#UE Viewer

[thewolfaroo]

back again!! recently i went through the quarry's texture/model files and here's a collection of the notable things i've found. :)

DYLAN HAS HIS OWN WEREWOLF MODEL!!!!! i cannot describe the excitement i felt when i found this oh my god. i was shaking uncontrollably. anyway, if you're unaware (or haven't seen my freecam post) when dylan transforms he uses silas' model for the brief moment he is on-screen. but in his files, as shown, he has his own unique werewolf model! i'm not sure why it was unused- perhaps silas' model was a placeholder they never changed? who knows!

here's a model i found under 'werewolves' called 'prototype'! naturally this is unused. he looks a little silly but i am so fond of him honestly

FINALLY FOUND THE TEXTURE FILE FOR THIS PICTURE GOD FUCK... ryan fans I Gotchu...

THE SHINING REFERENCE ON CHRIS' PILLS!!! never seen it myself but a friend pointed it out. also yeah these are the pills dylan takes in the poolhouse. YEAH, THEY'RE SLEEPING PILLS. AND HE DOWNED THEM ALL. what is his problem

these are the only things i found interesting enough to post rn tbh . if there's anything u guys want me to check out then lmk :33 !

[averlym]

" just...come here. just sit here with me" (...that one scene from princess momonoke, click for better resolution)

[808gigawatt]

not me being so desperate to see chais plan drawing in full as a texture or whatever that i'm putting in the encryption key for the game

[katelynholmes]

fun fact i just discovered! that's devil's daughter watson's face actually

here's the original model on artstation w/o facial hair for comparison: https://yura_s.artstation.com/projects/xzJe32

Fabio close-ups for @arcadianblue

We were discussing that "oh shit" moment after certain characters talk about Fabio being beautiful. The in-game angles don't show his face all that well so here he is!

[zeondraws]

I know there is a sketchfab model, but I tried fiddling with the files myself. And was able to extract the puppet folder of Muir on my own too.

Also Caz, I got his beanie

So tired today, I keep trying new things because I am stressed due to irl stuff.

One thing is for sure I don't feel like extracting these audio? files. I can only export them as json files with fmodel. I have not understood how to open this game with ue viewer yet. I just scratch my head with that one.

When I'll do my newer Muir/Innes video I will just record everything ingame

Will be a great small project for me to get to know stuff better. So that I can resume my initial projects with my buses

He seems to have bushy eyebrows

[thighsofp]

Hello Thighsofp 😄

Do you have P's model but with the outfit of Blue Blood's Tailcoat (I would like a screenshot of the collar of his coat that has details on it, not sure if the program allowsyou to remove the head to see the detailsof the collar. For art propouse) I really like seeing the details of the outfit ❤️

Also how do you get LOP characters 3d model and what program to place it there? (If you want to answer this question, it's okey if you don't want it to respond)

Hello!! I'll send more detailed pics in response to your other asks but here's a little turnaround in the meantime

As for what I use to view the models I actually use a really handy dandy guide here! The long and short of it is if you have the game on steam and UE Viewer you can get into the models easily

[thegeekcollective]

guess who just watched yellow jacket the nightmare time episode. anyways a moodboard for my feelings rn

[image id:

image 1 is basically a 3dimensional emoji. it looks horrified.

image 2 is a two panel edit of a sacabambaspis looking at something in the computer, then at the viewer. due to how it looks like, it looks shocked.

image 3 is an image of a cat laying face-first on a bed. text reading, "ue ue ue (sounds of crying" can be read below the cat.

image 4 is op's rendition of phone guy (a man with short brown hair and a security guard outfit), despairing on a chair. it is inspired by/based on the shinji chair meme.

end id.]

[heartepub]

viiiiv !! many many MANY congrats on 100 followers, this is truly deserved (: ur fics are one of a kind and i always love reading them <3

for the event! 🐚 i noticed you use a lot of inspiration from movies etc etc, do they hold a special place in your heart? + what’s your process for world-building? i love how you create the environments your charas live in! (๑>◡<๑)

part of my 100 followers event!

