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eigenface

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eigenface last won the day on November 11 2012

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  1. May I take a crack at implementing a new spawnarg for naturally closing doors? It will probably take me an inordinate amount of time to get myself up to speed, seeing as I haven't compiled TDM before. Is this compile guide current? http://wiki.thedarkmod.com/index.php?title=The_Dark_Mod_-_Compilation_Guide
  2. RPGista, you're right, zombies would still need to pull open doors that open toward them. For me personally, with an appropriately slovenly door-pulling animation (not a careful door-pulling animation like other characters, which the zombies use now), I can buy zombies pulling open doors to get at what they want. For me, the seriously immersion-breaking part is when they stop, turn around, and close the door - I can't imagine zombies having that presence of mind. As for the door-pushing animation, I remember the zombies used to do a sideways limp, dragging one foot behind. I don't see them
  3. I agree, but with the doors I describe, that slowly start swinging closed under their own weight as soon as they're opened (like many real doors do), we wouldn't have to justify either - no strange zombie behavior and no magic doors.
  4. SilentKlD, I 2nd your reaction to the polite zombies, as well as your suggestion that they should open doors just by staggering into them, and then not bother to close them. Sotha, I appreciate your points. They can be addressed by doors that automatically close after some time delay, which I've seen in some missions. Auto-closing doors also address your points for the case when the player leaves a door open, plus the case when an AI opens a door and doesn't shut it because the player sidetracks them. However, in my opinion, timed auto-closing doors are immersion-breaking as well, especially
  5. In that case, I think the zombies should make farting sounds with each footstep. It can't possibly be immersion breaking.
  6. Here's some textual inspiration to go with all these images. From the introduction to the book "Perdido Street Station" by China Mieville:
  7. Alright, here is my take on the "relaxed" lines for the pro guard, as per the script earlier in this thread. Currently, they're all normalized to the same volume, with no compression or reverb. I'm open to all kinds of criticism, on both recording and vocal skills. If these are generally satisfactory, my plan is to power through as many lines as I can tonight, and finish the rest in the near future. What say you? https://www.dropbox.com/s/mcmw5xny93rhnz7/tdm_pro_relaxed.zip I have a few questions. Is the script earlier in this thread the most up-to-date version? Are the names in the
  8. Just put it in cardioid mode and turn up the gain: http://www.amazon.com/gp/product/B002VA464S/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1 Windscreen that fits: http://www.amazon.com/gp/product/B001ECQOO4/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1
  9. Pop shields are less for excessively-loud sounds and more for wind. As a mic is sensitive to pressure, unfortunately it picks up air currents as well as sound waves. Sometimes when you talk (such as pronouncing 'p' or 'f'), you expel a little puff of air, in addition to the sound. The pop shield blocks the wind but not (much of) the sound. However, a real pop shield (that is, a disk on an arm mounted independently from the microphone stand) is pointless overkill unless you're using a high-end mic (several $100 at least.) For cheap mics, use a windscreen, such a little foam covering on th
  10. Are the relative volume levels of different lines (e.g. mumbling to self versus shouting) baked into the sound files, or are the relative volumes stored externally?
  11. I'm stuck. I've been over and over the areas I can access, so at this point I'm more interesting in a direct "do-this-next" full-spoiler, rather than a vague hint. [spoiler]There are locked doors I can't open on the back of the church and the crypt outside the church. I have a church storage key I found inside the church, but it doesn't open any locked doors I can find. And I can get to a sewer with an underground tomb at the end, with a mysterious arch and a letter about it - I don't know what to do here. What should I do to move on?[/spoiler]
  12. I've just gone back and read your MWoT, Airship Ballet, very insightful. I can't tell if I actually disagree with you about anything, but if I did it might have to do with scripted events. They're great for gradually building up apprehension and dread, at least on the first playthrough. Scripted events have very little replay value, because you already know what's going to happen. But that's fine, replayability isn't necessarily a major concern. The problem is, I've played so many horror games / mods, I'm getting really good at figuring out what's scripted and what's not, while it's stil
  13. I think stealth games are tailor-made for horror-themed missions. Hiding from powerful enemies is already scary without deliberate horror elements. If done right, stealth games make the scariest horror games. I also think stealth is the only genre that does horror justice. Horror needs sophisticated AI, which can do more than just chase you and kill you. Horror needs AI that can search for you and not necessarily find you. Horror needs AI that can become suspicious, and decide to go look for you in some hiding place, as you hold your breath and watch from another, nearby hiding place.
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