Jump to content
Search In
  • More options...
Find results that contain...
Find results in...

⇛Marnetmar⇛

Members
  • Content count

    1052
  • Joined

  • Last visited

Everything posted by ⇛Marnetmar⇛

  1. ⇛Marnetmar⇛

    Random Video Thread

  2. ⇛Marnetmar⇛

    Monkey Thread

    pygmy marmosets are the only valid monkey
  3. ⇛Marnetmar⇛

    What are you listening to?

  4. hey hey spaceman 👨‍🚀

  5. ⇛Marnetmar⇛

    Random Image Thread

    cat
  6. ⇛Marnetmar⇛

    What are you listening to?

  7. ⇛Marnetmar⇛

    Vinyl Thread

    I just like the physicality of it lol
  8. ⇛Marnetmar⇛

    Random Image Thread

  9. ⇛Marnetmar⇛

    What are your ten favorite maps of all time?

    I'll edit in my explanations later after I've taken some time to get my thoughts together but in no particular order: Lunatic Map03 Valiant Map15 e1m8b Deus Vult II Map01 NRFTL Map03 Adventures of Square E1M2 Dystopia 3 Map04 Scythe 2 Map12 Plutonia II Map09 Doom E4M6
  10. this came all the way from germany yesterday and it make me happy :D20210416_160534.jpg.a7e401ae1063d9d68254d5b4f82aaef3.jpg

  11.  

    1. ⇛Marnetmar⇛

      ⇛Marnetmar⇛

      You're welcome uwu

    2. VanaheimRanger

      VanaheimRanger

      Goddammit, Marn!  I watched like 3 videos of this series and now YouTube is recommending me all this "analog horror" stuff, a genre I didn't even know existed, and now I'm down the rabbit hole...I completely blame you for this.

    3. ⇛Marnetmar⇛

      ⇛Marnetmar⇛

      You'll be fine as long as you don't look at the moon ;)

    4. Show next comments  27 more
  12. ⇛Marnetmar⇛

    Why is Doomguy super hyper fast?

