I do turn them off for most retro shooters: Doom, Quake and the likes, because the blurry textures really do look ugly on them. But for Half-Life? Pixelated explosions and other effects just seem out of place for me, and the filtered textures just look more natural for this game for some reason.
More context: The same idea as Half-Life's "Random Tiling Textures" which you can find more info about online, but to my understanding it basically loads a randomly selected texture from a "set" of textures each time the game is loaded.
Half Life 2 Texture Pack
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I started to look at making an example of this kind of thing for you, but it's unfortunately more complicated than I had hoped. Apparently you can't get the texture of a line using ACS, so you'll also need to dive into ZScript. Unfortunately I don't really know anything about using ZScript for this kind of thing so this is where my help ends.
This is however pretty much limited to replacing only textures by name. If you for example replace "FWATER1" with a random different texture, then all instances of "FWATER1" in the map get replaced by that randomly picked texture. So you can't randomize different "FWATER1" sectors differently. (though I suppose you can get a little more control with the third flags parameter.)
Of course, '90s games were made by much smaller teams than those that build video games today, even first-person shooters. Yet Valve had several programmers, several level designers, several character artists. I therefore assumed that its textures would likewise have been created by multiple different artists. Not so.
One thing the documentary makes clear is that Valve didn't have a cohesive plan for what Half-Life should be - including where its levels should take place. Different people on the team initially worked independently, and later started-over to try to turn it into something cohesive. As a result, Laur as texture artist had a lot of influence over what Black Mesa became.
"First of all I had a bunch of textures, and then everytime I made new ones, whoever was working on the new levels would be like, 'Oh fresh textures, I'm gonna use those!'," says Laur. "Somebody making another level would start using them [as well] and I was like no, this is chaos, we need to restrict this, so I started naming the texture sets by the level that they were made for. I was trying to enforce some visual cohesion, and that really ended up working."
Part of my assumption that the textures were created by a group was driven by how varied Half-Life's textures are, and how essential. When I first played Half-Life as a 14-year-old, the Black Mesa Research Facility felt like a real place to me in a way that other games with realistic settings from the era, such as Sin and Kingpin: Life Of Crime, never did. The geometry of the underlying architecture mostly consisted of low-poly boxes by technological necessity, but textures made each area seem entirely distinct.
"Originally I was hand-painting all of the textures, and you can really see a shift in some of them where they go from hand-painted to photo reference," says Laur. "The photo references are much much better. So I was all over Seattle - Harbor Island, Gasworks park - getting rusty metal things. What can I get good pictures of that is vaguely industrial and interesting to look at and then how can we use this?"
I also think the textures deserve a lot of credit for the mapping and modding scene that grew around Half-Life in the years after its release. Using the textures for Quake or its sequel, all you could ever really create was more Quake. Half-Life's real world textures were malleable enough that you could apply them a little differently, maybe add just a few of your own, and suddenly have a setting entirely separate from Black Mesa. That's how you get from Half-Life's singleplayer levels to early Counter-Strike maps like Assault, Siege, and Prodigy, all of which relied on Half-Life's textures.
The textures aren't the only part of Half-Life created by a single person. All of the sounds and music were created alone by Kelly Bailey, who also worked on level design. Half-Life's sound effects have become at least as iconic as its textures, and many have survived unchanged into sequels and other Source engine games. I admit that my love of its textures runs deeper, though. I spent many years as a teenager tinkering in the level editor Worldcraft and became intimately familiar with Half-Life's texture WADs as a result. Several decades from now, when I'm found dead, the old photo clutched in my hand won't be of a lost teenage love, it'll be a printout of C3A1_W5D.
Aside from discussing her work as a texture artist, Laur does also touch on another subject near the end of the documentary. "I was employee seventeen. There was a woman that was kind of the office manager, and eventually Lisa Guthrie came in at the desk. I was the only woman on the team," says Laur, before sighing. "That was not awesome."
