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jwofles-sims · 5 years ago

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How to rig your mesh and make it game-ready (weight transfer, uv_1 & vertex paint)

Hi, I wanted to write this short tutorial on how make your CAS mesh game-ready using Sims 4 Studio & Blender, going over meshgroups, weight transfer, uv_1, and vertex paint. This tutorial assumes some knowledge about blender but it is beginner-friendly.

This applies to any mesh you can make in CAS, from clothes to accessories.

Prerequisites: You have a new mesh ready, with a UV+texture that fits within the Sims 4 body UV space, and you are using Blender 2.78 or Blender 2.7.

(1) Meshgroups/Cuts

In order for your mesh to show in studio, it has to have the same number of meshgroups/cuts as the .package you cloned has (these are the s4studio_mesh_x meshes in blender). You can check the cut number for a mesh on the scene tab in blender

When creating a new package, I highly recommend cloning a clothing with one cut, as explained in this mini tutorial by @theslyd. This saves you from having to cut your mesh up into parts before importing and saves a lot of time.

For some accessories and other items there aren’t options you can clone with one cut, for which you just need to work with and keep the same number of cuts.

(2) Weight Transfer

STEP 1: Append either a nude top/bottom, or reference ea mesh into blender. Most of the time I use the nude meshes to transfer from because it’s easier/quicker. You can download this mesh pack I made that contains all the male and female nude meshes to save time.

You can delete any extra rigs and bone shapes.

STEP 2 (optional): Subdivide the EA mesh, especially important if your mesh is high poly. This isn’t neccessary to do but if your morphs aren’t looking smooth ingame, you need to do this,

STEP 3: Holding shift, select the EA mesh, and then your mesh, and go to weight paint, and on the left side bar (press T if it’s not open), on the tool tab, click the button ‘Transfer Weights’

Make sure ‘Auto Normalize’ is checked before you transfer weights!!!

Skip the next step if you’re using Blender 2.70

STEP 3: After clicking ‘Transfer Weights’, set the Source Layer to ��By name’, and Destination to ‘All Layers’, and then Click the ‘Clean’ button, and set the Subset to ‘All groups’.

This procedure fully transfers all the weights, and deletes any weights that are set to 0 (these weights break the animations ingame).

Now your weights are transferred properly and your mesh is rigged to the skeleton, so it will move when your sim moves.

STEP 4 (optional): If your mesh is oversized or big there may be glitches/bad looking areas.

These are fixed via manual editing, @theslyd has tutorial that goes over this, but my advice is that the blur tool is your best friend. I recommend adding the armature modifier to your mesh if it’s not there and linking it to the rig, because then you can pose your mesh in Blender and check for weight glitches without entering the game.

(3) UV_1 Transfer

This REQUIRES Blender 2.78, older versions cannot be used for the uv_1 transfer.

This is also assuming your EA mesh (the one you appended earlier) is still in your blender file after weight transferring.

STEP 1: On the Data tab (the upside down triangle), scroll down to UV maps, create a new UV map and rename it to uv_0.

STEP 2: Select your mesh, go to the modifiers tab and add a Data Transfer modifier.

STEP 3: Make the Source Object the EA mesh, check ‘Face Corner Data Transfer’, click UVs, change All Layers to uv_1, change By Name to uv_1, and then click Apply.

Now your mesh will morph properly ingame when a sim is fat/thin. You can delete the EA mesh now if you don’t need to use it anymore.

For some accessories and parts of meshes, they do not need a uv_1 if you don’t want them to morph with the sim, like the pendant on a necklace, or zips on clothing.

For example, if there’s a zip on your clothes you don’t want to morph, go to the UV editor with the uv_1 selected, and then find where the zip is, press L to select that uv island and then size it down really small. This will make it not morph if a sim is fat/thin, with the rest of the clothing morphing like normal.

(4) Vertex Paint

STEP 1: Select your mesh, and go to the vertex paint mode.

