(Whatever happens you get an extra copy, you can't just read from disk straight to the destination area.) (Since you have multi-threaded data streaming you need to keep your buffers mapped for a while before you can use their data, and you want to "upload" as soon as possible.) You can't map and read from the same staging buffer, which means you need (worst case, most likely never met) as many staging buffers as default buffers. The problems I found trying to do that with D3D11 is that you can't map a default buffer, you need a staging one. What's more disappointing is that they took a hit to texture resolution to support a more open world and by people's accounts the world seems empty and more like a huge corridor between missions anyway. Of course, for Rage, because they had to fit into two DVDs for the single-player campaign AND they decided to automate compression determination rather than texel density there's not a whole lot they could cut to improve texture resolution. Even if, for argument's sake, you'd be deploying on Download-only platforms and had no physical storage space limit you'd still want to keep sizes small for bandwidth and loading times sake. This would allow you to spend more storage space on the really important surfaces while leaving the rest at a reasonable texel density. Now, with a VT system, artists could (and probably should) work on a texel agnostic scale because they no longer have to make decisions on texture budget but on creating the release assets you'd need a tool, very similar to id's visiblity analiser to determine compression strength, to check which surfaces (or rather, corresponding VT coordinates) could saved at a lower texel density. Similarly, textures that are not used elsewhere in the map are often replaced with similar textures to save on memory, so texture differences are evaluated on a case-by-case basis as most are not worth mentioning.Do you mean the release assets or during production? I agree with the later but it wouldn't necessarily fix those textures if used in the release assets because that would mean all surfaces would have lower texel density (to fit on DVD/whatever). For this reason, this page will not be documenting missing entities that were likely the result of culling, such as ladders, pickups, and moving brushes. These leftovers can be briefly seen in-game by moving through a changemap trigger very quickly, or by using noclip to go around the trigger.ĭo note that in most cases, a majority of entities have been culled from these sections for performance concerns. Occasionally, the entrances and exits of these maps contain leftovers from earlier map designs, especially just out of sight of where the player can usually see. To accomplish this, the end of most maps have a chunk of the next map attached to them, which lines up with a section on the map the player is transitioning into. Instead, the developers opted to chain levels together to create the illusion of a continuous, (relatively) more logical world to explore. Unlike most 90s shooters before it, Half-Life's levels don't end in a stats screen. This is a sub-page of Half-Life (Windows).
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