detail to move in parallel with one another. The ideal scenario would look something like this: Keep in mind that adding narrative elements such as signs of human life and natural decay can increase entropy quite alot. For further reading on sings of human life look into How buildings learn by Stewart Brand. If you get good at adding detail without massively increasing entropy, you will have more confidence to experiment with unique layouts. Then there is another formula, called the challenge complexity formula. Player enjoyment from playing a map tends to correlate inversely with frustration. Frustration comes from low correlation between expected challenge and actual challenge. One way to model challenge is as a scalar, representing net difficulty (7). Another way you can model challenge, shown above, is as a set of micro-games that the player will have to play during the match, determined by the context of each encounter. The phrase "micro-games played in wingman maps on official servers" can be replaced with micro-games anticipated by the user or micro-games user enjoys to play in counter-strike. For this analysis, I assume that enjoyment is maximal on wingman maps on official servers, presuming those maps are examples of prime level design. This is more true for defuse maps than it is for wingman. Micro-games constitute things like how you peek certain corners, how you play around with cover and position in certain contexts, how you use your utility, and all sorts of other actions you take to become more unpredictable and to put yourself in a favourable situation. The possible situations you may find yourself in are determined by the architecture of the level. You don't want to introduce too many unique ideas into your level, because it will reflect badly on the micro-games ratio coefficient. You can just plug those formulas into hammer and watch the magic happen!
  10. We finally have a challenger.
  11. Seeing this guy's channel, I'd say the funny is fully intentional.
  12. NikiOo

    ROOF [How to build?]

    I suggest that you align your geometry to the grid as much as you can, without compromising shape. In the example I show, I have roughly the same slope, but since it aligns with an exact point on the grid every six units. If you then reduce to a smaller grid, it would align every 3 units: You can then use the vertex tool to raise the left edge of the wall. Or alternatively, you can make the wall overlap with the roof and use the knife tool to cut it at the same angle, but I wouldn't advice it since making changes afterwards is gonna suck for you.
  13. Reading this feels odd to me since it's the exact same reaction I had going from blender to 3ds max :D. Imo blender is the most intuitive software to use as far as navigating the viewport goes, especially if you use the (Shift + F) mode to fly around the 3d space. It may just be because I've used it for much longer than any other 3d software. Anyways, it's a matter of personal preference. I find myself switching from one software to another if I don't like how they do a certain thing. Here's the first fully textured car I've made (at least one that's good enough for me to remember)
  14. Maybe you're not supposed to interact with the world, but rather just observe and admire the beautiful static pieces... Like those cactuses.
  15. The only game I've played that came out this year was Carrion. It was an interesting concept and felt good to play, but the levels felt short and linear, and very easy. It was more like a demo than a complete game. That being said, my game of the year for 2020 is Pathologic 1 Classic Edition HD.
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