HIIII JAY thank you sm your support (and praise ue ue ue) truly mean the world!!! <33 reading your tags makes me smile everytime :'))

(also commiserating v much w the shadowban sjhfdjfh may imujings return soon—hopefully sooner than sarangcoups)

i looove talking about process/craft (the latter is my 2025 resolution after all) so i hope u dont mind the ramble djfshdfd

it didnt even occur to me until you mentioned this, but you absolutely clocked me (the ghibli hc's, sito being vaguely based on interstellar's blight, tciw and past lives—im sketching out a fic that's based on a ph indie film too) :') admittedly my non film-based wips (reverse hades/pers csc, prince lc au, separate urban fantasy au’s for bsk and kmg, idol ljh x figure skater reader, the ljh and bsk installments of the planned love after love miniseries) are yet to be finished

interestingly, i always call myself a book girlie first and foremost. but i love films—love watching, dissecting, exploring the semiotics of it (even attended an online webinar on how signs are encoded visually in cinematography lol). but comparatively (book vs film adapted), i think for me fics based off movies are easier to write and much more adjacent to pop culture than the books ive been reading recently (which are race/identity specific, deeply ideological, and/or extremely complex to adapt into a fic, like vuong, morrison, le guin, dosto, and tolstoy)

but w some of these, especially sito and tciw, i found it interesting to play with the inherent differences in storytelling that movies and written prose have, especially with regard to interiority. prose can walk you through a character's mental spiral with words, but there’s no 1:1 equivalent for film. each medium has its strengths and weaknesses. but i liked responding to those differences, in sito and tciw especially—sito with sk as a filmmaker, and with scenes that are written as scripts (how that affects how much of sk's thoughts are revealed to the reader/presumed "viewer"), and tciw as a way to explore and construct the interiority of characters that were only hinted onscreen while watching past lives.

i think for world building (im so flattered that you like the environments of the characters!) i lean into soft world building more!! so in increments and all that. asking myself if i would say/think such a thing if i were in this character's position, with their upbringing, identity, core principles, etc. also, just the notion of architecture, not just for worldbuilding but for crafting a story—i try to be careful with what i include (is it relevant to the story, and how so). the goal of architecture here is that a writer should be unable to remove a brick (whether that's worldbuilding, scene, dialogue, a character's interior thoughts, etc) without compromising the entire story's structural integrity. obvs im still working to get better at it, but yeah!

[mortal-kombat-1]

Hellooo I asked here last time but I seemed couldn't find the post, can I ask again what platform do you use for modeling the characters?🥹🥹🥹

PC

Blender

UE Viewer

Unreal Editor

Everything else I posted here in the forums.

[gameangliaindustrybriefwhat]

Meeting #6- 04/12/2024

Group agrees that playtesting is a must, so we discussed what we needed to get it there. Tom mentioned that the biggest thing we’re missing is the connection between the Puzzles and Room Building. He stated that to do this, the system to reward the player after correctly completing a puzzle needed to be finished. This required:

A visual element telling the player they got credits when they got a puzzle correct (ker-ching cash register sound)

Letting the player see their credits

Puzzles closing themselves on completion

Adding ambient SFX

Ethan said he could take the first point, and Tom took the second and third.

Tom also mentioned he wanted to add an actual model to the radio, and Ethan shared a resource that he found assets for the game from: Sketchfab - The best 3D viewer on the web. He also added links to specific assets onto the GitHub Repository.

Ethan already started on a playtest form for our playtesters- we agreed the questions should be mainly about the vibe of the game, but we can also ask about the mechanics we have in at the moment.

Albie will work on a third, more difficult puzzle to add to the vertical slice.

------------------------------------------------------------------------------

As mentioned, I took the first but also the last point.

The first I will complete by making use of UE's animator features (mostly within widgets) and SFX I find online; most likely from https://pixabay.com/ and YouTube.

The last one I did immediately after the meeting. I created the ambience SFX after downloading spaceship ambience from Pixabay and using AudioNodes Online to tweak and muffle the audio. I then imported it into Unreal and placed it into the world (I also nearly forgot to set it to loop).

[joeabdelsater3]

Defining the forefront 6

In this blog post I would like to get into procedural content generation a bit deeper. Although I have already addressed the topic in a different post, I feel like procedural content generation (PCG) holds a big range of techniques that can be used to create virtual environments, and it seems like new methods keep getting invented, which roves its relevance in games art. In this video, the artist demonstrates a series of techniques for creating a detailed stylised nature environment using procedural world generation tools in Unreal Engine 5.

