#HALF LIFE DEATHMATCH SOURCE MAPS MOD#

The first I really got into was probably Zombie Escape. I had been playing Counter-Strike since about 2006, and by this stage I had moved onto what can be deemed the weirder user-made game modes. most nights streaming movies, reading weird creepypasta on 4Chan, or-you guessed it-playing Source games and sleeping until late afternoon afterwards. It was roughly during the summer of 2010 that my insomnia hit a peak. ThatвЂ™s because your unconscious mind wants to give you a world populated with things that will not freak you out or cause you to question the (un)reality around you. Unless youвЂ™re lucid dreaming, you wonвЂ™t notice how inappropriately placed these details are. Your childhood bookcase appears in the wall of the citadel youвЂ™re lost in. Your bedroom is re-decorated to look like your office. People you havenвЂ™t seen in years appear alongside a colleague you had lunch with the other day. If you ever stop for a minute to look at the space around you in a dream, youвЂ™ll notice that your unconscious does exactly the same thing. Source maps cherry-pick the same details over and over again in order to reuse them in a new and different way.

#HALF LIFE DEATHMATCH SOURCE MAPS MOD#

This is perhaps best crystallized in GarryвЂ™s Mod (2004), which allows players to use different objects from the engine to build new spaces, contraptions, and minigames. Play enough Source games, and you start to feel a strange sense of dГ©jГ -vu, as elements from other game worlds begin to crop up in totally unrelated, unexpected contexts. Part of what makes the engine so powerful is this versatility The same textures and NPCs are recycled over and over, the same sound effects are used again and again, and, of course, the same rules of physics are generally applied. YouвЂ™ll find the same barrel and crate models in Counter-Strike: Source as you will in Half-Life 2, for example. Due to the way the engine is structured, a lot of elements and objects are recycled across different game universes. Maps are, for the most part, flat, blocky and square. Yet it was these small gatherings of player-led modding communities that have kept these games alive, even a decade after their initial release dates.ДЇor all its various iterations over the years, the Source engine has managed to retain a remarkably unique-and uniform-aesthetic and spatial style.

Focused less on tactical shooting than on physics-based hijinks, its servers were often lonely, empty places, filled with strange people and odd, abandoned game modes. Half-Life 2: Deathmatch, on the other hand, was the uglier, less popular brother.

Counter-Strike: Source, a total overhaul of fan favourite Counter-Strike 1.6 (1999), was hugely popular, and continues to be played competitively to this day. This primarily came in the form of two multiplayer counterparts to Half-Life 2 вЂ™s single-player: Counter-Strike: Source and Half-Life 2: Deathmatch, both also arriving in 2004. In order to show off their shiny new toy to the world, Valve tried to pack in as many opportunities for players to enjoy its unique features when the time finally came to releasing Half-Life 2. It was also extremely customizable and easy for programmers to use-thus spawning one of the longest-standing and most creative modding communities in history (which survives to this day). It was the first game engine to truly place an emphasis on physics. The Source engine was significant in a number of ways. However, as celebrated as Half-Life 2 was, it arguably did not have as much of an impact on videogames as we know them today as its engine did. As if they were part of our own lived experiences.Д«ack in 2004, Valve were about to release Half-Life 2 after years of delays, setbacks, leaks, and unprecedented hype-the scale of which the world had never before seen for a videogame. The birth of the first-person game, however, meant that we were able to build and experience these spaces in the waking world-and in our own dreams-for the very first time. Until the dawn of videogames, these representations remained just that-fragmented images, recollections, memories of a half-forgotten other space. These dreamworlds may only be experienced within our heads, but remain a common psychic space in the sense that we inhabit the world that inspires them.

Through visual art, then, we have long been able to represent the world we inhabit when we are no longer conscious. Paintings like EscherвЂ™s Relativity (1953) or Convex and Concave (1955) inevitably captured the alienated, conflicted lived space of a looming modernism, while Inception (2010) tried to depict a dream of a cold, corporate neoliberalism. Popular representations of dreams have always reflected the era they were built within

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