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The script changes standard weapon behavior and you think it's not needed to inform the player?

Good question. Maybe because I don't feel myself too guilty breaking these missions? Maybe because I know that fixing them will be a long story. And I feel confident that we (or more likely I ) will be able to fix all of them by 2.13. You might have noticed that I have also enabled two behavior changes in the latest build (1 2). In these cases it is not even mappers' fault that behavior change is needed. I have a script which can update all missions at once so that they work properly both in 2.12 and dev builds. But somehow I feel I should wait for at least some feedback on the new behavior before doing a massive change to dozens of missions.

Probably something like: $player1.setImmobilization("missionspecific", IM_ATTACK); ... $player1.setImmobilization("missionspecific", 0); No idea whether it works or not --- maybe it blocks using weapons, maybe also wielding them.

If i am shamelessly advertising my project here then please let me know! I would like to drop you a video of my 11 months project. You can of course do what ever you want but please keep in mind the following. I dont actually thing that either thief 1 or 2 or 3 are great games. I think they are fantastic but i am not into them fully. I feel like they are too long, unfocussed and i find it a bit to subtle. I am making my own thing here but i am trying to not derive to heavy of thief. Please respect my wish todo my own thief. With love, F.

I just stumbled across this comment from @stgatilov and was wondering if the GUI-based debrief was implemented. Turns out is wasn't, so consider this an official feature request My own requirements aren't terribly complicated - just the ability to either: display a page or pages similar to the briefing show just a custom image (e.g. a newspaper article or something) display a readable like in the game (again the newspaper example works here). Not sure if it should display before the stats screen or after? I've only put about 2 minutes of thought into this, so I imagine others will have more to add. Also, I'm scared of working with GUI files, so making it as simple as possible would be great (especially if it's just to display an image).

If it really crashes, then you can record crashdump and send it to someone with debugger. This often allows to learn what is wrong (but not necessarily where is the error).

Hello @Filizitas first of all : i fell in love to your Avatar and i wish you all the best for now and the future it´s more than a year ago - i discovered you where doing some special stuff - but i´ve not been in the forum for a long time in between . the last days i had a closer look to what you're doing ! and WOW immediately I looked for your downloads and immediately looked into them - wonderful but now there are 2 questions : 1. what happened to the german version in Delightfyl v.0.0.7.6 ( it seems v.0.0.7.5. is not anymore to download) 2. how to save in last linked Project (Project-SITN.exe) herzliche Grüße bissous Bergante

Alright, so, I'm a Texture Artist myself for more than 20 years, which means I know what I'm talking about, but my word isn't law at all, remember that. I've worked (mostly as mods, I am a professional but I much prefer being a freelance) with old DX8 games up to DX12. When it comes to Detail Textures, for my workflow, I never ever use it except rarely when it's actually good (which, I emphasize on "rarely"). This is one reason I thought mentioning that I worked with DX8 was logical. One of the few times it's good is when you make a game that can't have textures higher than what would be average today, such as, World Textures at 1024x1024. Making detail textures for ANY (World, Model) textures that are lower than 128x128 is generally appealable. Another is when the game has no other, much better options for texturing, such as Normal Maps and Parallax Mapping. Personally, I think having Detail Textures for The Dark Mod is arguably pointless. I know TDM never had a model and texture update since 2010 or so, but most textures do seem to at least be 1024x1024, if there's any world texture that's lower than 256x256, I might understand the need of Detail Textures. Now, if this was a game meant to be made in 2024 with 2020+ standards, I would say that we should not care about the "strain" high resolution textures add, however, I do have a better proposition: Mipmaps. There are many games, mostly old than new ones, that use mipmaps not just for its general purpose but also to act as a "downscaler". With that in mind, you boys can add a "Texture Resolution" option that goes from Low to High, or even Lowest to Highest. As an example, we can add a 2048x2048 (or even 4096x4096) world texture that, if set to Lowest, it would use the smallest Mipmap the texture was made with, which depends on how the artist did it, could be a multiplication of 1x1 or 4x4. One problem with this is that, while it will help in the game with people who have less VRAM than usual these days, it won't help with the size. 4096x4096 is 4096x4096, that's about 32mb compressed with DXT1 (which is not something TDM can use, DXT is for DirectX, sadly I do not know how OpenGL compresses its textures). I would much rather prefer the option to have better, baked Normal Maps as well as Parallax Mapping for the World Textures. I'm still okay with Detail Textures, I doubt this will add anything negative to the game or engine, very sure the code will also be simple enough it will probably only add 0.001ms for the loading times, or even none at all. But I would also like it as an option, just like how Half-Life has it, so I'm glad you mentioned that. But yet again, I much prefer better Normal Maps and Parallax Mapping than any Detail Textures. On another note...Wasn't Doom 3, also, one of the first games that started using Baked Normal Maps?