After resizing, repositioning, and doing other similar things to the textures I arrived at my current progress below after I made several rectangles with each one alternating by flipping the texture to try to get a smooth infinite loop of just part of the texture.
I am a level designer creating Quake levels. This means I often have towork with textures. At the moment, I have to rely on obscure '90ssoftware running via wine, which is suboptimal. There are more peoplelike me.
WAD2 (Quake) and WAD3 (HL) are container formats for textures. Thetextures themselves are bitmaps, the Quake format is sometimes simplycalled *.mip (mipmapped bitmap). Quake textures are typically 64x64pixels using a single 256 color pallette across the board, unlikeHalf-Life, where each texture can use a different 256 colors.
It is true that you will not be able to browse directly to the texturein the file selector, only to select the WAD file. However this is nota problem because you can immediately present the user with a listingof the WAD file and allow them to select a texture. One oddity is thatthe filename cannot be a 'real' filename, since it is pointing to aparticular part of the WAD file.
Playing the original Half Life retail CD (even with patches) on my Pentium III systems with Geforce cards seems to get me this peculiar texture issue, where a lot of models have just plain white textures and the HUD elements are all single-colour squares. I've been using the last drivers available officially from Nvidia's site, 81.98; I wanted to try the earlier 45.23 drivers that I've seen recommended, but something about the download (from PhilsComputerLab's site) didn't let Windows 98SE see them as drivers at all. And I've seen mentions that they're not necessarily the best for DX9 games anyway, not that the FX series are the best cards for those either, but I want to give mine the best chance y'know? And with an FX 5700 and the 1.4GHz Tualatin system that it's in, it feels suitable to have the freedom to see how well I can run certain DX9 games. I've not have any problems like this with other games I've tried; Rome Total War had a visually somewhat similar issue when trying it on my Geforce 4, but was fine on my FX 5700, so I'm putting that down to a DX9 compatibility issue.
Then, it got upgraded with all kinds of high res texture packs, etc, that won't be supported by the prehistoric engine and hence, not by any hardware 3d acceleration.
Leaving all the heavy lifting to software and the CPU. Which is why later HL with all the tweaks might run worse on a later CPU with later 3D GPU since all the patchwork upgrades overcompensate for the advance in the CPU and they tended to be overlooked in favor of the GPU budget.
It became a bloody CPU hog.
Not sure any more to what extend half-life allowed one to install bug fix or patch updates without installing more demanding graphics at the same time - was a big topic with competitive gamers back then.
Half-Life Texture Tools is an application for editing GoldSrc sprites and WAD3 files. Textures can be extracted or batch extracted from WADs and BSPs in any modern format, including PNG, JPG, BMP, and GIF. It can also do minor editing of textures already available in a WAD, including rotation and editing the texture's palette.
Im making my own mdl engine called NuclearMDL. I got the base code of how to open all the files from the hlsdk, from a guy that put it all together its called hlload. What Im trying to do is make it alot less complex and have it alot smaller. Everything works fine but displaying the textures. If you do not know, usally the textures in mdl files are stored in the mdl file itself unlike most other model files. The file loads with no errors but when it goes to displaying the model it draws the skeleton fine but with no texture. Ive done everything to find out whats wrong and I cannt figure out whats wrong. Can someone plz help me? I was wondering if there was ogl code to detect whether or not texture loading went well or not.
A leftover sign showing how to complete the vent puzzle in the scrapped The Security Complex chapter found in the 1997 prototype, along with labels for switches key to solving the puzzle, can be found in halflife.wad.
halflife.wad contains a lot of leftovers from a cut area, the Alien Research Lab, which can be seen in the 1997 prototype. While some of the textures were repurposed (mainly screen images), many were not, leaving them orphaned.
Graphics for earlier revisions of Forget About Freeman!, where the player had to decrease Black Mesa's security status by sending an all-clear message to an off-site location, are found in halflife.wad. Some of these graphics were reused for the Uplink demo. be457b7860
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