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new lighting and shadows... |
Posted by BGB, 17 April 2013 · 565 views |
well, recently I got around to it: |
partly switching from stencil shadows to shadow mapping. |
put a video up about it here: |
I have ended up using a mixed strategy, generally using the shadow-mapping for the terrain, but stencil shadows for characters. |
the stencil shadows are kind of glitchy, and were very slow for terrain, so ended up sort of semi-permanently disabled for terrain rendering; |
shadows maps don't really work well for characters (low resolution + slow update rate + redraw cost = delayed pixel blobs); |
stencil shadows however allowed up-to-date shadows which more precisely show object outlines, making them better suited for things that move around (like models and characters). |
stencil shadows cost in terms of projecting and redrawing shadow volumes. |
shadow maps cost in a different way: |
the cost of redrawing the depth cube-maps every so often; |
the apparent overhead of the shadow maps being used by the shaders, which can be much bigger than expected, especially regarding smaller light sources. |
so, it is this funny thing: |
the sun can redraw faster and use full-scene shadows; |
smaller detail point-lights, if shadow-maps are enabled, are actually considerably more expensive. |
new download for engine available here: |
in case anyone is interested... |
From Wikipedia, the free encyclopedia |
Jump to: navigation, search |
For other uses, see Norns (disambiguation). |
Norse mythology, Sjódreygil and the Norns Faroese stamps 2006 |
The Norns spin the threads of fate at the foot of Yggdrasil, the tree of the world. Beneath them is the well Urðarbrunnr with the two swans that have engendered all the swans in the world. |
The Norns (1889) by Johannes Gehrts. |
The Norns (Old Norse: norn, plural: nornir) in Norse mythology[1] are female beings who rule the destiny of gods and men, possibly a kind of dísir (see below), and comparable to the Moirai (also called "The Fates") in Greek mythology. |
According to Snorri Sturluson's interpretation of the Völuspá, the three most important norns, Urðr (Wyrd), Verðandi and Skuld come out from a hall standing at the Well of Urðr (well of fate) and they draw water from the well and take sand that lies around it, which they pour over Yggdrasill so that its branches will not rot.[2] These norns are described as three powerful maiden giantesses (Jotuns) whose arrival from Jötunheimr ended the golden age of the gods.[2] They may be the same as the maidens of Mögþrasir who are described in Vafþrúðnismál (see below).[2] |
Beside these three norns, there are many other norns who arrive when a person is born in order to determine his or her future.[2] There were both malevolent and benevolent norns, and the former caused all the malevolent and tragic events in the world while the latter were kind and protective goddesses.[2] Recent research has discussed the relation between the myths associated with norns and valkyries and traveling Völvas (seiðr-workers). The norns were thought to have visited newborn children in the pre-Christian Norse societies.[3] |
Norns within skaldic references are often seen as negative beings that are mostly associated with transitional situations such as violent death and battle. In Egil's Saga, Kveldulf composes a poem lamenting the loss of his eldest son Thorolf.[4] Here, what is stressed is the personal tragedy felt by Kveldulf and the sense that what happened was out of his control or in the hands of fate. It is presumed that Óðinn has chosen Thorolf to be among his einherjar so Bek-Pedersen suggests that since Óðinn has caused the death then the norn has caused the emotional turmoil.[5] Another negative aspect associated with the norns is that they are associated with death (see Skaldic Poetry). Not all aspects of the norns were negative, however, as they were associated with life and birth as well (see Helgakviða Hundingsbana I and Gylfaginning). |
The origin of the name norn is uncertain, it may derive from a word meaning "to twine" and which would refer to their twining the thread of fate.[2] Bek-Pedersen suggests that the word norn has relation to the Swedish dialect word norna (nyrna), a verb that means "secretly communicate". This relates to the perception of norns as shadowy, background figures who only really ever reveal their fateful secrets to men as their fates come to pass.[6] |