STEP 2: On the left side panel (press T if it’s not there), click the colour box and on the Hex tab, set the colour to 00FF00.

STEP 3: With the green colour entered, press shift+k to colour your entire mesh green. You don’t need any other colours like blue or yellow (as said in other tutorials), it won’t make a difference.

And that’s the vertex paint done! Vertex paint is crucial for your mesh to work ingame with sliders and for the other rigging parts to work, and with that the whole rigging process is finished.

Your mesh should be ready to use ingame, properly morphing and moving with the sim. I also have a tutorial on LODs if you want to continue finishing your CC for release. LODs are super important for making your CC optimised, and is the other step of making your creation completely game-ready.

If you need more info or help with common weight and uv_1 issues, I highly recommend @mauvemorn‘s tutorials. You can also post on the creator’s help section on the s4s forums if you need more specific help, I and other creators check there often to help people out.

Hopefully the helped! Feel free to ask any questions through asks/dms :)

#sims 4 tutorial #s4tutorial #tutorial #sims 4 cc making #ts4 tutorial #tutorials #sims 4 #ts4

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drsilverfish · 5 years ago

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Nine Minutes to Midnight

5x21 Two Minutes to Midnight

Nine episodes to beat God, and fifteen years since Kripke pitched his original On The Road fan-fiction meets folk horror.

I’ve had a lot of fun in this little corner of Tumblr SPN fandom, over the eight years I’ve been here. I arrived as a newbie in 2012, and people already here were kind to me. I’ve seen people come and go, get disillusioned with SPN and move onto new fandoms, or arrive latterly into this one, brimming with excitement.

This is a weird social media platform, and I doubt it will be around forever, as one of its joys is how singularly bad it has been at integrating advertising.

Some of my favourite things here have been;

Comments in the tags, often funny, thinky, joyful - love this element of Tumblr.

Coda fic - this short-form story-style, which leaps into the fan-fiction gaps, loud silences and lacunae of the text - what a joy.

All the different roles people take on in fandom, as labours of love - gif makers, fic and meta writers, artists, vidders, archivists, signal-boosters, enthusiastic readers and beta-readers, art-lovers, networkers, collaborators, question-askers and answerers, and participants of all kinds (introvert and extrovert).

Completely unrelated to SPN, posts which are full of puns and hilarity, from “lik the bred” to Brits vs Americans on the subject of drinking tea. I still love Tumblr’s collective sense of humour; it’s witty and charming.

The language of gifs; those delightful comtemporary hieroglyphics of emotive expression.

The diversity - English is the shared language, but gradually it’s apparent that despite US dominance of the site, there are people from all over the world here, whose native tongues range from Russian to Italian to Brazilian Portuguese.

The collective meta experience - sharing “live” textual analysis has been huge fun. Viewing a text in a hive mind this way always shows you something you’d have missed on your own. It’s like holding up a crystal to a thousand lights and watching all the different refractions happening at once.

Again, not SPN specific, but experts in various subjects, from Egyptology to Medieval History suddenly emerging from the depths to provide a passionate and erudite exposition on their topic. Often prefaced with, “My time has come...”

Fandom has a dark side. It can be a coping mechansim, for many, in a healthy or less healthy way. There are unfortunately, always the formation of various “in-groups” and “out-groups”, ship wars, harrassment (of other fans, cast and crew), entitlement, and wild unpleasantness. And, that scourge of the internet in general; performative outrage (otherwise known as the outrage economy) which turns up the dial on provocative statements and negative emotion because that acts as catnip for engagement. A lot of people act out their shadow-selves online, projecting their own internal stuff onto others, from behind the screen.

Almost no media texts get to run as long as SPN (fifteen years) but my first fandom was (and is) Doctor Who and that has been going for over 50. It has some absolutely horrendously toxic spaces and places online, and many of pure joy. My advice is - find the joy.

