Citizen
yeah there what i mean , maybe recoiless guns could work , venting the recoil energy as gas ....
Infamous Chimpanzee!
They have guns that have little enough recoil they could be used I'm sure, if nothing else they could use vertical propellers to stableize it if they wanted too. That is the biggest problem, if they really wanted a gun on it there would be a gun on it.
PSN:venomlvjr
Psinext [E-mpire] Soldier 4 life...
I'm excited to see the new bots that Kojima cooks up for this game. Especially since we went back in time with MGS3 (still had those hover vehicals). The little robot is a nice start.
Citizen
a little of topic but check this gun out
http://www.remtek.com/arms/fn/57/index.htm
Small calibre, yet can penetrate 'most forms of kevlar bodyarmour' ! Big capacity too 20 rounds !
Infamous Chimpanzee!
Also in 2003, NJIT signed an agreement with Metal Storm, which owns a patent for its Electronic Firing System that can be used in a handgun. Metal Storm's O'DwyerTM VLe® system is a unique, patented approach to firing projectiles. Entirely electronic, the system utilizes preloaded barrels holding multiple projectiles that are fired by electronic ignition. For the first time, interchangeable and multiple barrels can be made available to fire a range of projectiles of varying calibers from the same handgun.
That seems like it wouldn't have a whole lot of recoil, it seems they couldn't afford to have a lot of recoil with the bullets tightly packed in the barrel. They also fire extremly fast, but I can't remember any numbers.
PSN:venomlvjr
Citizen
1 million rounds a minute, through multiple barrels - the handgun in question fires 3 rounds in 1/500 th of a sec, basically 3 rounds in front of one another.
.
they could use laser in the near future.However, the ones with weapons do not exist, fire recoil would make them very unstable. I guess bomber models could be possible, but who knows.
how can Snake defeat her if she tells him "you HAVE to kill me"? she is throwing the towel. even though Snake improves in CQC (the whole game took about a day or two to finish in story time) he was never able to even hit her. she was going esy on him so much, she was surprised when he toughened up (new word!) a bit. you telling me The legendary Boss was fighting for her life!? bah. (the most intelligent way to end a discussionI do agree that The Boss was a hero, but it had to be Jack the one to kill her symbolically. Jack didn't want to do it, but he did. For that reason, he didn't shake hands with CIA's director.)
"With or without religion, you would have good people doing good things and evil people doing evil things. But for good people to do evil things, that takes religion."
- Steven Weinberg
“If Jesus had been killed twenty years ago, Catholic school children would be wearing little electric chairs around their necks instead of crosses.”
- Lenny Bruce
Citizen
http://www.xsibase.com/articles.php?detail=94Interview with Hideki Sasaki
A Lead Character Artist at Konami, Hideki Sasaki talks about the Metal Gear Solid series, the production pipeline, and XSI.
December, 16th, 2005, by Raffael Dickreuter, Yoichiro Kadoguchi, Bernard Lebel, Will Mendez
Hideki Sasaki, Lead Character Artist at Konami.
How did you get started in the CG industry?
I entered the company in 1996. I participated in the Metal Gear Solid series as a designer and was involved in the background mainly for the first Metal Gear Solid. I worked on character creation for Metal Gear Solid 2 and 3. Currently, I am working on Metal Gear Solid 4.
Design-wise: When playing Metal Gear Solid 3, it seems as there is a variety of hidden settings being done in the background, but how the process of gathering such a huge amount of data and reflection of them to the game was done?
We planned a hard-and-fast concept from the beginning, repeated it by try and error, and gathering the data to move towards the achievement of the project. We took care to get the correct data by listening to specialists, interviewing them, and doing on-site training. This reflected on the creation of the game. Sometimes we pay attention to the visual quality only, but we hope that players can feel the reality and aliveness of the game when playing.
What is the reasoning for having a historical backdrop to the past for Metal Gear Solid?
