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fallout 4 dab mod

Fallout 4 dab mod

I’m trying to get my mods to work without absolutely horrible load times. If I have the line set to

[Archive]
bInvalidateOlderFiles=1
sResourceDataDirsFinal=STRINGS\, TEXTURES\, MUSIC\, SOUND\, MESHES\, PROGRAMS\, MATERIALS\, LODSETTINGS\, VIS\, MISC\, SCRIPTS\, SHADERSFX\

the mods will load but the game is absolutely unplayable and is pretty much stuck at lowest LOD constantly. If I have it set to

the mods obviously don’t load at all since none of the data directories are linked.

Is there any other way I should be doing this so I can load mods without having to use those terrible slow data directories?
Pls help

sResourceDataDirsFinal=STRINGS\, TEXTURES\, MUSIC\, SOUND\, MESHES\, PROGRAMS\, MATERIALS\, LODSETTINGS\, VIS\, MISC\, SCRIPTS\, SHADERSFX\

^^—— is no longer needed

here ‘s what my custom ini looks like

[Archive]
bInvalidateOlderFiles=1
sResourceDataDirsFinal=
[Display]
iLocation X=0
iLocation Y=0
bUsePreCulledObjects=0
[GamePlay]
fPlayerDisableSprintingLoadingCellDistance=0
[general]
sStartingConsoleCommand=bat autoexec
bUseCombinedObjects=0

the fPlayerDisableSprintingLoadingCellDistance=0 is only needed for mods that expand your settlement beyond the greenline build line in your settlement and for mods that add custom player homes

bUsePreCulledObjects=0 is only needed to stop the white cell flash issue from scrapping wall’s,floors and ceiling’s in build mod, I use it for Vault 88 when scrapping train tunnels to fit the vault hallways in them.

and sStartingConsoleCommand=bat autoexec is only necessary if you want a certain amount of NPC’s set essential upon each game launch and want grass and godrays off upon game launch

here’s what is inside my autoexec text file beside my games exe

tgm
gr off
tg
setessential 0004efe2 1

^^^Seteseential along with 40 other named NPC and favorite merchants and there named brahmin etc

Fallout 4 dab mod I’m trying to get my mods to work without absolutely horrible load times. If I have the line set to [Archive] bInvalidateOlderFiles=1 sResourceDataDirsFinal=STRINGS\,

Fallout 4 dab mod

With the right ensemble of mods, Fallout: New Vegas can look stunning. Instead of relying on a hotchpotch of player-made creations, though, one mod team is recreating Obsidian’s Mojave-set interpretation of the post-apocalypse in Fallout 4’s Creation Engine.

Fallout 4: New Vegas is a project comprised of around 100 contributors from various backgrounds, and aims to reimagine Sin City with all of the 2010 original’s “quests story and content, with additional gameplay elements and systems from the new and improved engine.”

Announced in August this year, here’s a brief pre-alpha short:

Looks pretty neat, huh? The mod’s latest ModDB devlog shows off how Fallout 4’s dynamic weather system affects New Vegas with varied lighting and ever-changing atmospheric detail.Here’s some screens to this end:

Fallout 4: New Vegas is without a hard release date, however its creators note that they’re always interested in new recruits. If that’s you, head in this direction for the mod team’s application form.

And since we’re talking New Vegas, let me point you in the direction of Andy’s recent reinstall.

I’m attempting a non-lethal playthrough of Fallout 4 with the Knockout Framework mod, which lets me punch NPCs unconscious and carry them around in a sack on my back. Part 1 | Part 2 | Part 3

After getting punched by a bandit wearing power armor in Part 3 of my diary, I’ve decided I want my own set of armor, and so I’m headed to Concord where the settlement-obsessed Preston Garvey awaits. As I approach the Museum of Freedom, I bonk a few raiders unconscious with my cane, and after heading inside I bonk several more.