When talking about a possible libre version of TDM (https://forums.thedarkmod.com/index.php?/topic/22346-libre-version-of-tdm/) it seems we believe all media/gamedata included in TDM is licensed CC-BY-NC-SA. I am not familiar with how the process of adding new media/gamedata works today; I have seen files uploaded to the bugtracker which developers then commit to SVN, but I don't know if there are other ways. It may be a good idea to implement a process that when new components (media/gamedata included in TDM) are added, the contributor is asked to be explicit about the license (a choice which may defaults to their previous preference, for usability). It won't fix the past, but it may help in the future. This will make it easy for contributors to add future data under a more permissive license if they choose. Libre media can be added and its license can be tracked, rather than assumed to be CC-BY-NC-SA. I suggest looking at how Wikimedia Commons has implemented this: the contributor state the source and license at the time the data is uploaded. This can be done either by providing urls or by saying "It's my work and I choose this licsense". The first step could be to add a way to keep track of each filepath in SVN, author, license, sources. Start by setting the value for each file's license to "(default/legacy CC-BY-NC-SA)". Possible implementations for a user interface for new additions are: * Use our own wiki, which runs Mediawiki (same as Wikimedia Commons). I see several benefits of this, but we also need a way to accept uploads of batches, not just single files. * Look at how other open source projects have solved this. There may be more appropriate solutions available. ... but I'll leave the implementation open. Suggestions are very welcome! If the author of each file already in SVN can be tracked, then it may be possible that the author is willing to give a blanket permission for all their past files in one statement, and all their files in SVN can be updated in one commit. A productive contributor willing to release some of their work under a more permissive license could make a big change. If Dark Radiant would support letting mappers search media/gamedata by license (does it already?), it would make it easier for mappers to create a completely libre mission, which would help facilitate a TDM-libre release. If I understand things correctly. This post does not address all details and it may contain misunderstandings or assumptions, but it's a start. Also relevant: * Is there a compiled and maintained list of recommended or deprecated resources for mappers to use? * https://forums.thedarkmod.com/index.php?/topic/20311-external-art-assets-licensing/

Ah, pity I wasn't reading the forums back in February. I'm fond of that game, along with Bugbear's other early title, Rally Trophy. I was never too good at FlatOut, but it was always a hoot to play.

Found the White Flash Hex Value but not the one for the Shroud effect. I'm playing the Epic Version.

A famous painting is on display at the local museum. Steal it, of course! ------------------------------------------------------------------------------------ An update, version 2, is now available: https://www.dropbox.com/s/ciesyfcqu1ct6pj/nowandthenv2.pk4?dl=1. This fixes many of the problems found by those who played version 1. Besides general clean up, the primary goal of this version is to Special thanks to Bikerdude, whose did a quick beta test of this version and whose suggestions I mostly (but not completely) implemented. ------------------------------------------------------------------------------------ Title: Now and Then Filename (version 2) : nowandthenv2.pk4 (download) Author: joebarnin Date of release: 08 September 2020 (Version 2: 25 January 2021) Version: 2 EFX: Yes Requires: TDM 2.08 Author: joebarnin Custom ambients: JackFarmer Gameplay notes Thorough investigation is encouraged. Scary AIs: No spiders, skeletons, undead, or ghosts. One live rat and one dead one. Makes use of the 'peek' ability, allowing the player to peek through a keyhole by leaning forward. The use of this ability is optional (it is never necessary resolve the mission). Thanks to: Beta Testers: Cambridge Spy, thebigh, JackFarmer, Amadeus, Kerry000, wesp5 Voice actor: Mike Components: Builder Compound models & textures - Peter Spy (dr.judym81@gmail.com) Museum painting lights - Grayman Gramophone with record - Goldwell & Epifire Custom ambients - JackFarmer Main menu screen & music - JackFarmer Ambients - Orbweaver Many many modules - Springheel https://freesound.org/people/LucasDuff/sounds/467697/ https://freesound.org/people/humanoide9000/sounds/422245/ Thanks to Springheel, Sotha, and Fidcal for their tutorials. I keep going back to them and I always learn something new. Notes Slight spoiler: Fun fact: I have released 3 missions, each almost exactly one year apart: Mission of Mercy - September 14, 2018 The Heart of St. Mattis - September 10, 2019 Now and Then - September 8, 2020. Not by design, it just worked out that way. So I guess look for my next mission in early September next year! Hints (contains spoilers)

