Metro 2033 im Test So stimmig wie Stalker, so packend wie Half-Life 2.
Stalker (1. 97. 9 film) - Wikipedia, the free encyclopedia. Stalker (Russian: . Loosely based on their novel. Roadside Picnic (1. The trio travels through unnerving areas filled with the debris of modern society while engaging in many arguments, facing the fact that the . In the film, a stalker is a professional guide to the Zone, someone having the ability and desire to cross the border into the dangerous and forbidden place with a specific goal. The Anglosphere definition of the term .
The Zone contains a place called the . The area containing the Zone is sealed off by the government and great hazards exist within it. At home with his wife and daughter, the Stalker's wife (Alisa Freindlich) begs him not to go into the Zone but he ignores her pleas. In a rundown bar, the Stalker meets his next clients for a trip into the Zone.
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Their specific names do not come up as they all agree to refer to each other pseudo- anonymously by just their professions. The three of them evade the military blockade that guards the Zone, attracting gunfire from the guards but all survive. They then ride into the heart of the Zone on a railway work car.
The Stalker tells his clients they must do exactly as he says to survive the dangers which lie ahead, and explains the Zone dangers are invisible. The Stalker tests for traps by throwing metal nuts tied to strips of cloth ahead of them. The complicated path that they must take cannot be specifically seen nor heard but can only be sensed.
S.T.A.L.K.E.R.: Clear Sky; Developer(s) GSC Game World: Publisher(s) CIS: GSC World Publishing; WW: Deep Silver; Distributor(s) Valve Corporation: Series: S.T.A.L.K.E.R.
The Writer feels skeptical of any real danger, but the Professor generally follows the Stalker's advice. As they travel, the three men discuss their reasons for wanting to visit the Room. The Writer expresses his concern of losing his inspiration. His manner appears angry and stressed during the journey. The Professor appears more content, though he carefully insists on keeping a backpack filled with unknown contents close to him. While the Professor's desires are not clear, he reluctantly gives in to countless pleas from the Writer and admits he has hopes of winning a Nobel Prize through scientific analysis of the Zone. The Stalker insists he has no motive beyond the altruistic aim of aiding the desperate.
- The 'Stalker' (Alexander Kaidanovsky) works in some unclear area in the indefinite future as a guide who leads people through the 'Zone', a vicinity in which.
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- S.T.A.L.K.E.R.: Clear Sky Video Game.
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- Deferred Shading in S.T.A.L.K.E.R. Oles Shishkovtsov GSC Game World. This chapter is a post-mortem of almost two years of research and development on a.
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At times, he refers to a previous Stalker named . In addition it appears that the Zone itself has a kind of sentience. When the Writer later confronts the Stalker about his knowledge of the Zone and the Room, the Stalker replies that his information came from the now deceased Porcupine.
After traveling through tunnels the three reach their destination. They determine that their goal lies inside a decayed and decrepit industrial building. In a small antechamber, a phone begins to ring.
The Writer answers and cryptically speaks into the phone, stating . The surprised Professor decides to use the phone to ring up a colleague. In the ensuing conversation, he reveals his true intentions behind his whole journey.
The Professor has brought a nuclear device with him, and he intends to destroy the Room for fear it might be used by evil men. The three visitors to the Zone then fight verbally and physically in a larger antechamber, just outside the Room. The fight ends in a tie, all three men feeling exhausted. As they catch their breath, the Writer experiences an epiphany about the Room's true nature. He argues that when Porcupine met his goal, despite the man's conscious motives, the room fulfilled Porcupine's true, secret desire for wealth, instead of bringing back his brother from death. Thus, Porcupine's suicide came about from the resulting guilt.
The Writer further reasons the Room is genuinely useless to the ambitious since its ability to look inside those who enter it renders the Room only dangerous to those who seek it for negative reasons. With his earlier fears assuaged, the Professor gives up on his plan of destroying the Room. Instead, he disassembles his bomb and scatters its pieces. The men rest before the doorway and despite their long and arduous journey, they never enter.
Deferred Shading in S. T. A. L. K. E. R.
GPU Gems 2. GPU Gems 2 is now available, right here, online. You can purchase a beautifully printed version of this book, and others in the series, at a 3. Inform. IT and Addison- Wesley. Deferred Shading in S. T. A. L. K. E. R. Chapter 9. Deferred Shading in S.
T. A. L. K. E. R. Oles Shishkovtsov.
GSC Game World. This chapter is a post- mortem of almost two years of research and development on a renderer that is based solely on deferred shading and 1. GPUs. Because no single solution can suit all needs, this chapter should not be considered a comprehensive guide to performing deferred shading. Introduction. For those who are not familiar with the concepts of deferred shading, we recommend Hargreaves and Harris 2. This presentation is a good introduction to the basics, and it briefly showcases a number of techniques originally developed for and used in the game S. T. A. L. K. E. R. With deferred shading, during scene- geometry rendering, we don't have to bother with any lighting; instead, we just output lighting properties such as the position and normal of each pixel. Later we apply lighting as a 2.
D post- process using this intermediate buffer—usually called a G- buffer (Saito and Takahashi 1. When most people first think about deferred shading, they envision nice algorithmic properties such as perfect depth complexity for lighting, predictable performance proportional to the lights' screen- space areas, simplified scene management, and more.
One additional crucial fact is usually missed: the ability to cut down on large numbers of batches, which are inevitable when dynamic shadows come into the game. Ask a representative of your favorite IHV, who will say that many games are still CPU- limited. Reduced CPU usage was one of the main reasons we chose deferred shading in S. Download Dope Shope Original Mp3. T. A. L. K. E. R. Another factor was that forward shading engines (with traditional immediate shading architectures, such as those in Doom 3 or Far Cry) usually unnecessarily pay the high cost of repeating the same work—vertex transform, anisotropic texture filtering, parallax mapping, normal map decompression, detail texturing, and so on. In the case of S. T. A. L. K. E. R., where we were limited both by CPU and by vertex processing and had moderate overdraw, we had almost the ideal case for deferred shading.
So, to meet our goal and to raise the visual bar—rendering high- quality, high- polygon content with fully dynamic lighting and shadowing—deferred shading was the inevitable choice. Figures 9- 1 and 9- 2 show examples of a scene generated by our forward shading and deferred shading renderers, respectively. When all the calculations are performed at pixel level (this is the only possible way to go with deferred shading), performance will be similar, because lighting pixel shaders for deferred renderers are not that much more complicated than those for forward renderers. The only added work is G- buffer sampling and, possibly, unpacking.
But your application is much less likely to become bottlenecked by the CPU or the vertex pipe. The actual mileage will vary depending on the data set and, more important, on your rendering engine's actual overdraw, measured as the number of pixels passing the z- test divided by the screen area. Another myth is that deferred shading is useless for rendering directional lights. In S. T. A. L. K.
E. R.'s case, this is true for scenes with a few unshadowed directional lights; but it's false even for a single, shadow- casting directional light (such as the sun). A more detailed explanation appears in Section 9.
Because deferred renderers process each object only once, conventional techniques for handling multiple material types (such as changing shaders per- object) do not translate well. However, by using Direct. X 9 multiple render targets (MRT), we can render up to 1. G- buffer creation phase (four render targets of four floating- point numbers each).