I’m actually starting to feel pretty confident with my non-lethal head-bashing. My biggest problem is that having put my focus on strength to be a decent melee fighter, I can’t sneak worth a damn. Surprise attacks are impossible—raiders always hear me coming and turn around—and I tend to get shot a lot. Still, all the raiders I’ve encountered have been pretty easy to knock out, taking three hits at the most.

What’s a bit harder is convincing Preston Garvey to open the door to his crummy little office for me. He insists that he’ll only let me in once I’ve dealt with the raiders, and despite all the raiders lying concussed on the floor of the museum, the game doesn’t consider them officially dealt with since they’re still breathing. Which sort of sucks. Preston could easily just shoot their unconscious bodies dead himself, if only he’d open the door. But he won’t.

Well, I’ve still got a big sack in my bag of tricks. I decide to try carrying a raider outside the building, and as I dump the first one in the street, I notice the quest log updates. Now it tells me I only have six raiders to “kill” instead of seven. I guess if they’re out of the building, that counts as a kill to dear Preston. Out of sight, out of mind.

I sigh, then get to work. It’s a pain, gathering up all the raiders, one by one, putting them in my sack, carrying them back downstairs, leaving the building, and dumping them in the street. But I repeat it until they’re all slumbering unconscious on the pavement. Except for the one who suddenly wakes up and punches me as I go back inside.

But the point is, as you can (sort of) see above, the quest decides I have killed all seven raiders, and I haven’t actually killed any of them. I head upstairs for the eighth time, chat with Preston and his pals, and then reach the roof to acquire my very own power armor. I leave the minigun where it is and leap into the street, landing directly on two of the unconscious raiders, instantly killing them. Whoops! I have to reload and do it again—no killing allowed, even by accident.

I jump more carefully this time, land safely, and run down the street brandishing only my armored fists. I punch my way through a few more raiders until it’s time for the main event: the deathclaw.

It, uh, doesn’t go so well.

The deathclaw punches me a lot harder than I punch it. Also, it’s got the slick move of picking me up and body-slamming me into the pavement. Thankfully, I’ve got a few stimpacks and a backpack full of food, and I manage a quick retreat to heal before I start wading in again.

I’ve got something else, too. With all the raiders going down so easily underneath my mighty cane, I’ve banked a full-ass critical meter. I dash over to the deathclaw, target it in VATS, and unleash a might critical wallop.

The deathclaw goes down. It folds like a house of cards. I drop it like a bad habit. I have punched a deathclaw unconscious.

I’m also excited to see that the enormous sleeping deathclaw does indeed fit into my body sack. Hooray! I’m so thrilled I even jump up and down in the street, even though there’s still a raider on a nearby roof taking shots at me. Let him shoot, I’ll punch him to sleep after I’ve celebrated a bit.

Preston, unfortunately, isn’t impressed with my unconscious deathclaw: the quest doesn’t update to say I’ve completed it. In the meantime, though, I’ve got the power armor I was after and my own personal unconscious deathclaw that I suddenly realize I don’t know what to do with. I even take it out of the sack back at Sanctuary Hills to have a look at it.

Yup, thats a big unconscious deathclaw I’m not allowed to kill! Well, maybe it’ll come in handy somehow. I’ll just carry it around with me until I figure out what to do with it.

Next week: I figure out what to do with it.

Fallout 4 VR is almost exactly what the phrase ‘Fallout 4 VR’ implies. Which is to say, the entirety of Fallout 4 rendered in giant-scale gogglevision. It’s funny – for some time there was this expectation that VR needed a full-fat mainstream game to truly get its wings, but now that’s finally happened, it just feels like the most normal thing in the world. (more…)

Inon Zur is a multi-award winning composer who has spent the majority of his career writing videogame scores. His resume boasts the likes of Baldur’s Gate 2: Throne of Bhaal, Dragon Age: Origins, Prince of Persia and Crysis, among a long list of other game projects.

After cutting his teeth on 2001’s Fallout Tactics: Brotherhood of Steel, Zur went on to compose the ambient orchestral arrangements for Fallout 3, Fallout: New Vegas, and Fallout 4—the latter of which is now being visited and revisited following the launch of Fallout 4 VR.