The theme of the Metal Gear Solid series is “communication to the next generation.” In the first Metal Gear Solid games the theme was “GENE” and “MEME”. Genes and memes can communicate to the next generation. Parents are responsible for the passing of the baton to children; however the grade of gene and meme changes depending on the period. At the beginning of development of Metal Gear Solid 3 we decided to have “SCENE” as our measuring rod, or “theme”, in other words. Looking back to the Cold War era, we know that the U.S. and the U.S.S.R. were divided by East and West. It’s a totally different world compared to now. Users playing the game will experience this uncomfortable feeling of international division. The “uncomfortable feeling” itself is also the theme of Metal Gear Solid 3.
What concepts were used in order to design the mechanics that appear in Metal Gear Solid?
Metal Gear Solid 3 is set in the sixties. Even by that time period, weapons had advanced a great deal. Jet aircrafts, satellites, computers... these technologies identified the weapons of today. In such an era, what would have happened to the world if there was an earth-shattering super weapon? Also, what is the link to the REX that appears in the first Metal Gear Solid? Based on such thoughts, we created the MGS3 design.
First of all, Mr. Matate who is in charge of mechanics, and Mr. Shinkawa brainstormed their ideas of designs and characters. Mr. Shinkawa creates patterns of the characters and mechanics designs throughout the Metal Gear Solid series. Mr. Matate approached the design from the aspect of settings and weapon technology to match the setting. At the very first step of the design, we approached the idea of using 3D tools to create the design and the process of changing shapes.
When those two reached a consensus they were requested by Director Kojima to create some sort of “drill.” Creating this drill-like object was difficult. We tried to design a drill-like machine using CG tools but the end result was not convincing.
As luck will have it, we found an amphibious vehicle shaped as a water screw when we were searching through data. Furthermore, it was made in Russia in the 1960’s. With this hint of the amphibious vehicle, the form of Shagohod was created.
It’s an important element in the Metal Gear Solid series to draw from the reality of the world. We design each machine authentically.
3D models of the design drawings from the Metal Gear Solid 3, seems to have very high repeatability. How is this being done?
Nothing special is done. We only have to repeat the retake in order to raise the quality, so we take it as an important element to create an easily retake-able environment. By improving the schedule and workflow, designers will have more time to be insistent, for example, being proficient with tools such as XSI.
Each cinematic sequence is presented as if it’s were a film. Are these the direction from Kojima Director?
From script to storyboard, instruction of motion capture, camera work, acoustic effects and all other operations were done under the editorship of Director Kojima. In the field of motion capture, he directs the action of the actor. The storyboard does exist, but it’s very likely that director changes the instruction during field work. In the exchange between actors and the staffs, we always look for new interpretations and sometimes we face the audacity of change, such as adding more characters to the scene. Also, one of the elements that define the Metal Gear Solid series are the jokes found throughout the game. These are fully done by Director Kojima with his good sense of humor. The actual process of using CG tools are transferred to each member of the demo-scene staff, however ultimately all the elements, including all scenes, cuts, camera works and timing of the acting are checked by Director Kojima himself.
How was XSI used in the MGS3 project?
It was the main tool for modeling, character setup, and animation. XSI became the main pipeline of MGS3.
Which XSI features did you find very useful?
We cannot say specify because XSI has many powerful features. If we were forced to say, then it is probably the XSI construction history since v.4.0. It is the ideal function to edit character modeling because we can see animation results and modeling results at the same time. It is easy to freeze operators because XSI has four construction stack groups. We can move specific operators to another operator stack group. XSI v.4.0 was released during the final stages of MGS3 development, but we still changed to XSI version v.4.0. This is a very rare case to change XSI versions in mid-production. However we decided to change to it because v.4.0 construction history and other new features were very exciting. It seems Fx-tree is not a game development feature, but we used this feature very often. Fx-Tree can generate texture animations in XSI. For example we made texture animations like “Snake Tear” and the final part of The Boss’s “Snake Animation.” We think Fx-Tree will be very useful to next-generation real-time shader image processing tools.
Did you use Render map and polygon reduction?
We think rendermap is a necessary function to generate high quality texture mapping. This function is not only used for prelighting but also to make seamless texture generations, texture map for LOD object. Rendermap is not a single feature; we can use this function for multi-purposes. Rendermap is a very attractive feature to the game industry. XSI polygon reduction is amazing. We can reduce polygon numbers and still retain the character shape. This function is also very useful to generate LOD models.
What features of XSI should be improved?
We expect Softimage will improve Material editing and UV editing.
