Free content package?

[m0d hippY]

wenden sie sich bitte in Englisch

[211476]

Zweiter Weltkrieg it means WW2

[tourist-tam]

OpenAssault sounds good to me.

I thought about a name all night (10:15 am here) and I came up with 2 other name:

Days of Glory and Dogs of War (the second is my favorite):

Dogs of War is a great pink floyd song
Dogs of War is the title of a music on the soundtrack of MoH:EA
Dogs of War means mercenaries in some (foreign languages)
Dogs of War is a great war film with Christopher Walken (with Wild Goose)

I can't think of other reasons off the top of my head.

Still OpenAssault is certainly more meaningfull here.

Regards,

Tam

[Rookie One.pl]

I've made a poll for the name.

[211476]

You know what. I want to start building the weapons

[211476]

Where are we gonna get the voice actors, weapon sounds, I don't know too many people who own M1 Garands

[m0d hippY]

Just use stock noise, or you can try to pull them from different games :S
(actually that may not be too good to do) Use stock!

[211476]

Shouldn't it start from scratch? Using the MOHAA sounds might get it into legal issues, unless you ask permission.

I had an idea for the game, add a multiplayer campaign, where you can play single player levels online with others against bots.

[m0d hippY]

I see what you're saying, but we're not ripping stuff from MOHAA, we're just using what we already have to work with.

Remeber this project & engine is coded from scratch. Offcourse we're using ioquake3 as the base, but our engine is made to load the existing MOHAA pk3 files.

So instead of replicating MOHAA sounds that are already obviously in the game you can simply link the existing sounds to those new scripts.

Incase you're not following

Say I have an existing sound in pak0.pk3 -> sounds (bar.mp3)

I create a new weapon called the supremempx and I want it to sound like the bar, instead of replicating the bar.mp3 file we would simply link our gun to pak0.pk3->sounds\bar.mp3

Makes sense?
This way all of OUR work is original, and we're not copying or replicating any of 2015's\EA's work were simply linking to existing files. It's like any other mod. Now if you want to create custom gun sounds, that's a different atory. I'm not sure how you would get an authentic sound from a gun unless you knew how one sounds or if you had some way of recording it.

add a multiplayer campaign, where you can play single player levels online with others against bots.

I've had that idea for a long time, but AI is definitely something that doesn't come easy. Even with the Q3 SDK. If we can get AI to work, then our engine will also have the potential of supporting single player campaigns, and if we get that far then we may work something out, but once again this is all just future talk for now. We still need to focus & finish up the multiplayer portion of the engine. Obviously we got it to run & load fine, but we still need to figure out how to load all the scripts, models, UI & the networking code.

[Rookie One.pl]

No, Hippy, you don't get it. We cannot use stock MoHAA sounds! This is supposed to turn into a stand-alone game someday, all the sounds must be done from scratch. I say again, ALL THE MEDIA MUST BE DONE FROM SCRATCH FOR THIS PROJECT. Otherwise it makes no sense whatsoever.

[tourist-tam]

About the AI, the quake3 bots are using a sort of waypoint that is extremely limited as it works mostly in 2D. That's what came out after an exchange of email with the creator of brainworks (quake3 bots). I still like the idea of the campaign. Maybe it should be seen in the way RtCW:ET implemented this idea.


Tam

[jv_map]

That sounds unlikely . Aren't q3 bots highly praised for their bspc system? Besides q3 is a much more 'vertical' game than mohaa, it would be silly were the bots pseudo-2d

[tourist-tam]

here is the email I was talking about:

Quake 3 bots actually use AAS, or Area Awareness System. Basically
the entire map is divided into convex sectors and during the map's
compile time, it computes what movement methods it can use to get from
one sector to another. For example, "You can get from A to B by
jumping down, B to C by walking, and C to A via a jump pad. But you
can't move from B to A directly." So technically it does not use
waypoints at all, the way most FPS games are designed.

Without serious modifications to the code and recompiling all maps,
you can't really change this. The big problem with AAS is that the
algorithm to compile it just doesn't work well for maps that aren't
flat, two dimensional. The algorithm has a really hard time with
anything in the third dimension, and often has flat out mistakes in
where you can and cannot go.

The other issue is that the AAS does not take momentum into account.
For example, maybe you can jump from pillar A to pillar B, but only if
your momentum at the time of the jump is between 150 and 400 units per
second, facing north. On maps like q3dm6, you can see bots fail
pillar jumps expressly because they don't know how to obtain enough
momentum to make the jump, because the AAS doesn't tell them.

The short answer is that for BrainWorks, I just used the AAS as best I
could, and tried to patch the glaringly bad issues that cropped up.
But there isn't much I could do within the scope of this project. It
definitely needs a lot of work, but it could be improved. Note that
navigation is one of the hardest problems in FPS AI.