I recently caught up with Zur to chat about his career, what inspires him to write music for videogames, and how he approaches each project differently.

PC Gamer: You’ve worked in television and film, but the majority of your work has been with videogames. What was it that first attracted you to games?

Inon Zur: Videogame score is very unique and a different process than movies and TV. Since the music cannot be locked to a picture (cinematics and cut-scenes being the exceptions), it has to carry a strong signature that can represent what’s going on in the game without hitting specific points. This is challenging, but the creative process is more open and the freedom to write a piece of music that has no boundaries or limitations is very rewarding.

I also feel that many of the producers and audio directors in the game industry value the music very much and are willing to invest in a high level of production, like recording live orchestras and so on. This is what I’ve found in the scoring for games world and this is why I like to work in this medium so much.

Do you play videogames yourself—what has your relationship with games been like over the years?

I love games, although I don’t have enough time to play them since I have to score them. I will, however, usually play the games I’m working on to get the feel of the gameplay and to make sure the music does what we want it to do.

Under Bethesda’s care, the Fallout series has often adopted a ’40s-style rock music OST, despite being set well into the future. Does this style of music affect the application of your ambient orchestral scores?

Usually no. Throughout the years I developed the ‘Fallout musical signature’ that is very unique to the Fallout world and for the most part has nothing to do with the ‘40s style of music. That being said, sometimes there are crossing points where I have to tie the two musical worlds, and in these cases I definitely take into consideration the “Fallout Radio” style and try to match it with the score.

How did your approach to creating the game’s overworld music change from Fallout 4, to Nuka World, to Far Harbor, if at all?

I think that in general the Fallout music style is evolving and ever-changing, based on the game content. For example, in Far Harbor the feel was more haunting and sad in comparison to the main game. I used cello solo and female solo voice to highlight the uniqueness of these worlds. Nuka World was more like a theme park, so I matched that feel with the music. Overall the main signature is not very different but I can steer it in different directions based on the story and locations.

You’ve now composed Fallout 4, Fallout: New Vegas and Fallout 3. Firstly: Do you have a favourite? And secondly: Is there anything specific you must consider when composing Fallout music—are there any special techniques you’ve relied upon in all three games?

There is a definite creative approach that connects all these games when it comes to music. What we call ‘organic sound design’ is the main tool when it comes to the Fallout world of music. Rather than playing a traditional instrument to create traditional music, the way these instruments are used to being heard, I use them in a non-traditional way. Or I can use a non-musical instrument (practically any object or tool) and produce music from it.

This is what is so unique in the Fallout scores. The fact that you can hear music but not be really sure how it is actually produced. It is a nice enhancer for the mysterious and unknown world of Fallout.By the way, I also scored Fallout Tactics, which was way earlier.

Your career in videogame music spawns a number of very different games. How does your approach differ when writing a Fallout score compared to, say, Dragon Age: Origins, or Prince of Persia?

It all starts and ends wtth the story and setting. I will approach games like Dragon Age as a dark fantasy world. It has a very distinct, artistic setting—in this case, dark fantasy. I will approach it from this perspective and will try to bring to life this world from an emotional point of view within the boundaries of this style.

The story of course has a lot of influence on the composition, but the style of the game and the world it resides in will be the biggest factor when it comes to the initial musical approach.

Of all the games you’ve written music for, which score have you enjoyed most and why?

I have to say that I can’t single out any specific title… I enjoy almost any project for its individual set of challenges and artistic world.

Which game was the most difficult to write music for and why?

Usually games that don’t have a known definition—but rather a new approach in terms of the story and setting—those are the most challenging to write for. However, I must say that each project presents to me its own creative challenges, and even those that are a continuation of previous projects bring new and exciting creative opportunities.

I imagine it’s a great feeling when the games you’ve worked on do well—not least the Fallout series. But how does it feel on your end when a game isn’t received positively by critics?

For me it’s most important to know that I did everything in my power to support the game with my music. It is sometimes hard to predict what people will embrace, but I think that I need to always stay true to myself, no matter what the outcome is. This way, even when some project is not well received, at least I know I gave it my very best.