That's what we originally did, but mappers (or at least one mapper) complained in bug 6062 about the spawnargs disappearing if they were the same as the sound shader. I suppose we could have considered that "not a bug" and kept the original behaviour, but perhaps there are situations where the old behaviour was problematic — there would be no way to distinguish between "this speaker has default radii from the shader" and "this speaker has fixed radii which happen to be the same as the shader but must not change, even if the shader is edited". I don't know how common such a situation is in practice. Correct, but the freezeTransform method is called after the end of any transformation, and does not distinguish between what type of transformation was previously happening. I imagine resizing the speaker to the same size as the shader would also have triggered bug 6062, but speakers are resized less often than they are moved and hitting an exact size with the mouse would be rare, so the issue was only noticed when moving speakers. That's what I'm confused about. I have yet to see any situation in which DR will set a max distance of 0 on a sound shader, other than by explicitly editing the spawnarg to have a "0" value.

There's been talk over the years on how we could improve texture quality, often to no avail as it requires new high-resolution replacements that need to be created and will look different and add a strain on system resources. The sharpness post-process filter was supposed to improve that, but even with it you see ugly blurry pixels on any nearby surface. Yet there is a way, a highly efficient technique used by some engines in the 90's notably the first Unreal engine, and as it did wonders then it can still do so today: Detail textures. Base concept: You have a grayscale pattern for various surfaces, such as metal scratches or the waves of polished wood or the stucco of a rough rock, usually only a few highly generic patterns are needed. Each pattern is overlayed on top of corresponding textures several times, every iteration at a smaller... as with model LOD smaller iterations fade with camera distance as to not waste resources, the closer you get the more detail you see. This does wonders in making any texture look much sharper without changing the resolution of the original image, and because the final mixture is unique you don't perceive any repetitiveness! Here's a good resource from UE5 which seems to support them to this day: https://dev.epicgames.com/documentation/en-us/unreal-engine/adding-detail-textures-to-unreal-engine-materials Who else agrees this is something we can use and would greatly improve graphical fidelity? No one's ever going to replace every texture with a higher resolution version in vanilla TDM; Without this technique we'll always be stuck with early 2000's graphics, with it we have a magic way of making it look close to AAA games today! Imagine being able to see all those fine scratches on a guard's helmet as light shines on it, the thousands of little holes on a brick, the waves of wood as you lean into a table... all without even losing much performance nor a considerable increase in the size of game data. It's like the best deal one could hope for! The idTech 4 material system should already have what we need, namely the ability to mix any textures at independent sizes; Unlike the old days when only a diffuse texture was used, the pattern would now need to be applied to both albedo / specular / normal maps, to my knowledge there are shader keywords to combine each. Needless to say it would require editing every single material to specify its detail texture with a base scale and rotation: It would be painful but doable with a text injection script... I made a bash script to add cubemap reflections once, if it were worth it I could try adapting it to inject the base notation for details. A few changes will be needed of course: Details must be controlled by a main menu setting activating this system and specifying the level of detail, materials properties can't be controlled by cvars. Ultimately we may need to overlay them in realtime, rather than permanently modifying every material at load time which may have a bigger performance impact; We want each iteration to fade with distance and only appear a certain length from the camera, the effect will cause per-pixel lighting to have to render more detail per light - surface interaction so we'll need to control the pixel density.

