Kind of surprised no one else has thought of this yet.
I still have much putzing to do.
Thinking about slapping the birthmark on his forehead too, just for shits.
THE GREATEST MUSIC EVER TO GET CHASED BY WITCHES TO.
10 plays
I decided to make a soundpack to replace all the Witch music, using Jerry Goldsmith’s “Ave Satani” from The Omen.
I was just getting tired of that womanly warbling every time I got near a Witch. I thought maybe ominous Latin chanting would be more enthralling.
Download available here.
Now working, and available for download.
And I have this website to thank for it. Made it a helluva lot easier.
You can download the spray here, and the baby sandvich replacement can be found here.
I recently discovered that the gun I used as a model for my skin was from a collection of designer guns from 1988. Oddly, not all of the guns from the collection are on the designer’s website.
Apparently, the one I made the skin of is called “Alexandra”. I did my best trying to figure out a way to make the gun appear shiny in game, but to no avail. It would look so much better if it were. Skinning for L4D2 is a lot different than skinning for TF2. When I made the “Steampunk Justice” for the Engineer’s Frontier Justice, I struggled with trying to make it less shiny. On this gun, I can’t for the life of me put a shine on it enough for a blind man to adjust his glasses in.
I also learned that there are way too many guys on GameBanana that take their video games way too seriously.
It’s sad when it isn’t about just playing a game to have fun anymore.
80 plays
ENTIRE HORDE IS BABIES.
Why do I do these things?
This is quite possibly the ugliest skin I’ve ever made.
Now available for download, if your eyes can handle it.
Good enough for release?
(there’s not much I can do about the fact that it’s matte instead of shiny - writing .vmt files for L4D2 is a LOT different than writing them for TF2)
It’s supposed to be obnoxiously bright and garish. The real-life gun is in the upper left-hand corner.
The Anatomy of a Scoot.
Over the course of skinning, I have had to work out for myself where parts of a texture lie on the actual model. Some parts are upside down on the texture, yet appear right-side-up on the model. Other parts wrap around a single piece of the model, or cross the model at goofy angles. There are even parts on the texture that don’t even matter, because that area is accounted for elsewhere. Also, the bulk of the parts are often scattered around haphazardly, with seemingly no visual relation to each other.
I find these things fascinating.
