Deadlock is the first map I made using the Military roadways as the major structural feature, and as far as I know the first Far Cry Instincts series map to have perfectly rounded hallways. I will always hold Deadlock as one of my favorite maps as the process of building opened my eyes to whole new possibilities in map making.
One of the first things I discovered when making Deadlock is the repeating pattern in all Military brushes that use the “cement” as its major element. From the ramshackle bunkers with the cement gunners nest, the circular bunkers with cement steps, to the cement roadway supports themselves the pattern can be seen quite clearly. If done right, you can match these cement patterns together so well that it makes the structure of the map look like it was poured instead of built. This unique use of Military brushes I have applied to many maps including: ZooKeeper, HardAsItGets, Jagged, and the ever popular Reflex for Far Cry Instincts: Predator. The similar design concepts can be seen from map to map, yet the method of construction allows for such freedom in design that each of these maps has a very distinct feel and gameflow from each other.
Deadlock is a completely interior map with many narrow hallways, twists and turns, as well as the occasional larger chamber for some serious fire fighting. As the name implies the gameflow in this map was intended to crate standoffs between teams. For example the long narrow hallway at the back of Red Base is perfect for a sustained fire fight as both teams have ample cover as well as ample opportunity to strike. The map flows well and fast as players are able to move through the map quickly and without doubling back on their progress.
Since Deadlock many have adopted the use of Military Roadways for walls due to the ease of construction and the stunning results. If you are unable to see Deadlock in Far Cry Instincts Evolution, then make sure to check out my map Reflex for Far Cry Instincts Predator, and see this mapping method in its best application to date.