This is how i18n typically works in code: Developers write the strings in English (or their native language), but mark all the strings with a function/macro which identifies them for translation. In C++ this might be _("blah") or tr("blah") — something which is short and easy to write. A tool (which may be integrated into the build system), extracts all the strings marked for translation into a big list of translatable strings. This list is then provided to the translators, who do not need to be developers or compile the code themselves. They just create a translation for each listed string and send back a file in the appropriate format (which may or may not be created with the help of translation tools, perhaps with a GUI). At runtime, the code looks up each translatable string, finds the corresponding translated string in the chosen language, and shows the translated version. At no point do developers (who in this case would be mission authors) have to mess around with manually choosing string IDs. All they do is use the appropriate function/macro/syntax to mark particular strings as translatable. String IDs may be used internally but are completely invisible to developers. I suggest that any system that involves instructions like "search the list of known strings for a similar string" or "manually choose a string ID between 20000 and 89999 and then write it as #str_23456" are over-complicated, un-ergonomic and doomed to be largely ignored by mappers.

Mission: "The Elixir" Reading: Lady Barrington's Diary I checked the mission thread, and nobody else seems to have issues. 2.11 Well, now I found a thread already existed. I can't find a way to erase my topic, so please do so freely. Looks like a hopeless bug. Luckily it is rare.