    Doomguy is on rollerskates
  13. Seeing as I’m a bit of a hermit around these parts, I figured one way I could contribute positively would be to offer some of my own takes on various maps I’ve taken a liking to over the years. This isn’t intended to be a review thread, but rather more of a design deep-dive into what I think makes good maps work so well. Why? One reason is that I believe the subtle things mappers do that a player might not notice deserve to have some appreciation thrown their way. But the main reason is, throughout the course of playing a mapset, there will occasionally be a level with a certain “magic” to it that happens to strike at something which I can’t always immediately explain. More often than not, these levels aren’t the biggest and baddest ones in the set: in fact, they’re often ones that people don’t seem to take much notice of! This thread is my attempt to analyze those levels from a design perspective to try and figure out just where that magic comes from, and how the resulting knowledge can be used to create better levels. Throughout these posts, I’ll probably do a great deal of reading into decisions the mapper made that they probably weren’t intending or thinking about at all. But this isn’t supposed to be pretentious literary analysis: if it helps the gameplay, I say it ought to be acknowledged, intentional or not. How often will I do these? Whenever I damn well feel like it, of course! The first entry will be Map01 of the much-beloved Going Down: Going Up. THE STARTING AREA Some of this first bit may come as common sense to many mappers: the starting area makes it readily apparent that your destination is the central tower in front. As you start out at the end of a street, the road that extends ahead of you, in combination with the raised ledges on either side with the lamps sitting on top of them, creates one-point perspective that terminates at the gate to the complex and the corresponding security checkpoint. Immediately above the building’s entrance, the UAC logo is lit up, along with two tall techno floor lamps on top of it, both of which stand in contrast to the central column of darkened windows: However, the starting area has a couple more tricks up its sleeve that may not be as obvious. If you have keen eyes, you’ll notice something which makes it clear that the central tower ahead of you isn’t just a nicely-detailed cutout with void space behind it: from the ground, the smokestacks on the roof are visible. This isn’t a theme park attraction where there behind the theming is nothing more than an emergency exit and a stairwell: something’s up there. However, that’s still not the end of what makes this setup work. Mouldy takes advantage of the semi-believable way that light might behave in this scenario: the tops of each building are brightly lit, as if exposed to the sun, producing a gradient from the grungy alleys below to the roofs above. With additional help from the Doom engine’s natural light diminishing, the effect is that the areas you aren’t supposed to be in are shrouded in darkness, while the route ahead is lit up. The player’s eyes are first drawn forward by the aforementioned lamps lining the street and the facade of the building itself, and then they are drawn upward by the use of lighting to the roof of the building, which has the smokestacks peeking up over it. Not only is there something up there, but it’s something you need to check out. As you make your way towards the entrance, two more techno floor lamps on either side which stand out against the dark surroundings might draw your attention horizontally. You’re greeted with the sight of some dead trees in planters, and beyond that, a little sitting area with a bench, recessed into the ground. Mouldy uses the bare minimum amount of detail necessary here to elegantly communicate that this is a real city where people live and do their business. However, in addition to being shrouded in darkness, it’s completely abandoned, creating a sense of dread about what's to come: After dealing with the zombies at the security checkpoint, you reach the central complex. Turning to the side, you’ll see a wall, contrasted by a raised ledge in front with a slightly darker brick texture, with more techno lamps that sit on top of it. In all likelihood, Mouldy probably only did this to prevent the area from looking bare. But it actually accomplishes something interesting: the fact that there’s a wall that disappears behind the building in front of you is itself enough to communicate that you need to circle around the building’s perimeter. But this is reinforced three times: first by the lamps, then by the ledge they sit on, then by the use of CEIL3_5 on the ground, which contrasts both with the ledge/wall and the building itself. The fact that all three of these disappear behind the building instead of just the wall creates extra visual depth that otherwise wouldn’t be there: The big lift that takes you up to the roof is surrounded by guardrails. This isn’t just decorative flourish: it makes the lift into an easily-identifiable landmark. If the rails weren’t there, an inattentive player who didn't see the switch might wander in circles around the building wondering what they’d missed: THE ROOF The roof is where the bulk of the map actually takes place. Before getting into the combat, something interesting about the roof is that each small subsection is its own landmark while still being part of a cohesive whole. The room with the shotgunners and the switch that lowers the blue key (1) is textured with TEKGREN, the exit elevator (2) is predominately SHAWN, the room with the armor (3) is BRONZE1, the first monster closet you pass (4) is STARTAN, and the smokestacks (5) (each of which is also a monster closet), along with the blue key helipad (6), are self explanatory. Because each small part is distinct, you’ll have no problem navigating around the area. However, simply making every section different can end up being a bit of a visual disaster if there isn't something to tie it all together. Mouldy accomplishes this in a couple of ways. The first is that, even though each section is different, they are all part of a common shared color scheme of gray, green, brown and black. The second is a small amount of visual repetition. The BROWN96 texture on the ledge that leads to the shotgunner annex matches the BRONZE1 texture of the armor annex, while STARTAN is used for both the first monster closet and the base of the smokestacks: COMBAT Mouldy uses monster placement to push the player clockwise around the area and, hence, walk the player into his traps. The first thing to catch the player’s attention is an imp on a ledge to their right (circled in red) and the zombiemen to their left (circled in green). Being equipped with a pistol, the player (probably) won’t be particularly inclined to waste time picking off the imp while other monsters are able to close in behind them, so the player will (probably) head to the left. This is reinforced when, immediately after heading left, the player enters the line of sight of another imp (circled in blue). The player must immediately duck behind the armor annex for protection. Thanks to an unclimbable ledge leading to the armor annex (1), and monsters closing in from behind and from the brown ledge above (2), the player has nowhere to go but forward, where they will immediately be ambushed by a monster closet full of zombies (3): Immediately after clearing the monster closet, the raised blue key comes into view. Stepping out into the open (assuming the player doesn’t immediately go up the stairs and onto the ledge), the player must deal with some more zombies that come from all directions. After dealing with the zombies, if the player is standing by the blue key, three things are visible: the ledge, a medkit, and some enticing health bonuses between the smokestacks. The ledge clearly points you towards your next objective, the medkit is obviously there to help you stock back up on health, and the health bonuses are there to punish the poor bastard (aka you) who decides to get greedy – it’s another trap. An easy one to deal with, but a trap nonetheless. (There are multiple ways you could trigger it, this is just one example) Obviously this level, while relatively easy, sets the tone for the rest of the wad. There's never a dull moment: Mouldy has no intention of ever giving the player a break unless he’s about to follow it up with a “Haha! Sike!” Taking the ledge, the player immediately takes a sharp turn to the right. There’s a good reason for this: it forces the player to look at the shiny armor just up ahead. This isn’t as straightforward as it would seem, because the monsters you left alive while you were running for cover will now be sniping at you: The armor annex has windows on its south and west sides, but not on its north and east sides. Why? I like to think it’s for a couple of reasons: 1. So the player doesn’t get sniped by the zombiemen inside while they’re running to hide at the beginning 2. To point the player’s eyes at the two stimpacks below in case they took a beating while getting the armor 3. So that the player ends up having an accidental run-in with the shotgunners in the TEKGREN building, along with the imp on the ledge I mentioned earlier. The map is now basically empty until the player activates the blue key switch in the shotgunner annex. With the player now having picked up a shotgun, no mapper worth their salt would hesitate to give the player an opportunity to use it. Immediately after pressing the switch, between roughly 20 and 40 zombiemen (depending on the difficulty you’re playing at) immediately teleport in around the map and swarm the player, providing another jolt of excitement as well as an opportunity to plow through multiple low-tier enemies with a single shotgun blast. If I were a mapper that wanted to introduce the power of the shotgun to someone who had never played Doom before, this is how I would do it. Over their course of playing the map, the player is sure to pass the exit elevator several times. Instead of using colored doorway trim to signify a blue door, Mouldy places a blue skull on the front of the building so that it absolutely can’t be missed: After all the mayhem, all that’s left to do is enter the elevator, kill the two shotgunners and press the exit switch to take a ride to the floors that await you below. IN CONCLUSION Going Up is a map that, in my opinion, does absolutely everything right. In addition to elegantly cramming as much fun as possible (for an intro map anyway) into a 1200x1200 space, it manages to tightly control what the player looks at and where their attention is focused at all times without the player suspecting a thing until they decide to look at the map a little bit closer.
  14. ⇛Marnetmar⇛

