Arcaith

Wouldn't it just be simplest to generate a trail of alpha blended copies of the actor's model along the vector of motion and simply have a timer gradually subtract from the alpha of each copy until they all reach 0? I'd say Antidote's theory is the most likely. You'll notice that in instances where the motion blur is used, the rest of the geometry is quite simple to avoid overtaxing the n64's tiny amount of memory.

I'll give this a test on my 64drive later this evening.

You know you could just have the crossover of the leaves in the middle share vertices and enable smooth shading, right?

I'll have one too, once it arrives. Placed an order for one a week ago It's finally reached Australia XD edit: SHIT YES, IT ARRIVED TODAY!

Still sick, still mostly absent.

A bit ill, won't be around for a bit.

As long as you don't have any overly specific dependencies it should be fine. I'm sure you can produce builds for most common Unix bases.

Most of what's on that list can be done, if not completely, then at least in part. It would be possible to create a different game using the Zelda engine, but how far you can go toward that goal depends on how much you need to modify.

Might be a bad pointer, then. If only one table is updated, it could cause the crash.

Looking awesome, can't wait

There could be a couple of bad pointers in the file, that's most likely what's causing it. It wouldn't be texture related, otherwise the textures wouldn't display properly. I'll take a look at the pointers in a patched ROM and see what I can find. The CRC might also need recalculating.

Animal Forest - Hourly Music

The ultimate factor in terms of teams is making sure that there's clear creative direction. Nothing more, nothing less. People need to be able to sit back and say; 'well, in light of your opinions, I can see why this might not be a viable idea/might not fit in with the overall vision for the project'. This applies to both professional and hobby projects. The larger the scope of the project, the more you need to be able to keep the overall creative vision in mind. It doesn't help matters when you're working with a system that you don't fully understand, but that's going to be an issue for a while for most projects anyway. As far as the actual asset creation goes, it does help to have consistency between assets, which is why Antiqua has already tabled a fairly strong idea of the visual style and overall tone we're going with.

From what I can see, your test dungeon looks pretty darn solid; well done man Once vertex shading editing is possible, it'd look fantastic

I'm working on environments and doing concepts myself for the same. Currently mapping out a dungeon design.

Not finished, but it's part of my super secret project I post about sometimes XD

Welcome to the GCN New hackers and modders are always welcome

Updated first post; not much of an update, just added the entry for the sliding door used in the Royal Family's Tomb. Again, this requires that you use the scene details from the original scene.

I did a test map with 1 texture only, and nothing showed up at all. In other maps, you can still tell what the textures are supposed to look like but they're very garbled still. I'll make some ppfs and upload them. edit: PM'ed you the link for the ppf files. Because there are certain things I'm trying to keep secret for a project that I might use in those files :3

Looks like a solid implementation. As long as the vert selection area is big enough to detect clicks and I can select the triangle first, I'll be happy. UoT's picker was nightmarish. Also, I've still been getting messed up textures on custom maps, but I'm not sure if that may be due to having different texture types in the same dlist.

Until it exists in an importer, would it be at all possible to implement per-vertex colour and alpha adjustment? My interior maps look awful without it, and it's kind of required for making decent bottomless pits without wasting space on additional textures that have the fade as part of the texture. Banjo's Backpack has a nice method of picking which vertex is being edited, clicking on the triangle, it picks the nearest vertex of that triangle. It's much easier than picking the actual vertex itself, since there are sometimes multiple verts at the same co-ords.

In the actor list, it has a breakdown of how the variable for the actor should be set. Most of those have a value for the flag. When you're adding values together for the variable, make sure you're using a hex calculator, not a decimal one.

Each flag in a scene is a binary switch. It can either be on or off. When you assign a flag to a switch, you should make sure it's only used on the other objects you want it to trigger. If you have two separate switches that do separate things, you need to make sure you're using a different flag.

Looking very awesome Bobbo

Dude, your ideas for this are absolutely fantastic, makes it all the more a shame that you weren't able to complete it.