Stories, by inviting us into the shoes of others, teach us at their (and our) best, the invaluable gift of empathy.

Take care of yourselves. Endings are hard, no doubt.

Special shout-out to fellow LGBTQ+ fans - hold onto your hearts.

It can be complicated loving a story telling its queer (romantic/ erotic) love story implicitly (i.e. in subtext).

Don’t forget (as I always say in my tags) subtext is part of narrative - meaning, the totality of a text contains its explicit and implicit elements; its text and its subtext, just like Metatron (aka Robbie T) told us in 9x18 Metafiction.

I wasn’t in the fandom myself, here on Tumblr, but I saw some of the fall-out from BBC Sherlock S4, and it was particularly distressing to see so many young LGBTQ+ fans feeling deeply hurt and even suicidal, because they’d read all the (extensively crafted) queer subtext in that show as a promise which would, inevitably, lead to an unequivocal queer “coming out” for John and Sherlock.

Those queer fans weren’t “self-queerbaiting” - they were just reading the totality of the text. And after all, why not read the subtext that way, as a promise? Being of a generation who’d already gotten to see many explicitly out queer characters on-screen; why not dare to imagine the subtext was a slow-burn romance with an inevitable “out” climax? Especially because Mark Gatiss (one of the writers) is out and queer himself, young queer fans were even more certain that his Sherlock would be the first “out” queer Sherlock on-screen (The Private Life of Sherlock Holmes, 1970, which Gatiss is on record as being a fan of, had previously queer-coded Holmes, as indeed does Downey’s version, in Sherlock, 2009, and Sherlock 2: A Game of Shadows, 2011.)

Of course, the corporate and production politics were no doubt complex behind the scenes at the BBC, and Gatiss himself (apparently) saw things differently saying (in an interview in Oct 2010):

“No, I don’t think I’d make a kind of gay programme. It’s much more interesting when it’s not about a single issue. And equally, I find flirting with the homoeroticism in Sherlock much more interesting.” (Buzz Magazine Oct 2010: p10).

All of which, is why I’ve been adding a disclaimer to my readings of SPN’s queer subtext for a while now - namely, that reading the subtext doesn’t promise a rainbow of obviousness at the end.

As I said, take care of your hearts, lovelies.

Perhaps we shouldn’t need the narrative closet any longer.

But, we are walking between worlds, an old one and a new, both of them currently existing simultaneously, especially in a globalised world.

Queer audience fractions are, generally, more attuned to queer subtext, because it often uses codes derived from queer culture (although reading cinematic/ television subtext of all kinds is a learned skill, and no one is born with text-reading gaydar). So, whilst queer subtext may appear “loud” to some audience fractions, it remains invisible to others. That is, historically, by design, because, whilst “out” queer characters have gradually emerged on-screen since the 1950s [and the end of the Hays Code in Hollywood] queerness was, and still is (depending on where one is in the world) subject to legal penalty, state censorship or corporate production censorship.

A contemporary kind of state censorship is e.g. in China, where overt LGBTQ+ themes and characters cannot be depicted on-screen (hence, the queer subtext in The Untamed). A contemporary commodity kind of censorship might be e.g. notes from the Network, or TPTB at Marvel Studios with an eye on box-office. Queer subtext has the ability to slip past the censors, or be tolerated by them; because, now you see it/ now you don’t. A character with a straight “surface” reading and a queer subtextual one may (depending on the film/ TV product and its market etc,) be seen to pose less risk as a commercial product, whilst being able to appeal to different audience fractions simultaneously. For example, Captain Marvel (2019) and, as above, BBC Sherlock (2010-2017).