Hello, all. This thread is meant as a follow-up companion piece to my previous thread listing royalty-free music by Kevin MacLeod that could be usable for new missions for The Dark Mod. In this thread, I take a slightly different approach. Instead of focusing on one author and his royalty-free music, I'll be writing an ever-expanding list of songs, compositions tracks and ambients by various musical artists that could come in useful for mission makers working on FMs for TDM. Aside from ambient music for background atmosphere, I'll also be listing some historical music and compositions from the real world's ca 14th-17th century that are in the public domain and could be used as background music in your missions, provided that someone does a royalty-free recording of them (i.e. not released on some payed-for album, but at most a royalty-free album or online collection/archive). Please note that, though I will try to provide you with links to royalty-free versions of historical compositions in particular, I sometimes might not be sure of the status of some of these recreations/recordings and you'll have to snoop around for their royalty-free status on your own. However, if you do confirm that, e.g. some freelance artist recorded a well-known 16th century piece of music, and is giving it away royalty-free, possibly with the only necessity being attribution, then please let me know and I'll include any download links and the details concerning necessary attribution. Thank you ! And now, it's time to begin... ---- Royalty-free ambients As in "free to distribute and use (though possibly with attribution)", not necessarily "free of the TDM universe royalty". Free Music Archive (FMA) From his particular website, I'll only be including tracks that have broad Creative Commons licenses or free licenses, and tracks that are suited to both Non-commercial and Commercial use. In other words, largelly CC BY 4.0 and CC BY 4.0 Deed. It's better to search for ambients and tracks that are more lenient with their licenses. Lee Rosevere - All the Answers - Awkward Silences (B) - Baldachin - Betrayal - Compassion (keys version) - Delayed Reaction - Edge of the Woods (kind of too modern sounding in parts, but maybe you could find a use for it á la some of the old grungy-sounding ambient tunes in Thief) - Expectations - Everywhere (sounds like a calm but moody mansion ambient to me) - Gone - Her Unheard Story - It's A Mystery - Not Alone - Old Regrets - Reflections - Slow Lights - Snakes - Something To Fill The Space - Thoughtful (especially the first half to first two thirds, before the more electronic beat kicks in) - The Long Journey - The Nightmare - The Past - Time to Think - Under Suspicion (maybe the bit between 2:26 and 2:48 would be the best for a tension sting, the rest sounds a bit too modern spy-fi for the TDM setting) - What's in the Barrel ? - You're Enough (A) - Maarten Schellekens - A Bit of Discomfort - Daydream - Deliverance - Free Classical Theme (arguably more like for an SF film with classical music portrayed electronically, but not bad) Salakapakka Sound System - Aiti, joku tuijottaa meita metsasta - Holle - Kadonnut jalkia jattamatta - Privatomrode i Vasteros - Syttymissyy tuntematon 1 - Syttymissyy tuntematon 2 Sawako albums - 098 (ambient for background humming and buzzing, perhaps machinery, electricity, industrial ambience, etc.) - Billy Gomberg Remix - If You're Ther (odd city ambience, between moody music and city background ambience, mild background thumping) - Lisbon ambience (maybe usable as background ambience in some mission set at a more Mediterranean city) - Mizuame (Sawako Sun) (could work as ambience for a larger baths or spa hall, with the sound of water, and human voices occassionally heard in the background) - November 25, 2007 - Snowfall - Spring Thaw - Tim Prebble Remix - UNIVERSFIELD - A Beatiful Sky (this track would actually be good for a church or cathedral interior) - A Calm Soulful Atmosphere For A Documentary Film (calm but somewhat mysterious ambient, reminds me of some of the Dishonored ambients) - A Grim Horror Atmosphere - A Music Box With A Tense Atmosphere - Atmosphere for Documentaries (rather suspensful ambient with an undertone of woodwind instruments) - Background Horror Tension - Beautiful Relaxing Ambient (a calmer ambient that's good for a location with some degree of grandeur or one that provides relief to the player) - Blood-chillingly Creepy Atmospheres - Bloody - Cloaked in Mystery - Corpse Rot - Crime City - Dark Background - Deep Space Exploration (has a nice atmosphere of mystery and exploration) - Drifting in Harmony (calm but suspensful ambient) - Embrace of the Mist - Exoplanet (mysterious ambient, could work for various environments) - Exploring the Cursed Cemetery (short, fifteen second tension sting with piano) - Evening Meditation In The Open Air (could work for a number environments during evening hours) - Fading Memories - Gloomy Atmosphere for Documentaries - Gloomy Reverie - Grim Atmosphere - Horror Atmosphere (Version 2) - Horror Background Atmosphere 6 - Horror Background Atmosphere for Horror and Mystical - Horror Background Atmosphere for Scary Scenes - Horror Background Atmosphere for Suspensful Moments (1) - Horror Background Atmosphere for Suspensful Moments (2) - Horror Dark Atmosphere (Version 1) - Horror Music Box - Intergalactic Ambience (good calm theme of mystery and wonder) - In the Embrace of Darkness - Mars (suspensful ambient for a suspensful location, with a metallic undertone in its melody) - Meditation in Nature (aside from outdoor environments, could work in a number of other environments as well) - Melodies of Fear - Midnight Secrets - Mild Heaven (a calm ambient, maybe could work for night time city streets and city rooftops) - Moment of a Dream (suspensful theme, hopefully not too electronic in undertone) - Mysterious Passerby - Mystery Atmosphere - Mystery Horror - Mystery House - Mystical Dark Atmosphere - Nebula Soundscape (sounds like a good ambient for outdoor or cave environments or maybe even churches and city rooftops) - Ominous Criminal Atmosphere - Sad Emotional Piano for Documentary Films - Scary Dark Cinematic For Suspensful Moments - Scary Horror Atmosphere - Sinister Mystery - Sinister Piano Melodies (short, fifteen second tension sting with piano) - Siren's Call (I feel this one has more limited uses, though maybe it could work for suspense in an industrial environment) - Soothing Serenade (calm, soothing ambient, with a slight hint of mystery, could work for several types of environments) - Soothing Soundscapes (calm, soothing ambient, with a slight hint of mystery, could work for several types of environments) - Spooky Hallway - Suspense Atmosphere Background - Tense Dark Background - Tense Horror Atmosphere - Tense Horror Background Atmosphere - The Box of Nightmares - This Sunset (good for an evening or night time ambient, even includes subtle cricket chirping sounds) - Tropical Escapes (good for an outdoor environment with a waterfall, flowing stream or falling rain) Many of these tracks by UNIVERSFIELD are quite short, about a minute or slightly under a minute, but good as tension-building themes or as suspensful ambients. ---- Historical background music - lute and similar string instruments La Rossignol ("The Nightingale"} - a Renaissance era piece, anonymous composer. This one was written as an instrumental duet for two musicians. So, if you'd use this for a scene of AI characters playing their instruments, you should use two such characters for added believability. Here's