    Doomcute thread

    This is my favorite thread
  15. ⇛Marnetmar⇛

    What Doomworld thinks about my home made pizza

    Pop that shit back in the oven for another ten minutes.
  16. ⇛Marnetmar⇛

    Post Your Opinions About Doom (Whether Controversial or Not)

    SNES Doom is actually weirdly enjoyable
  17. Phobos Revisited by Rex Claussen has some of the most flowing and elegant level design ever done for Doom IMO
  18. has anyone proposed a subatomic particle called the Moron yet

  19. Ayy nice avatar

    1. Use

      Use

      Slammin' through!

  20. ⇛Marnetmar⇛

    April 5th 2021 - I have finaly beaten TNT:evilution

    Congrats! 🤘
  21. ⇛Marnetmar⇛

    worldDooMworld tutorial

    Please post in your native language
  22. ⇛Marnetmar⇛

    How do I get into metal?

    ahem
  23. (warning: contains punk) I've noticed this trend with AFI where they always take whatever would have been the best song on the album, and instead of putting it on there they put it on some hard-to-find compilation or EP instead. Exhibit A:

     

     

  24. ⇛Marnetmar⇛

    How do I get into metal?

    Hah, I knew this playlist I made a while ago would come in handy someday: https://open.spotify.com/playlist/03JuUIzEgxIbQI3uaUDfMi?si=WVtAFsylTYCDlWqgAzb4-w&utm_source=copy-link It's all pretty accessible stuff, arranged roughly from less intense to more intense, but the more intense stuff is still pretty tame. Then start diving into Iron Maiden, Black Sabbath, Metallica's first four albums, Iowa by Slipknot, Strapping Young Lad, Death etc and keep digging further down the rabbithole from there until you're listening to stuff like Beneath The Massacre, Destroyer 666, etc Edit: Oh hey here's my regular metal playlist if you wanna skip the initiation phase and just dive in: https://open.spotify.com/playlist/6rmSHvSFyw4RnH4UGDN7eO?si=tFCf1GjPTd2Ho0bOPcg0Mg&utm_source=copy-link
  25. In Like a Song by U2, one of the lyrics quite clearly states "A generation without name, ripped and torn." This occurred a full thirteen years before the Doom comic.

     

    We must conclude, therefore, that Doomguy is Bono.Bono_board_photo.jpg.b955402d57a2f91a7aee5d516fdc1af0.jpg

×