And yes, it’s complicated, because in the midst of that still extant censorship, which queer writers and other creatives on set may indeed be trying to work around by using queer subtext, we can see another world is possible. More out queer stories are being told. And, although we may love to see implicit queerness rather than no queerness at all, and indeed although implicit queerness may (arguably) have the freedom (still) to tell less boundaried or stereotyped stories than explicit queerness (with powerful effects on the audience fractions, both queer and straight, who do “see” it) we can’t deny that it does suit corporate entities, in some cases, to be able to appeal to a dual audience without the perceived “risk” of “outness”. A form of “queer-sploitation” which leads to the charge of “queer-baiting”.

The issue is, perhaps, particularly one surrounding male hero characters in Hollywood (and here in the UK) a) because “queer stories” are (still) often, not seen as likely to have universal appeal for broader audiences, whereas “straight stories” are not framed as “straight stories” but as universal ones, and b) because of the persistence of the prejudiced belief in particular that “queerness” undermines masculinity, especially “heroic” masculinity (here we have diverged markedly from the ancient Greeks). It’s somewhat different for female characters, but that’s another post. Fantasy, in the on-screen medium (if less so in fiction or comics) appears to be a more regressive genre than, say, comedy, in terms of the depiction of “out” queer central (rather than side) characters, with the exception of the Wachowskis’ Sense8 (2015-18) in which pretty much everyone is queer. I know there’s Ruby’ Rose’s Batwoman (2019- ) which I haven’t had a chance to check out yet, and we’ve got some queer Marvel (side) heroes upcoming, apparently; Valkyrie in Thor: Love and Thunder and Phastos in The Eternals - let’s see how that goes.

Moreover, queer subtext doesn’t have an exact analogy i.e. a “straight subtext” equivalent. Yes, many films and TV shows imply romantic/ sexual tension and interest between M/ F (pre)couples before it is “confirmed” they’re into each other in the text. However, because straight is the default assumption, audiences may muse and disagree about the potential for a M/ F romance at the implicit stage (as they have done in SPN fandom re Sam/ Rowena) but they don’t ask - “Does this mean they might be straight ????” It is assumed. Queerness, on the other hand, in order to be widely recognised (rather than solely by the subtext-reading audience fraction) must “come out” in some manner, explicitly, in the text (I don’t mean graphically, but “beyond reasonable doubt”). In other words, as painful as it is, we are not starting on a level playing field. It’s not fair, but it is the deal.

That doesn’t mean we can’t love contemporary queer subtextual stories, just that it’s important to acknowledge it can be painful, for some, to do so, and just as it’s important to acknowlege it’s OK to find them too painful to love, also (historical texts obviously operated under different circumstances).

Queer audiences are not homogenous. We can, and do, see things differently from one another, perhaps particularly across generations.

It is the case however, I think, that the structuring of a story by the narrative closet, as SPN has been structured by the narrative closet (up to this point, mid S15) (by which I mean its queerness is transparent to some, invisible to others, by design) cannot help but remind many queer audience members of our own struggles with the real world closet. Indeed that may make the story attractive, or unattractive, to different folk.

Incidentally, which is why I avoid it, I think the “it’s canon”/ “it’s subtext” debate is a false dichotomy and a bit confusing, as there are two, perfectly legitimate (within their own terms) definitions of “canon”. In the fandom sense, where “canon” means a romantic/ erotic pairing explicitly confirmed in the text, Destiel (meaning romantic/ erotic orientation between Dean and Cas) is not “canon” (as at 15x11). It is implied. Of course, it is explicit text that they care deeply for one another - “You’re my family. I love you, I love all of you” (12x12 Stuck in the Middle with You), “You’re my best friend” (15x09 The Trap). The exact nature of that relationship remains, however, deliberately, ambiguous.

In the literary sense, in which “canon” means “the official body of work”, SPN’s official body of work contains a metric tonne of implicit romantic/ erotic Dean/ Cas, so, it is part of the SPN “canon” in that sense - “subtextual canon” if you like. Although, of course, because implied, therefore open to interpretation.... deliberately transparent to some and invisible to others.

