
Hello and welcome to the Forty-Seventh Field Report!
Today marks the 160th anniversary of the Battle of Antietam or Sharpsburg, and what better way to commemorate the day with our community than to give an inside look into the future of War of Rights! In today’s field report, we will be covering a whole host of upcoming, and perhaps surprising, features, eye-watering overhauls, and an insight into our audio production. There is no strict timetable on any of the content featured in this field report; think of it as a de facto roadmap for the end of the year and into 2023. With that out of the way, let’s get going!Announcement: “Luminance” Graphics and Lighting Revamp!
[previewyoutube=oM0f0oFKhoM;full][/previewyoutube] Coming in the next major War of Rights update is a big revamp of the shading, materials and lighting in the game, which we call the “Luminance” update. Ever since the start of development, our world lighting has gone through many iterations, and while we have always been satisfied with the look of our game, this iteration is already showing a lot of promise! The current and previous iterations of our lighting and shading have particularly suffered from too much contrast and a lack of saturation. We have diligently adjusted the tonemapper to overcome these shortcomings and provide a more balanced and realistic image. Furthermore, our indirect lighting has been a point of focus in this update. This more natural indirect light bounce will give a lot more depth and vibrancy to the scene, particularly to interiors and forests. Finally, we have improved our water shader to feature better reflections, light absorption, and accurate sun highlights. We are very pleased with the new look and the visual potential it offers us in future development. Due to the nature of the asset changes in this update, a full download of the game will be required. One thing we have always loved about our community is the cinematic quality screenshots and video content you produce with the game, and we look forward to seeing more following the release of this update!Announcement: “Atlas” Community Level Editor In Development!

Audio Update: Black Powder Recordings

Introduction
Here at Campfire Games we have always strived for realism and authenticity with War of Rights, which also extends to our audio and sound design. We have always placed a high level of value on recording original and bespoke audio for our game - from ambiences, player foley, the musicians, to the sound of a minié ball passing by - the vast majority of the sound effects in War of Rights have been professionally recorded, crafted and designed by audio professionals. We thoroughly believe that this helps deliver an emotive and visceral experience for our players. [previewyoutube=PdOVls1guqM;full][/previewyoutube] Something we have wanted to improve on for a little while is the sound of our black powder weapons. Whilst we are rather pleased with the loudness and aggressiveness of our rifles, cannons and pistols in their current state - we feel that we could do much more to improve the sound of these weapons at different distances, environments and orientation/position from the shooter to the listener.
American Civil War Society
We teamed up with The American Civil War Society (ACWS) based in the UK to record a vast library of black power weapon sounds. ACWS is a reenactment group who are very active within the scene, each year attending many events around the country. We even managed to record the ‘rebel yell’ and ‘huzzah!’ voices whilst visiting one of their events a few years ago! Their members are located in all corners of the UK and we were very grateful to have a handful of them assist us with our recording session, providing a large variety of weapons; rifles, cannons and pistols.
Field Recording
Tom, one of our audio designers has been involved with the project since the start, and is responsible for most of the sounds already existing within the game. He organized the event; researching and booking the best possible location, communicating with ACWS, as well as providing a large audio recording arsenal (microphones) for the session! From here we’ll hand over to Tom to explain further his thoughts and processes for capturing black powder explosions! [previewyoutube=wBOTN2Cq-tI;full][/previewyoutube]The Recording Session
Hey everyone! When Campfire Games spoke to me about updating some of our black powder weapon firing sounds, I knew that this would be a great opportunity to go out and grab some fresh new recordings. The first step in the process was to figure out a good location to record. Gunshots are essentially an impulse, a quick change in sound pressure which can sometimes sound rather uninteresting when shot in particular locations. The most interesting part of a gunshot (for me) is how the environment reacts to the change in air pressure. This is why guns can sound so different in various locations.

Flag Blog: The Flags of Bloody Lane
Bradley, Texture Artist & Historical Consultant Shortly before 9 AM on September 17, 1862, Generals Robert E. Lee and D. H. Hill toured the sunken road comprising the center of the Army of Northern Virginia. Veteran infantry brigades of Alabamians and North Carolinians under Generals Robert E. Rodes and George B. Anderson occupied the position. Colonel John Brown Gordon’s Sixth Alabama was at the apex of this critical point in Lee’s line. Gordon’s Yellowhammers and Col. Charles Tew’s Tarheels scoured the vicinity for fence railing, transforming the undulating path into a menacing 800-yard entrenchment—soon to be known as Bloody Lane. Gordon gave his assurances to Lee that his men would hold their assigned place, “’till the sun goes down or victory is won.” Not a half hour later, Rodes was wounded, Anderson lay dying, Tew was dead, and Gordon was expected to die having received no less than five gunshot wounds. Flags were of central importance in the Civil War, and they feature prominently in many survivor accounts of the fighting along the sunken road. Col. Gordon, for example, recalled seeing the first division of Yankee soldiers as they marched into view and their vibrant, silken “banners above them,” which “had apparently never been discolored by the smoke and dust of battle.” On the opposing side, a sergeant in the Eighth Ohio remembered “a stand of colors just opposite us.” The Confederate flags in the sunken road were “a constant mark for us to shoot at. But although we often dropped them, those colors would rise again and wave as defiantly as before.” The Alabamians of the Sixth carried a pattern of battle flag known as a second bunting issue, from a Richmond, Virginia depot. The flag featured a sewn battle honor for the regiment’s valor in the fight at Seven Pines. The Fourteenth North Carolina carried an earlier version of the battle flag, known as a first bunting, to which was fixed two battle honors for gallant service, “WILLIAMSBURG” and “SEVEN PINES!” There was no rule dictating how regiments should apply these battle honors to their colors, and we see the consequence of the lack of standardization in these two flags—both flags appear in War of Rights.




