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Everything posted by eigenface

  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.
  14. I see. Physics would get us most of the way to what you're talking about. Use a squashed-cylinder for a collider, and restrict the horizontal range of your freelook direction to within 100 degrees or so on either side of a vector sticking out of one of the two flattened sides. When you turn, the collider turns with you, so your freelook direction always stays right in the center of the range, unless the collider is obstructed. The sticky part is how you decide when to disable crouch and reduce movement speed. You can't do it whenever the collider is colliding with something, because then
  15. The really like first part of the idea, about squeezing into narrow passages by turning sideways. It would add new kinds of areas for the player to explore, the kinds of narrow spaces they'd be able to access with a real body rather than a simple collider shape. Just being able to access these areas, and in addition, the sense of space they'd get from having to turn sideways and inch along, would make them feel more involved with the physical environment, more present in the game world. I've often thought it would be a lot of fun to explore these kind of claustrophobic spaces, everything fr
  16. Yes, I have a razer mouse, but I did not have any other razer software installed before installing surround / synapse. I also have win7 64. Whatever, do what you want, of course. I figure I would be doing everyone a disservice if I didn't warn you about what happened in my case. I hope razer surround does not cause you any problems.
  17. This sounded like a great idea to me too, so I installed razer surround. I regret it. First, understand that in order to use razer surround, you need to be running the other program bundled with it, razer synapse, and you need to be logged into a razer account for "game settings in the cloud" (that's already a red flag for me, but not the worst part.) At seemingly random moments, the sound would cut out altogether as stop working entirely until I restarted. Also, the price you pay for simulated surround sound is worse fidelity - the sounds seem flatter, and my system sounds would sometimes
  18. Those all sounds like great ideas, and I think they'd make the game better. With the possible exception of the backward speed decrease. Having done a fair amount of sparring in unarmed martial arts, as well as LARP-style, padded-PVC swordplay, I've discovered that backing up and staying out of range is a perfectly viable defensive tactic. That is, assuming you don't run out of room. In TDM, I think it's appropriate for the thief to be an artful dodger, but if that absolutely has to be nerfed, I think there's a better way to do it than restricting movement, which makes the controls feel le
  19. Thank you AluminumHaste, for showing me how it's done. This makes the whole game more fun. After adopting your tactics for combat, not only is combat itself more palatable, but stealth also takes on a different, more immersive feel. Due to the fact fighting is now faster and more dynamic, I'm more willing to fight when cornered instead of reloading. And this willingness to fight means the enemies themselves seem more threatening, even when they haven't seen me, because if they do see me, they might kill me, instead of just boring me into reloading. I really hope you guys don't decide to
  20. Combat in TDM feels broken to me, not because it's too easy or too hard, but because it's too simple, and at the same time I don't feel like an active participant in the outcome. My typical fight goes like this: guard attacks, I block, I attack, guard blocks, guard attacks, I block, I attack, guard blocks, guard attacks, I block, I attack and hope the AI decides not to make the guard block this time because I'm getting bored, guard blocks, guard attacks, I block, I attack and start to get exasperated, guard blocks of course, guard attacks, I fuck up the block and get hit (me: "Very good, you
  21. What does "essentially" mean in the context of the previous sentence?
  22. My 2 cents, for what it's worth. It seems to me, the realistic behavior would be: The AI sees a door swing open, by any amount (fully open or just a crack.) If they didn't see someone open it, they watch to see if anyone comes through. If they're walking and the door is non-suspicious, they look at it for as long as they can (when they can't twist their neck far enough any more, they look away.) If they're not walking or the door is suspicious, they stop and look at it for as long as it takes to determine what to do (see below.) If someone they expect comes through the door (anyone oth
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