Despite all this complexity, and, indeed despite other elements of the SPN narrative which I have struggled with personally (the early seasons’ misogyny is off the charts sometimes, the brutally insensitive manner of Charlie’s death) I have loved this story, Supernatural, truly, madly, deeply, in large part because of its (implicit) queerness. And for may other reasons additionally, from its folkloric beginnings and dark initial cinematographic palette, to its melodrama, to its, eventual, Ourboros structure, and its Jungian alchemical journey marrying the cosmic to the earthly.

Reading the show without the queer subtext remains possible, but oh boy is that analogous to only considering the above sea-level portion of an iceberg.

I would prefer a rainbow of obviousness at The EndTM, but I don’t expect one. What I expect is continued, deliberate, ambiguity. Something I am sure we will be debating the ethics of, long after.

I could be wrong :-). But I am taking my own advice, and taking care of my heart.

For now, it’s nine minutes to midnight; let’s see how the story ends.

And afterwards, however the chips may fall, the characters will (as this most meta-narrative of seasons has been busy telling us) be set free of “Chuck’s” control. They will belong to us, in a thousand thousand fan-works, for as long as we care to keep on loving them.

#Supernatural #SPN meta #Meta #5x21 #Two Minutes to Midnight #Endings are hard #Who am I kidding #Fandom is going to go wild #Whatever happens #The great queerbaiting debate #Reading Subtext #Dean is bisexual #Destiel #Still subtext #But subtext is part of narrative

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byanxhlove · 1 year ago

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BxL_School_days_posepack

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early access

@sssvitlanz @mmfinds

#s4 #Male Poses #group poses #Female poses #couple poses #the sims 4 #sims4poses #sims4cc #sims 4 group poses #sims 4 school #byanxhlove

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simplyanjuta · 4 years ago

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Dealing with the gallery picture randomizer (and some math…)

Whether you’re creating individual poses or group poses, dealing with the gallery picture randomizer in TS4 can be extremely frustrating (but can be especially tiresome in case of group poses).

So I thought I write down some of the basics from my experience, what can and what cannot be done. And I welcome every comment or addition, in case there’s something I overlooked or got wrong.

(...The specifics might be subject to change in case of updates to the game.)

First of all, it is important to understand what is happening when you randomize a picture for the gallery:

For an adult sim there are in total 10 poses (6 gender specific and 4 generic). Due to the mirroring (the poses flip sides randomly) this means that there are 20 possible results.

When you set up the pose, it usually only works well when in its intended position, not mirrored (especially for group poses). So creating one package file for the pose, means that you will have a 1/20 chance to get the expected result when randomizing the picture.

This is kind of tolerable for individual poses (however tiresome when testing). But with group poses, you have to raise the odds.

For example, when creating a pose for a couple (M-F) you can use up all of the 6+6+4=16 package files for one pose:

Example 1 (no duplicates) Female sim: 1 x female package file; male sim: 1 x male package file

-> Odds: 1/20*1/20= 0,25% (Yep, it’s bad, 400 clicks on average)

Example 2 (using duplicates, alternative 1) Female sim: 6 x female and 4 x generic; male sim: 6 x male

-> Odds: 10/20*6/20 = 15% (6-7 clicks on average)

Example 3 (using duplicates, alternative 2) Female sim: 6 x female and 2 x generic; male sim: 6 x male and 2 x generic

-> Odds: 8/20*8/20 = 16% (6 clicks on average)

If I want to include F-F and M-M alternatives as well as M-F in one pack I use the 2x6 gender specific poses for the „right side“ and the 4 generic ones for the „left side“.

This makes a probability of 6/20*4/20=6% (16-17 clicks on average).

On another note, if you’re creating group poses including pets and toddlers, it’s also extremely useful to know what kind of „group poses“ there are already that the game „knows“ and when those are activated – This you can do by:

1) Looking up the „carried“ poses in the portrait list in S4S

2) Testing different compositions of households. (For example kids and adults can carry a pet, but won’t always do so depending on different constellations of the household)

I was able to create the following family pose using 3 out of 5 baby-poses (which btw don’t mirror!!), all of the „carried“-toddler poses and all of the child poses.

