Over time, this façade fades away and these locales become deserted, the lights dim. Cloudbank is a dark city with bright neon lights. When done correctly, like in Transistor, these elements aren’t just beautiful but evocative. The other main pull is how the art style and sound design convey that story. Elements of classic storytelling are also present here, which reveals a certain level of predictability that’s at odds with the wonder found in the art style. When characters end up so predictable, it can detract from the story. Despite the remarkable storytelling, these predictable characters are one of the biggest flaws in the game. It’s hard to not get attached and root for these two to the end. The exploration of their relationship and how they fit into this world is one of the main pulls of the game. Other characters, such as Red or the man in the sword, are a little deeper. Perhaps it would benefit from a second playthrough sometime to properly appreciate it.The small cast of core characters has their own motivations that drive the story, though in some cases, they tend to be archetypal. I even considered abandoning it after defeating the first boss, but I pushed on knowing it has a short duration. Transistor certainly has a lot of love, and I can appreciate why it has a high aggregated review score but I personally didn't connect with it and left me with a lukewarm opinion. After falling in love with Hades I was curious in the studio's back catalogue. Once I found a build that seemed to despatch the enemies quickly I maintained it until the end of the game. As a result it felt like randomised experimentation to discover what each Function does in their active, upgrade and passive roles. There could have been some high-level guidance provided in the menus considering its short gameplay of 6-8 hours to avoid having to resort to an online walkthrough guide. I'm writing this as there is no tutorial (which I'm okay with) but I felt it detracted from the potential enjoyment of the gameplay in figuring this out. And all this is wrapped up in a peculiar real-time and turn-based combat hybrid. Also, there are limiters that can be applied for faster levelling up. The enemy are these robots (?) referred to as The Process which are taking over the city and you pick up abilities and boons called Functions as you level up. For me the story started to feel cohesive about midway though the game, after around 3 hours, and the ending somewhat anticlimactic. Given the potential of this set-up, I thought there would be a greater sense of urgency in locating the killer but I felt that the character Red coasts through the empty cityscape dragging the weapon, the titular transistor, behind her. The game starts with little context but at the first scene a murder has occurred, and the key to understanding the events leading up to this mystery is spread across disparate pieces of lore revealed in checkpoints and character background information that you progressively unlock. I've read quite a few discussions on video games as an art form in many online fora and **Transistor** is sometimes listed as an example given its stellar art direction and visual presentation, which players have learned to expect from Supergiant Games.
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After I got the basic idea of of it, then upgraded to Ver 2.x with the improvement it had. 1.x of DT as its manual was smaller and I figured I could read it and push my learning curve and there were a lot of YouTube tutorials for ver 1. My favorite OS is Linux Mint Cinnamon, so I downloaded both Raw Therapee and Dark Table, and started looking at both but gravitated to DT. Being a member of an international photo competition, my shots were liked, but they just lacked the pop that others had, so spent days studying other shots to see what I could learn, And basically decided that the difference was post production which I had not been doing while relying on JPG and simple touch ups, Since I have long since dumped anything having to do with M$ Windows, or being trapped by the "pay to play" scheme of some of the name brand products, I looked to see what was available in open source. Crossing over to Digital, I tried to apply the same rule, but just wasn't happy with the results. was always taught to do it right at the camera, there would be little if any post production (darkroom) work to be done. I am an old school photographers (second generation, son of a Brooks trained Father) I. I can do the same, but would like to avoid running stuff through wine in Linux. Frustrating until I master the raw editors. I love my camera's jpeg colour rendition, but hate the lack of fine detail. Same here! I do the conversion by the camera brand's own software and do the edits in photoshop. I am aware this is somwhat of a "dark ages" type of working but I like to keep control. If you'd like to duplicate your camera's jpegs, why not use them to begin with and save yourself the trouble? Today's cameras are capable of absolutely gorgeous jpeg output.įYI, I shoot raw-only and convert with just about the simplest raw converter of them all: UFRaw although I do sometimes dabble with RawTherapee, Darktable and Photivo but I always come back to the basics - I like separating the raw conversion from image processing and limiting the conversion to debayering and applying WB and a tone/contrast curve, the rest is done in PP. Darktable is somewhat kinder on memory requirements.Īlso, consider your raw processing to always end up differently from the camera's OOC jpeg and don't try to mimic it - just try to process to a result that you yourself like. Just like a camera switch does not make your shots suddenly better, the switch of a raw converter will not do anything for your jpegs.īoth converters mentioned are very worthy competitors delivering extremely capable results. Seeing your remark above I'd say: stick with the one you are using. Any thoughts?Īlso, where is a good place to learn how to learn either? I can't ever seem to get anything close to what the jpegs are from my camera. Considering switching from one to the other. If you want to save some money, select the same pick-up and drop-off time. Select pick-up and drop-off date and time properly.The cheapest vehicle fromĬustomers with a rating average score of 6.7/10. With a rating average score of 8.4/10, based onĬustomer reviews. 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If CompHealthTweak if (player.getlevel 9 & player.getlevel 15 & player.getlevel 21 & player.getlevel 27 & player.getlevel = 35) * (GetBaseActorValue Health != 342) SetAV Health 342 endif endif I have this code snippet that forces a specific NPCs HP to be XXX for a given range of player levels. Using a combination of and seemed natural, but I read on the GetHitLocation page that Separately, I'm looking for how to determine what body parts of an NPC / creature are hit by a given bullet, if they're crippled or not, and how to check if the PC's different body parts have been hit/crippled. Depending on how erratically the PC is moving, he could do damage to one NPC, then move the crosshair when the script fires so the wrong name would be returned. I also saw the FOSE function GetCrosshairRef but I'm not sure that would get the name of the NPC actually taking damage / dying. The GECK also has but apparently that only works in a OnHit block, which itself can only be attached to a script running on a weapon? I'm confused. Looking at the functions available, it seems like might work, but the GECK page doesn't say what kind of block to use it in, and also it only works if autoaim could work. romeck gave me the idea with his message mod, and it looks like he ran into the same issue (currently enemies are either "Creature" or "NPC") I'm trying to find the name of any NPC / creature that the PC is currently doing damage to, to add some feedback messages similar to those in Fallout 1/2. |
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