what the composition sounds like when played as a duet on: - lute (obviously the most medieval/Renaissance instrumentation) - acoustic guitar (example 1) and acoustic guitar (example 2) - 11-string guitar what it sounds when played as a duet on an 11-string guitar - licensed album version (presumably lute) If you find any royalty-free version in good quality, let me know. Lachrimae ("Tears", sometimes known as "Seven Teares") by John Dowland - another Elizabethan era piece, by a 16th-17th century composer. Various reconstructions: - on lute (example solo performance at the Metropolitan Museum) - on lute, with vocal accompaniment (lutist and female soprano) - on lute, violas, and other (six musician ensemble performance) - on viola da gamba (five musician ensemble performance) Lachrimae Pavan ("Teary Pavane / Pavane of the Tears") by John Dowland - a variation on the previous composition, for the Renaissance pavane style dance. Various reconstructions: - on lute - on acoustic guitar (example 1), (example 2), (example 3) Again, I'd like to find a royalty-free version of these two compositions. Frog Galliard - one more by Dowland, for now. Another composition for a Renaissance dance style, the galliard. Reconstructions: - on lute (solo performance) - on lute, deeper sound (solo performance) - on acoustic guitar (example 1), (example 2), (example 3) Royalty-free version would be appreciated. Greensleeves - by an anonymous 16th century author, quite possibly a folk song of the era. Trust me, you know this one, even if you don't know the name. It's one of the most well-known bits of Renaissance secular and courtly music in the popular imagination. (Trust me, it's been referenced in everything. Even the first Stronghold game from the early 2000s had an in-game character sing a made-up ditty to the tune/melody of this song.) Reconstructions: - on lute (solo performance) - classical guitar (solo performance) - acoustic guitar (solo performance) I bet there's a royalty-free version of this one somewhere. I'll snoop around, and if you find one before I do, let me know. In taberna quando sumus ("When we are at the tavern") - anonymous period song from the 14th century, of Goliard origin. Written and sung entirely in Latin (so if you can explain Latin within the TDM setting or use only an instrumental version, go for it). An unabashed drinking song, you could use this for more rascally Builder priests/monks or for various commoners and lower-ranking noblemen while they're having a good time at the inn. A pretty well-known song even nowadays (though the most famous melody for it might be the more recent arrangement). Reconstructions: - example performance 1 - example performance 2 Again, an entirely royalty-free version of this one could come in handy. Historical background music - by Jon Sayles Jon Sayles is a musician who runs the Free Early and Renaissance Music website. His recordings are in .mp3 format (so you will need a conversion to .ogg) and Sayles has made them all freely available. The instrument he used for his musical reconstructions is the classical guitar. Some examples of Sayles' reconstructions of period music by anonymous or known authors: Saltarello, based on the late-medieval and Renaissance dance tune from Italy Madrigal by Anthony Holborne Al fonsina by Johannes Ghiselin Ich weiss nit by Ludwig Senfl So ys emprentid by John Bedyngham, mid-1400s Riu, riu, chiu, famous 15th century Spanish Christmas carol Fantasia, by Orlando Gibbons, late 16th and early 17th century Die Katzenpfote, German-speaking lands, anonymous author, 15th century A gre d'amors, 14th century, anonymous French author Nightengale (unrelated to La Rossignol), by Thomas Weelkes El Grillo, 15th to early 16th century composition by Josquin des Prez The Witches' Dance, by anonymous, Renaissance English composition Ma fin est mon comencement, by 14th century composer Guillame de Machaut In Nomine, late 15th and early 16th century composition by John Taverner Ricercare ("ricker-caré", nothing to do with rice or care), by Adrian Willaert Fantasia by Thomas Lupo, 16th-17th century English composer The Nite Watch, composed by Anthony Holborne - appropriate for TDM Plenty more where these came from... Historical background music - from the A-M Classical website This website offers plenty of freely available, royalty-free .mp3s of early and classical musical compositions and instrumental songs. The only thing you need to do is provide attribution, as everything on the site is via a Creative Commons license (this is noted on every page). Counting Christmas songs from the Middle Ages and Renaissance alone, I was able to download loads of them already years and years ago. Though they're far from epic recordings, if you're just looking for a competently done free version of these compositions, this is an excellent site. A few examples of medieval music from the A-M Classical site: Angelus ad Virginem (played quietly on organ), Diex soit en cheste maison by Adam de la Halle (organ and other instruments), Greensleeves (this is for a carol version of the lyrics, but the melody is the same as standard Greensleeves) Historical background music - by Vox Vulgaris The Swedish band/ensemble Vox Vulgaris aren't very active nowadays, but they did plenty of early music recording in the early-to-mid 2000s. From what I've read about their song releases, they're okay with others using the songs from their 2003 album and other material they've done. I don't know if their website is still around (there's an archived version) and whether you can still contact the band members, but if you'd like to be extra sure and ask, go ahead. I don't think they've changed their copyleft stance to their own works, but it pays off to be sure. So, here are some of VV's own takes on period music: Cantiga 166 - based on the eponymous song (full title "Cantiga 166 - Como póden per sas culpas (os homés seer contreitos)"), by Spanish composer Alphonso X from the 13th century (yes, king Alphonso X ! They didn't call him Alphonso the Learned for nothing). To provide you with a point of comparison, here, here and here are versions by other artists. (If I remember correctly, this particular VV song was also used by moonbo in his Requiem FM, as part of an inn's muffled background music. I did a real double-take when I played the mission for the first time and recognised it.) Cantiga 213 - based on the eponymous song (full title "Cantiga 213 - Quen sérve Santa María, a Sennor mui verdadeira"), again by Spanish composer, king Alphonso X from the 13th century. To provide you with a point of comparison, here and here are versions by other artists. Saltarello - based on the well-known melody for the Italian late-medieval Renaissance dance, the saltarello (also the saltarello trotto specifically in this case). To provide you a point of comparison, here and here are versions by other artists. La Suite Meurtrière - I can't quite source this one, it might be their own original composition, though "in the style of" some particular period music. Rókatánc (Fox Dance) - this is a really wild bit of period dance and festive music, possibly Hungarian-inspired, given the name. I think this would fit both a tavern environment or some public event for the nobility and patricians, including an armed sparring tournament or similar. Final note from me New suggestions are always welcome as I expand this thread. For any suggestions concerning Kevin MacLeod's royalty-free music, please use the other thread I've already made, purely for listing MacLeod's stuff.