Added some little variations too. And, surprisingly, the pose works very well (about 5 clicks!).

#SimplyAnjuta #Tutorial

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dramallamadingdang · 8 years ago

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For statistics nerds only!

Here’s a recap of the first born-in-game generation on the Castaway island:

The eight original castaways plus the alien pollinators generated 27 kids.

Of those 27, 16 are female and 11 are male. So, there’s a bit of a gender skew, but it’s actually a good skew in terms of repopulation because you need more females than males for that. Especially so in this scenario, where there is no monogamy.

The resulting surname-based clan sizes and male/female ratios are as follows, not including the original townies, although they will move to their assigned clan lots once all of their kids have become teens. (If any of them are still alive by that time, of course.) So:

Long: 2 individuals. 1 male (Bradley, currently an adult) and 1 female (Ariel, currently an infant)

Centowski: 1 individual, male. (Eli, currently an adult)

LeTourneau: 6 individuals. 3 male (Rafael and Peter, currently teens, and Troy, currently an infant) and 3 female (Zoey, currently a teen, Riley, currently a child, and Cadence, currently a toddler).

Hogan: 3 individuals. 1 male (Ty, currently a child) and 2 females (Elizabeth, currently a teen, and Trinity, currently a toddler)

GilsCarbo: 2 individuals. 1 male (Alexander, currently a teen) and 1 female (Nora, currently a teen.)

Bruty: 6 individuals. 1 male (Zion, currently a teen) and 5 females (Amelia and Anna, currently teens, Payton and Jada, currently children, and Bianca, currently an infant.)

Tellerman: 4 individuals. 2 males (Donovan, currently a teen and Wyatt, currently a child) and 2 females (Lydia and Christine, currently teens)

Bendett: 3 individuals. 1 male (Edgar, currently a toddler) and 2 females (Gabriella, currently a teen, and Ellie, currently a child)

Soooooo, given those 5 girls that Sandy had, it looks like the Bruty clan is poised to become the dominant one at least in terms of numbers. And barring Eli Centowski having any alien children, the Centowski clan is essentially extinct. The Long clan I would classify as vulnerable, unless the newborn Ariel turns into a breeding machine and has a good number of girls. I’d put the GilsCarbo clan in the same boat as well except that Nora has an “LTW” to have 10 kids, so she’ll be constantly pregnant once she’s an adult, and I’m hopeful that she’ll have a decent number of girls.

All that said, it’d be really fun to try to take a group photo of the entire cohort, but I’m afraid that large-scale posing with multiple Sims is pretty much impossible in Castaway, given the lack of a moveobjects cheat.

In terms of genetics, I’m concerned about the darker skintones continuing forward. Hopefully those few kids who have S3 and S4 (which is only four or five of the 27 kids) will have lots of kids themselves. I have a feeling, however, that the majority of the population going forward will have the alien skintone. Which isn’t what I planned when I started this, but...Well, shit happens, as they say. :)

All of the eye colors except Andrea Hogan’s green are represented in the first generation, although aside from alien eyes, there is a preponderance of the two shades of blue and only one child with gray eyes. Andrea’s kids do all have a green recessive, so hopefully that trait will be expressed somewhere in the second generation. We’ll see who breeds with whom.

For hair colors, they’re all expressed well except red, as the only red-haired kid is Lydia Tellerman, whose parents are Komei Tellerman and the red-headed PT (She’s the only child of that PT, too), so she has double red genes. She, unfortunately, rolled as gay so she won’t be having any children fathered by any of the playables, but she DOES have an “LTW” to have lots of alien kids. Because of her LTW, at this point either her clan or the LeTourneaus (because of Zoey’s alien abduction “LTW”) will inherit the original lot’s hacked telescope once that lot is closed down, so *fingers crossed* (Then again, if any other alien-related LTWs are rolled by any of the other upcoming teens in other clans, the “pool” for that inheritance will widen.) Of course, Komei’s five other kids with various partners all have recessive red genes, so hopefully they’ll breed with some blond(e)s so that the red might be expressed.