You’ve won a number of awards for your work on games overs the years. Of those, are there any you’re especially proud of?

Not necessarily. The awards, accolades and great reviews no doubt have a great impact and are reassuring. However, I know that they can’t really define if the score was truly deserving of such praise, they are artistic opinions that people have, and as much as I respect this, music is so very personal and subjective.

Throughout your time in games, a number of series that you’ve worked on have been cancelled or discontinued. Is there any particular series you’d like to see revived?

Certainly! I would love to see Prince of Persia make a return! I greatly enjoyed working on the series and would love to write a score for a new game in this series.

Are there any series that you haven’t worked on that you wish you could have been a part of?

I’m a huge James Bond fan so I would love working on a Bond score. That would be a dream project. I also like to write jazz music, so any projects that employed this style would be a real joy to compose for!

Speaking generally, how has the videogame music scene changed over time?

There are many factors that contributed to the evolution in videogame music. The first is the technical aspect—today we can fit a huge amount of memory into a game, so there is basically no limitation when it comes to space. Therefore, the quality of the music can be maximized; music can be broken into stems, the interactivity of the score can be enhanced dramatically since there are no memory space constraints and since the audio engines are more sophisticated today, the music can respond in real-time.

The second factor is the introduction of software like WWise, and other similar applications. These are working wonders when it comes to how the music is being implemented in the game. They expanded the audio director’s possibilities and made it easier and more creative than ever.

The third factor is the overwhelming success of the videogame industry—this brought more resources to the productions and therefore the composer has more budget than ever to create a high-quality score, with live recordings, quality mixes, for example.

Certainly music was always heavily valued by game developers and gamers at large, but today I believe it’s more than ever.

Inon Zur’s work on Fallout 4’s Nuka World and Far Harbour DLC is available now on Apple Music.

It’s been six months since E3 2017, when Bethesda announced its intention to add a Creation Club to Skyrim and Fallout 4, their massively-successful mega-RPGs known for their breadth of content and emphasis on player freedom. This club would task third-party developers with producing new pieces for the publisher’s two marquee games, which players could then buy from an online storefront with real money. While some decried the service as yet another attempt to introduce paid mods to the single-player gaming ecosystem, Bethesda insisted the market for free fan-made content would remain unaffected. “We won’t allow any existing mods to be retrofitted into Creation Club,” reads the FAQ. “It must all be original content.”

Following this, in late August Bethesda revealed the initial line-up for Creation Club, which included the Hellfire Power Armour and the Chinese Stealth Suit, both priced at $5 and inspired by similar items introduced in the various expansions for Fallout 3. There was just one little problem – if you searched the Nexus, the massively-populated home of free mods for Bethesda’s games, among others, you’d find both the Hellfire Power Armour and the Chinese Stealth Suit already on offer for the low, low price of nothing.

A mild furore erupted. Press pounced on the revelation, which fed the already-boiling fan frenzy over what were considered outrageous prices for sub-par content. Paying $5 for a piece of armour was bad enough, but when the free alternative is superior, the bad deal starts to seem like an out-and-out ripoff. For Road to Liberty, the mod team behind the two projects, it was a confusing development, and one they worked with Bethesda to try to avoid.

I’m attempting to immerse myself completely in Fallout 4 VR. In my pre-war house, my husband takes a seat on the couch to watch TV, and I sit next to him—sort of. As far as the game is concerned, I’m sitting (I have chosen the ‘sit’ option with my controller) but while I’m positioned on the couch I’m still at my standing height. Only by squatting—physically, with my real body, I mean—can I feel like we’re really chilling on the couch together, not a care in the world. It’s a wonderful life, a relaxing husband and his weirdly crouching wife watching TV together, at least until the bombs start falling.

While Fallout 4 VR shows some of the shortcomings of retrofitting VR into an existing game, it’s also impressively playable. I had my doubts about whether I’d really enjoy playing a game that one could easily spend 100 hours in while using a VR headset I typically want to take off after 30 minutes, but after several enjoyable hours over the weekend, I’ve found that VR is a great fit for Fallout 4.