The name Urðr (Old English Wyrd, Weird) means "fate". It should be noted that wyrd and urðr are etymological cognates, which does not guarantee that wyrd and urðr share the same semantic quality of "fate" over time.[7] Both Urðr and Verðandi are derived from the Old Norse verb verða, "to be".[8] While Urðr derives from the past tense ("that which became or happened"), Verðandi derives from the present tense of verða ("that which is happening"). Skuld is derived from the Old Norse verb skulla, "need/ought to be/shall be";[2][9] its meaning is "that which should become, or that needs to occur".[8] |
Relation to other Germanic female deities[edit] |
Fresco of the Norns in Neues Museum, Berlin |
There is no clear distinction between norns, fylgjas, hamingjas and valkyries, nor with the generic term dísir. Moreover, artistic license permitted such terms to be used for mortal women in Old Norse poetry, or to quote Snorri Sturluson's Skáldskaparmál on the various names used for women: |
Woman is also metaphorically called by the names of the Asynjur or the Valkyrs or Norns or women of supernatural kind.[10] |
These unclear distinctions among norns and other Germanic female deities are discussed in Bek-Pedersen's book Norns in old Norse Mythology and in Lionarons article "Disir, Valkyries, Volur, and Norns: The Weise Frauen of the Deutsche Mythologie"(See references). |
Mímer and Balder Consulting the Norns (1821-1822) by H. E. Freund. |
There are a number of surviving Old Norse sources that relate to the norns. The most important sources are the Prose Edda and the Poetic Edda. The latter contains pagan poetry where the norns are frequently referred to, while the former contains, in addition to pagan poetry, retellings, descriptions and commentaries by the 12th and 13th century Icelandic chieftain and scholar Snorri Sturluson. |
Skaldic poetry[edit] |
A skaldic reference to the norns appears in Hvini's poem in Ynglingatal 24 found in Ynglingasaga 47, where King Halfdan is put to rest by his men at Borró. This reference brings in the phrase "norna dómr" which means "judgment of the nornir". In most cases, when the norns pass judgment, it means death to those who have been judged - in this case, Halfdan.[11] Along with being associated with being bringers of death, Bek-Pedersen suggests that this phrase brings in a quasi-legal aspect to the nature of the norns. This legal association is employed quite frequently within skaldic and eddic sources. This phrase can also be seen as a threat, as death is the final and inevitable decision that the norns can make with regard to human life.[12] |
Ok til Þings |
Þriðja jǫfri |
Hvedðrungs mær |
ór heimi bauð |
pás Halfdan, |
sás Holtum bjó, |
norna dóms |
of notit hafði. |
Ok buðlung |
á Borrói |
síðan fólu.[13] |
And to a meeting |
Hveðrungr's maid |
called the third king |
from the world, |
at the time when Halfdan, |
he who lived at Holt, |
had embraced |
the judgment of the nornir; |
and at Borró |
the victorious men |
later did hide |
the king.[11] |
Poetic Edda[edit] |
The Poetic Edda is valuable in representing older material in poetry from which Snorri tapped information in the Prose Edda. Like Gylfaginning, the Poetic Edda mentions the existence of many lesser norns beside the three main norns. Moreover, it also agrees with Gylfaginning by telling that they were of several races and that the dwarven norns were the daughters of Dvalin. It also suggests that the three main norns were giantesses (female Jotuns).[14] |
Fáfnismál contains a discussion between the hero Sigurd and the dragon Fafnir who is dying from a mortal wound from Sigurd. The hero asks Fafnir of many things, among them the nature of the norns. Fafnir explains that they are many and from several races: |
Sigurðr kvað: |
12. "Segðu mér, Fáfnir, |
alls þik fróðan kveða |
ok vel margt vita, |
hverjar ro þær nornir, |
er nauðgönglar ro |
ok kjósa mæðr frá mögum." |
Fáfnir kvað: |
13. "Sundrbornar mjök |
segi ek nornir vera, |
eigu-t þær ætt saman; |
sumar eru áskunngar, |
sumar alfkunngar, |
sumar dætr Dvalins."[15] |
Sigurth spake: |
12. "Tell me then, Fafnir, |
for wise thou art famed, |
And much thou knowest now: |
Who are the Norns |
who are helpful in need, |
And the babe from the mother bring?" |
Fafnir spake: |
13. "Of many births |
the Norns must be, |
Nor one in race they were; |
Some to gods, others |
to elves are kin, |
And Dvalin's daughters some."[16] |
It appears from Völuspá and Vafþrúðnismál that the three main norns were not originally goddesses but giantesses (Jotuns), and that their arrival ended the early days of bliss for the gods, but that they come for the good of mankind. |
Völuspá relates that three giantesses of huge might are reported to have arrived to the gods from Jotunheim: |
The Norns |
Arthur Rackham. |
8. Tefldu í túni, |
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