The Megatextures concept predates idSoftware. It even predates hardware accelerated 3D in consumer graphics. The problem it solves is managing image diversity. It is well suited to photogrammetry where almost nothing is repeated \ tiled. It is not well suited to human texture artists because even the most perfectionist ones are going to use some sort of template that they repeat and thus it is a waste to store the resultant work as unique pixels rather than tiles.

Megatextures were a horrible idea for obvious reasons, not sure why ID chose to learn that the hard way. The concept from what I remember is the whole map uses a single gigantic texture... instead of how we independently pick a couple of 1024 px brick materials for a few brushes and surfaces, the whole map acts as one model with one material and a single texture which probably needs to be 1 million x 1 million pixels even for a small level. This is ridiculous from a perspective of system resources with 100's of GB's of storage and huge (v)RAM requirements and hours of loading time, as well as raising the skills required for level editing since you now need mappers to also be texture artists and sculpt / paint their levels instead of just placing stuff. The only thinkable benefit is there's no repetition since every pixel on every part of the world is unique, but who notices any similarity with independent texturing if it's done right anyway? Detail textures have yet another advantage there: Since you scale the pattern independently on top of the original texture, you can make every surface appear as if it has unique pixels like megatextures. Hence why I'd advice having the details be very high-res, 4k or 8k even 16k if we can take it: Yes that's enormous, but remember we'd only have a few patterns probably no more than 15 in total, and can store them as grayscale then use a single image to modify both albedo / specular / normal (heightmap to normalmap): Map the detail in world space rather than the brush or model UV map, and the resulting pattern on every surface in the world will always be unique since the original and detail textures will be out of sync.

Then your experience is different than mine. I just recently downloaded a very old mission, The Outpost, that is listed as having German, French, Italian translations, to test out language capabilities. It was not converted (no "#str" found in .map file). Nor was there a language pack included (at least not from thedarkmod downloader).