Note: The gifs above and below are from video capturing the mirrored footage on my desktop while I play, which shows up at an odd resolution and not in full detail on my monitor. The game looks perfectly lovely in my headset.

Instead of racing through it for what is probably the 10th time, I spend a while in Fallout 4’s introductory sequence just inspecting things. I lean close to one of my terrified neighbors as we descend into the Vault (in fact, I lean so close I can see inside her skull). In front of an armored soldier, I hunch over so I can peer into the barrel of his gun. (I don’t know why—what do I expect to see in there, a bouquet of flowers?) When I meet Dogmeat I get down on one knee (my real knee) so I can look directly into his beautifully earnest doggy face. The sights and sounds I know very well at this point are made fresh and exciting again by being able to move around inside them and get closer to them than I’ve ever been able to before.

There’s been some tailoring to accommodate the VR experience. One of the best things in Fallout 4 VR is VATS, which works a bit differently than it does in the original game. Instead of allowing you to target a specific area or areas on your enemy (or enemies) and then watching your attacks play out in a cinematic view, VATS in VR works more like a traditional bullet time effect.

Once activated, time slows down. You aim, physically, by pointing your controller (which looks like the current weapon you’re holding) at your enemy. As you aim your weapon, parts of your enemy are highlighted as you center your aim on them. Then, rather than watching your attack play out as your action points are spent, you actually fire your weapon in slow-motion. Instead of pulling you out for a cinematic observation of the carnage, you feel like you’re in one long unbroken fight. It’s a great rethinking of the VATS feature. In fact, I found myself preferring the new VATS to the original: you feel more connected to the action.

The Pip-Boy, unfortunately, doesn’t translate quite as well. At first it’s cool to hold your wrist up to your face to activate the screen (it enlarges automatically, though since you have no arms it’s just sort of floating there) and scrolling through the options using the directional pad works okay after a little practice. But considering how often you use your Pip-Boy, it begins to feel like a bit of a chore after a while. Having a quick look at something, easy with mouse and keyboard, takes a good deal longer with the controllers.

The workshop experience is a bit clunky in VR, too (to be fair, it was already a bit clunky to begin with). Building elements appear nicely over one hand, as if they were little spinning holograms you were holding, and placing them is done with the other controller, though navigating the menus is much easier in the standard fashion than with the touchpads. Wearing power armor is another feature that doesn’t feel quite like it should in VR. Apart from being a couple of inches taller, and having a new HUD attached to your vision, it doesn’t really feel any different than running around without it.

Obviously, Fallout 4 VR hasn’t been built from the ground up for a headset, and sometimes you can really feel it. I’ve spent some time recently playing Rick and Morty: Virtual Rick-ality, so I’m used to using my virtual hands to pull open virtual drawers and cabinets, and holding and turning items over while seeing a representation of my real mitts in front of my face. You can pick up items in Fallout 4 VR, but you don’t see yourself holding anything, they just float there. Opening containers works like it does in the regular game, which doesn’t do much for immersion or giving you the feeling that you can really reach out, touch things, interact.

But it’s still a highly playable game in VR. I feel some of the wonder in a new way: watching the massive vault door roll open, looking up at Diamond City’s gate as it rises for the first time, seeing ghouls and deathclaws lunging right in my face. I’m not one who feels motion sickness in VR, but it can sometimes be jarring or uncomfortable when something doesn’t feel right. Fallout 4 VR feels right just about all the time.

Really, the only thing pulling me out of the VR experience is my knee beginning to hurt from standing on a hard floor for several hours at a stretch, but chalk that up to my old, shitty body and not to Fallout 4 VR. Without my bum knee and the inevitable sweatiness of the Vive headset, I could keep playing for hours more.

Fallout 4 dab mod With the right ensemble of mods, Fallout: New Vegas can look stunning. Instead of relying on a hotchpotch of player-made creations, though, one mod team is recreating Obsidian’s