Unfortunately, IRL pulled me away for a bit again, but I have some more time on my hands and am making it work for a bit. Anyways, we hit a combination of technical blockade and lack of objectives I'd planned without the blockade being solved. I didn't want to post an update until I had gotten to do something myself... This kind of shows how drained I've been, sadly.
My sole contribution these 2 months:
-Fixed a travel crash related to the 3d compass. I'm not happy, but I had to go through 5 different fixes to solve it, and it turns out it was caused by a fix to the compass crashing if you walked too close to a wall. Talk about a pain in the ass.
To quote Atrey's contributions to these 2 months (honestly it's prettymuch the inverse, with me adding to what he did, but aight):
-Sound Engine, including Music Manager, is finished and ready for usage.
-Music Manager is operated within HatchetZoneInfo. Each zone can have its own set of songs, and transition can be either instant, or crossfade. Zones can also have no music.
-Every HatchetZoneInfo upon game-start generates itself a random, unique 16-character ID, which is used for preventing a zone's music double-playing. With 127 characters to randomly choose from, to create a 16 characte string, There are 4,579937329576774e+33 possible combinations, which means the chance of two or more zones having the same ID is about as low as the price of Shiba Inu ever getting close to $0.01.
-Adding more ability to access as much mesh information via UnrealScript as possible, and creating more functions to figure out things based on specified polygons and vertices, for example: If I have this polygon and vertex selected, I want to find out what other polygon uses the same vertex as the one I specified.
-Don't think this was ever publicly mentioned, but earlier this year there was an implementation to import straight, standalone WAV/MP3/FLAC/AIFF files directly into an Unreal package, to be used directly in-game. Normally, a developer would need to convert their sound file to a specific quality, bitrate and bit depth, which Unreal Engine 1 requires to be a <by today's standards> dogshit quality. So Hatchet audio is seemingly lossless, high quality from this point on.