It seems the MGS project utilized the Synoptic editor. What did Konami artist change after you introduced synoptic view?
We cannot imagine executing a project without synoptic view UI. Even for animators who do not understand RIG construction, synoptic view makes it easy to understand. For example, many designers joined in mid-production and synoptic view was very useful for them. We also used netview for data management.
What do you think of Softimage support?
It is awesome. Actually we had many meetings and spent several days with the staff of Softimage. We discussed many things with them. We believe our feedback was realized as Softimage features, like a construction mode, easy envelope editing which use symmetrize polygon, and so on. We think the Softimage staff provided us with an improved development environment. We can prove it by making the best quality title.
A little nice interview with the Lead Character Artist for MGS. Very nice website also.
Its O.K!... I'll take it from here.
This is old news.
Kojima Production Rulez!
"Our staff loves the OtaClock. The program features functions for time, alarm, calendar, and size adjustment.
All KojiPro staff members received it at the end of TGS. They've checked and debugged it until now by actually using it on their computers. It took a long time to finish because they gave a lot of feedback. They suggested ideas for improvement, along with other observations that came to them while they used it.
Soon we'll deliver the OtaClock to our audience. You'll always have Otacon around with this."
http://www.blog.konami.jp/gs/hideobl...0635.html#more
Soon, when is soon? I been looking through that MGS4 video again, and now that i look at it..i think the OS they are showing is the actual Linux distro Sony is working on? I would be nice to have the OtaClock with that Linux distro.
Citizen
If this has been posted before, i apologize...i would put this in the MGS thread, but it seems they have dies. Regardless, i hope you havent seen this before.
http://video.google.com/videoplay?do...49657011&q=ps3
Kojima Production Rulez!
Yup been posted in the MGS4 thread.
c/:-]
Higher quality version
And now...
PSN ID: VGAficionado
Veteran Citizen
So with the recent announcement of the PS3 online... who is ready to get gears up for some MGS4 online? I know it's hard to say without playing subsistence yet but I really hope Kojima/Konami can pull offline and improve on whatever MGS3.5 doesn't do so well on or is lacking they can improve upon that in MGS4.
Also, did anyone read the Kojima interview in the latest OPM? It was a shock to me that he beleives VG's aren't art... I never really considered them to be art in the first place, so I agree with him.
□ △ ×○|PSNetwork ID: Handycrap101|□ △ ×○
Gattai da!
I'm not surprised, he said the same thing in a MGS2 interview few years ago in a PSM article. The way I feel is they're no less art than movies. They can be artistic or they can be unartistic. Just because things are representational doesn't mean they aren't artistic. Hardly.
c/:-]
He said videogames aren't art per se, but he did say that they contained art and they were more like a museum with a lot of art to show to the public.Originally Posted by Handycrap101
It is obvious that beautiful graphics, music, cinematics, voice acting, motion capture, etc. have their share of art somehow. Some people would even argue that programming is art too, seeing the way animals behave in MGS3, those great special effects in every MGS, etc. So it is funny to see that videogames can't really be considered an art despite of their content. However, I'd agree with the museum analogy. But can't museums be art themselves? Architecture is an art!
I may have to change my user title because of that anyway.
PSN ID: VGAficionado
Kojima Production Rulez!
video games are what i call art entertainment, hence "video" - "game". Movies or even a play can be consider art, but its not interactive. Video games are a mix of both.
Citizen
^ They ARE art!!!! Crazy ppl, Art is nothing but an outward expression of inward creative freedom, trust me on that one.
Nothing ever ends, Adrian.
Citizen
One day , hundreds of years from now, society will look back at games and give them as much respect as we do a Da Vinci, or Shakespeare. The most influential century of the past 2000 years (the 20th) culminated in IT and gaming....which is the pinnacle of technology , a world on a disc which you can experience as if it were really happening. Of course in the next few decades the medium which we experience games will develop too, from tv's , to VR headsets to Holography to perhaps a full on 'Holodeck' (never say never).
Hell i say gaming is above art, art is often static, even a film can only be experienced in a certain way, games are more fluid, experiences can be quite different from one gamer to another....and as for art=human expression...well a game world allows a gigantic pallete, both visually and aurally, just look at GTA......
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