One of the key techniques discussed involves transforming point data to effectively mask and manage different attributes within the environment. The tutorial explains how to use the Transform Points node to filter out unwanted attributes based on material types, such as grass or cliffs. By adjusting the threshold values and applying transformations, it’s possible to refine the areas where different materials or objects like grass, trees, and rocks are placed. That's how we can ensure that assets only spawn in desired areas, such as grass only growing on flat surfaces and not on cliffs for example.

Although I probably won't get the chance to create a landscape for my environment from scratch, I could use this technique in other projects to ensure that the elements in my stylized environment blend seamlessly together. This also gives the scene a touch of logical realism which makes it feel more natural and less synthetic, thus improving immersion.

It's also demonstrated in the video how to use the "Static Mesh Spawner" node to introduce natural elements like grass, rocks, and trees into the environment. By manipulating parameters such as scale and density, the artist achieves a balanced and visually appealing distribution of these elements. This method also involves adjusting the "Density Filter" and "Transform Points" nodes to control the density and variation of assets. This technique also helps in managing the scale, rotation, and density of assets, which if used properly, can be crucial for maintaining the aesthetic and functionality of my environment.

In my project, leveraging static mesh spawning can enhance the richness of my stylized environment. Yes... setting the scale to randomise a number between two values in foliage painting can be done in UE, but, the technique is very inefficient timewise for one. And, using such traditional methods could make me miss out on the ability to create patterns or what I'd like to describe as "natural/organic rules" which can imitate how our real world works.

Aziel also mentions the use of distance nodes in UE5 to control where certain assets, like plants, spawn relative to other objects around them, like trees for instance. By creating a distance-based mask, he was able to control how some plants only grow around trees, not in shadowed areas where they might not naturally thrive. This makes me think of an opposite scenario where I might want to have mushroom only spawning under trees or other assets in shaded areas. This again builds a chain of recognisable patterns that can help give an identity to my environments in the future. It also could make it easier for players/viewers to understand the dynamics of the world the are experiencing and how similar or different it is to their real world. Another potential use I could think of is having crops or specific types of plants plants growing only in areas with a certain level of sunlight o humidity in a game with farming features for example.

In the video, he also uses spatial noise to create clumping patterns for foliage, like flowers. This approach helps generate more natural-looking clusters of plants rather than evenly distributed ones. Using noise patterns allows for a more organic spread of assets, and by incorporating them into my projects can add an extra layer of detail and natural variation to the environment by mimicking natural growth and distribution, enhancing the overall appeal of the scene. I can think of a lot of old games and their bad use of foliage. The distribution of plants or trees was often very unnatural, and you had instances where they are either placed too close or too far from each other, or sometimes even in a linear and robotic manner.

I think that one key point to take from Aziel's practice is to always allow for adjustments and fine tuning. He showcased multiple times various adjustments, such as scaling and modifying the density filters, to get the appearance of the environment to where he wants it to be. This also proves that there is no 100% automated world generation. To have get an organic-looking virtual space, there is a need for human touch which is inspired by our observation of the world. These fine-tunings and additions of imperfections are very important to create character in an environment that can otherwise feel static.

Source:

Aziel Arts (2024). Stylized Zelda Landscape! Large Scale PCG Tutorial with Gaea Maps in Unreal Engine. YouTube. [online video] Available at: https://youtu.be/ElpH2AA4Nzc.

‌

[annaminijayan3dblog]

Blog 39 - FMP

Once I have finished designing my characters, my next step is to place them together in an environment that suits them. The Theyyam ritual is a sacred ceremony that is typically conducted in kavus, which are groves that are considered to be holy places where natural vegetation thrives without human intervention. To accurately depict this environment in my project, I have decided to use the Electric Dreams environment from the Unreal Engine Marketplace. This environment appears similar to the sacred groves, featuring a diverse range of flora and fauna that will help to create an immersive and realistic experience for the viewer.