Yet another breaking change, I'm afraid: 6346 Sounds have a bunch of parameters: minDistance maxDistance volume shakes soundClass The base value for each parameter is set in sound shader. However, it can be overridden with a different value in spawnargs (e.g. "s_volume" "-10") or in C++ engine code with SetSoundVolume (used extensively for footsteps). Unfortunately, Doom 3 engine has a special case: setting some parameter to zero means it will not override the base value. So there is no way to override sound volume with 0, because setting zero would mean "use value from sound shader", while setting 0.1 or -0.1 would mean "use volume = 0.1 or -0.1". This behavior causes confusion. It is especially bad when volume is set programmatically, because e.g. volume of player footsteps is computed as a sum of many modifiers (run, crouch, creep, in water, etc.) and it is hard to be sure you don't get zero sum in the end. The idea is to fix this mess and add a "don't override" special value in the system. Speaking of spawnargs, it would work like this: "s_volume" "13.4" = override with value 13.4 "s_volume" "0" or "s_volume" "0.0" = override with zero "s_volume" "" (empty string) = don't override Right now there are tons of zero values set in these spawnargs. It is not clear where the author intended to override with zero, and where he wanted to drop inherited override and use base value. I guess for compatibility reasons I'll have to replace spawnargs "s_volume" "0" with "s_volume" "" in all missions.

Hey I just wanted to create a Thread where everybody can post his improvement wishes. I Personally love this mod. There are so many features in it, and because it is a mod created by a community, why not write what could be improved. My wishes are: Some special weapons. I loved T2X and the variety of weapons. Some really hard to find special weapons, like the confusion arrow or a special bomb would be cool. But they have to be very special, for example as a result of a side quest - or maybe a usable torch for easier killing the undead More enemies, I think there will be an improvement, we just got spiders and zombies, but a higher variety is always good. More (custom) conversation. Thats one of the main parts I'm missing - so much flair and atmosphere is getting lost without them. Also some comments from he main charakter would be nice. For example when a guard gets knocked out "hah, now who's the taffer" ... better AI when the hear a voice. They start looking for you, but most of the time I just sneak into another room or a higher area and just have to wait, they should at least get someone with a torch or call other guards for help These are only small parts of the game which could be improved and are only my points of view, maybe it's either not possible to create or it fits not in the design of TDM.

ok so after getting myself a rtx 3070 im left with a bit of a wonder about all the fud on the net. elitist users claim the 3070 cant do 4k (debunked it handles 4k just fine but you need to lower the texture resolution in some titles to not overshoot the frankly rather low amount of vram -> 8 gb). some back and forth on the 2080ti some claim that the 3070 is faster while others claim the 2080ti is. (from my own experience the 2080ti is a bit faster in 4k while the 3070 is a bit faster in lower resolutions). if you play exclusively in 4k go for the 2080ti -> reason it has more vram 11gb vs 8gb this might not sound like a huge deal but the extra 3gb helps a lot with ultra high texture resolutions. debunked (claims that the 3070 uses newer dlss features, it does not. the 2080ti supports the exact same dlss features that the 3070 does, it even supports dlss 3 minus the framegen feature. some claims the 3070 uses newer tensor cores which are faster, well is they are i dont see it... the 2080 ti has 4 times the amount of tensor cores compared to the 3070 while the 3070 has around 1000 more cuda cores hmm ???). the real reason i think the 3070 got so popular is that it delivered close to the same performance of the insanely overpriced 2080ti, i cant fault people for that choice but i would like some realism in the comparison and not something based on just the price. the 2080ti was a highend card back when it was new while the 3070 is a mid range card at half the price of the 2080ti with at least comparable performance but lacks enough vram to play all titles at 4k with everything cranked to the max. playing hzd forbidden west on the 3070 atm in 4k with everything on max except texture resolution which i have on high and i get > 80 fps with the framegen mod and around 45 fps without it (dlss is flaky in this game though), the 2080ti in the same game in 4k gets around 100 fps with the framegen mod and 55 fps without it with texture resolution at the highest setting).

The diffuse maps blend as expected, but the bump maps just appear over the entire model regardless of the vertex colour. This looks terrible, especially when blending between dissimilar surfaces (for example grass and a cobblestone path). You end up with cobblestone bump over the entire grass area as well as the path.