And...I’ll stop babbling. I can’t help it; this is the stuff I love about this game. :)

#sims 2 #castaway stories #townies in wonderland

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byanxhlove · 2 years ago

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BxL_Random_poses_01

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Early access on my patreon ♥

@mmfinds @love4sims4 @studio-k-creation @blueraptorsden @sssvitlanz

#s4 #TS4 #ts4cc #ts4 cc #ts4 couple poses #Male Poses #couple poses #model poses #Female poses #group poses #s4 infants #ts4 infants #sims4infants #s4infantspose #sims4 infants #sims 4 infants #s4 guitar poses

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byanxhlove · 5 years ago

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[BxL] Fb Pose Request 03

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Buy me a coffee honey ♥

#byanxhlove #s4 poses #ts4 poses #s4poses #sims4posepack #s4 female pose #sims 4 poses #poses sims 4 #model poses #group poses #s4 group poses #sims4 pose #ts4 posepack #s4 pose pack #the sims 4 poses #sims 4 pose player #sims 4 pose pack #sims4pose

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dramallamadingdang · 8 years ago

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For anyone who might care...

More Castaway Stories learning/experimenting!

Some pose boxes appear in the game. Some don’t. That being said, there is no moveobjects cheat in the game, so there is no picking Sims up and putting posed Sims on OMSPs (if those would even show in-game) in order to take elaborately-staged group shots and whatnot. However, for simple posed pics of single Sims against a backdrop (assuming that those show in-game; I haven’t tested that yet) with maybe some face overlays and stuff...you can do that. The pose boxes I installed showed up in the “Mirrors” section of the Barter Catalog.

You can install custom Sims! I noticed that CS has a native package installer, so I temporarily set .Sims2package files to open with that instead of Clean Installer and then installed a test Sim via that installer. The CAS in Castaway Stories doesn’t have a button that pulls up saved Sims like TS2 does, but custom Sims can be found under the “Heads” category in the menu, so long as the Sim you’re building is set to use the same skintone bin (S1, S2, S3, S4, or Custom) as the custom Sim you installed. They’ll appear with any of the custom hair, makeup, accessories, etc. that the Sim is set to have but not any of the clothing it was set to have. (But said clothing can be applied manually, so long as it’s custom and shows in the catalog, which it should do if it’s a custom mesh and not, say, a recolor of a Maxis outfit.) The only downside is that, since it’s a Maxis installer, it turns all the file names into alphanumeric gobbledygook, so it might be best to not install Sims with CC and, instead, install any CC you might want them to have separately.

Aliens and alien pregnancy exist in the game! And the basegame version hacked telescope that allows autonomous abduction works, too. (It appears in the “Mirrors” section of the Barter Catalog.) This mod that allows both male and female alien pregnancy also works. I do not yet know if a multi-PT replacement will work, but I’m going to guess that they will since defaults work in general.

SO! Assuming that a mod that allows households larger than 8 Sims will work...I think I’ll be able to do my Standard Townie Castaway Commune of Tropical Bliss, yay! Well, once I learn how to extract Sims from a neighborhood, that is. That’s something I’ve never actually done...

ETA: This larger household mod works. I installed the older, EP4 version. Other such mods might work, too, but I specifically look for ones that are for OFB or older. I THINK the game might be running on that engine, as mods for it seem to work fairly reliably, even though there’s stuff from newer EPs in it, including rain/thunderstorms and fishing from Seasons and things like the pirate ship from BV.

#castaway experiments #castaway stories

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