Bibliography

Epic Games (2023) Electric Dreams Env, UE Marketplace. Available at: https://www.unrealengine.com/marketplace/en-US/product/electric-dreams-env

[gdadfmp24]

Importing images for menus:

Importing images into UE was very, easy to do, only needing to drag and drop into the content drawer. The thumbnails were messed up, so I did initially think that something had gone wrong, but when I actually checked the images in the viewer, they were all good.

Importing them into a widget was a little bit more difficult to figure out, but I managed to get that done quickly anyway.

The easiest way to do it was to drag an image widget onto the menu, then select the right image in the content drawer, and click the arrow button on the details panel.

This takes the selected image/texture and adds it to the image widget on the menu.

[netnyavi]

downloaded ue viewer to verify for myself a tweet i saw that there were voice lines in the files of sin being Soo hungry uh. enjoy

[aati-coach]

TOP 10 Lessons From The Book: GET OUT OF YOUR OWN WAY: Overcoming Self-Defeating Behavior by Mark Goulston, M.D., and Philip Goldberg

1. It is better to begin in the evening than not at all. Procrastination is the art of keeping up with yesterday. There are, of course, many reasons people procrastinate: self-doubt, boredom, fear of failure, the feeling of being unready or unprepared and so on. But these feelings, by themselves, don't necessarily lead to procrastination. Often what tips the scales is going through them alone, with no one to help you, bolster you, or cheer you on. Loneliness , . , is and. always has been the central and inevitable experiencee of every man. The key to overcoming loneliness-based procrastination is to enlist the support of other people.

2. Empathy is a priceless commodity because it invariably defuses hostility. It is psychologically impossible to be angry at someone if, at thc same time, you feel what he or she is feeling. When people iust don't underctand you, get them to feel

what you're feeling.

3. It often takes a tragedy to make us look honestly at our lives. Tragedies trigger reevaluation and regret, sometimes too late to make things right. You don't have to wait for someone to die before you realize what's important,

4. If you want what you never got fnlm your parent, become your own gandparent.

It takes courage to be your own grandparent. You have to be willing to give what you might sorely need yourself, with no guarantee of a return. However, it might be your best hope for gening the love, pride and acceptance you have always wanted. At the very least it will help prevent the anguish that a patient of mine expressed so well:

5. A true friend unbosoms freely, adttises justly' assists read:ily, ad,aentures boldlg, nkes all patientlit, fuIerle courageously' and continues a frriend unchangeably. If your friends are not in this list, GET OUT OF YOUR WAY!

6. No man can think clearly when his fists are clenched. Anger is a short madness. Convert the anger to conviction and act on the basis of principle. fhenever you can transcend your personal feelings and uphold strongly felt values, you gain something far greater than the thrill of retaliation: the courage and power of conviction.

7. There is no revenge so complete as forgiveness. The weak can never forgive. Forgiveness is the attribute of the strong. To be wronged is nothing unless you continue to remember it. We forgive when we no longer need to blame; we forget when we no longer need to remember.

8. When you accept someone's generosity, you might take on a debt you do not even know you owe, and if you fail to pay it back, you will be punished for reasons you cannot comprehend. Try to determine at the outset whether the act is a gift, a favor or a loan. Don't kid yourself into thinking you are a saint who gives to others and wants nothing in return. If you :ue not clear about what you really expect, you can jeopardize relationships by seeing yourself as a victim.

There are always strings attached.

9. Don't look wherc you're going, go where you're looking. Try to turn your fears into oppornrnities.

10. if you think you're always right you can't learn anything new. You're closed down because knowing and learning can't occur at the same time. Having to be right all the time just isn't right. It isn't just, it isn't fair and it isn't even possible. It will bring you contempt, not power and esteem.

Follow Evans Mozurunyem Ministries for action-provoking posts every morning!

#Join our facebook community: Personal Development Forum with Darlingson

#Join my whatApp status viewers to get daily intentional motivations for free:

https://wa.me/2348087816044?text=Hello,+darlingonERNEST,+I+would+like+to+view+your+WhatsApp+Status+Updates+on+business+and+personal+development,+Save+my+number+as

#follow me across the social media platforms:

Thread: https://www.threads.net/darlingson_ernest

Instagram: https://www.instagram.com/darlingson_ernest/