-Ted

Maybe I misunderstood what he said in the first place.

Hope this helps,

Tam

[m0d hippY]

Ahh sorry rookie, I think I got confused.

tourist-tam
that's a interesting read indeed.

[211476]

Well if this project does get going I found a great site we can use to help emulate some sounds. http://www.epicsound.com/sfx/
here are some that have to do with the game:

Blow to the head == Now I've heard, (and I'm not saying it's true but...) if you get a water melon, stick cream crackers to it (Jacob's or Sainsbury's own) and then whack it with a hammer/axe it sounds very much like you would expect a similar type blow to the head. You can then bury the water melon under the patio and no-one need ever know.


Airplane engine, flying (WW2 style) == Get some of the larger fan types into your studio and record different speeds and power up/downs, close miked. You'll have to add some distortion and remove some of the lower end depending on the type of fan used.


Blood and guts being torn out== I know how to make a nice sound of blood and guts being torn out. Just make a milk pulp and put it into your mouth, and they try to say "Ghhhh". Mix it with the end section of any splash water sample or add a sample where you're moving out your hand from the barrel of water

Bones crunching and breaking == I personally like putting things in (cooked) whole chickens and then beating the chicken with a sledge hammer or other bludgeoning device.

Celery/Carrots/Little Gem Lettuce - try freezing them too. Jacob's melon - melon with jacob?s cream crackers glued on it. Thin triple sheet plywood left to soak outside in the rain then dried in the sun and torn apart, snapped. Real Bones? Dog Chews? Branch snap + filter?

In addition to your regular mic, try using a contact mic on a slightly resonant surface, such as plywood, and crunch things with your boot. Use the contact mic material for the thick, heavy sweetener. Make sure the crunching items are hard enough to transmit vibration to the plywood. Walnuts have worked well for me.

Raw corn. Get it with as much of the leafy stuff still on it as possible - good fresh corn. Works great for wet solid punches.

I used acorns, small apples and walnuts on wooden parquet surface. Worked nice.

Chris Sweetman told me a good technique for getting a really effective bone breaking noise. Chicken bones in a polystyrene cup, break and snap them together.

Crushing plastic drinks machine cups are meant to be good for bones breaking.
Paul Arnold

Dried sunflower stalks.


Bullet flybys/impacts/ricochets== Put a nail end-to-end in-between your thumb and index-finger and then throw it as hard as you can past the mics. The nail spins and creates a good raw sound to start the design with. Then just apply your favorite effect to give it the bullet sense of speed you desire.

A source of bys is to fire washers or pennies from a slingshot. For impacts, fire different objects into the hillside. Different objects each have their own aerodynamic properties that contribute to the zip sound.

Muskets work well because of their cylinder shapes that make them tumble and whistle by... they are also sub sonic.

You can also try subsonic ammo when recording bys/riccos/impacts. There's no sonic boom.

When doing some Foley work for Acclaim several years ago Andrew Brock and I were able to get some really nice sounding ricochets and whiz-bys with a sling shot and large coins, screws, etc. What we found to work best were large, heavy duty, metal washers with large holes in the middle. Ones about the size of silver dollars. We used several mics including a stereo mic in a line spaced five to ten feet apart and sent the projectiles right down past them all. Practice before hand to make sure you don't send on of these into your mic. If I remember we pitched these up a bit but Andy did all the post work so he would know for sure.

Get recording some lighter motorcycles and mopeds as they drive by. Filter the recordings, pitch them up so they lose their engine kinda feel and add some cool doppler effects to it (pitch bending and volume ramping it).

Body and face hits == Rolled up newspapers being hit with a (soft wooden) stick are meant to be good for body and face hits.

Hitting real meat, use a baseball bat to hit leather jacket wrapped around baseball gloves, add breaking of chicken bones.

A regular old bull whip crack is good for those over-the-top Street Fighter type punches.

I've used the newspaper rolled up approach in the past and it's hard to get a satisfying sound out of it. One of my favourites is wet mud, jump up and down, hit it with a bat, add some foliage for extra texture. Rotten fruit is always good for flesh squishes. The other day I was blending some carrots with a hand blender which created a wonderful consistency, simply pulling out the blender made some lovely squish noises.

Debris, sand/dust == You can try regular gravel, bird seed, rock salt or whatever. I've slowly dumped it onto a large sheet of butchers paper taped down tightly over a piece of carpet, then loaded the sound into my sampler and sped it up.

Vomiting== I made a great vomiting sound by taking a large bottle of commercial Italian dressing (chilled to make it more viscous) and a gallon juice bottle filled with water. Take the dressing (with the cap on and tip it quickly and hard for the stomach internal sound then in quick succession dump the water on whatever surface you want (sidewalk, toilet etc..) add a little "ughh" on top . You can easily do it all in one, works great! You can even do a few heaves before dumping the water for added realism.