There is a railgun Reactor if you look for it.

I think this map should be better. It's big alright,but mostly empty, and there are only rooms everywhere. Small rooms, large rooms. I miss the bridges, ledges, spans, elevated spans, lifts etc.
This intelligence also regards to items and ammo. There is no Railgun, and only very few ammo, powerups and such items around.

I hope your next work will be a bit more precise. It worths a 4.

Don't worry one little bit Legrand as i bet ya pounds for peanuts that most out there would not really know the storyline about Quake3 anymore as it is getting a bit long in the tooth.As you can see after dusting off the manual that my description is a condensed one and in reality Quake3 does not really follow the storyline at all except for the random comments the bots make about the Vadrigar now and then.Happy fragging!
cya m8

Wow... I never read the front cover of the Q3A booflet... You made me go dig it up, and sure enough, that's what's in there... I retract my initial statement... My bad... Sorry :)

Legrand

In regards to ("The arena lords are now in control of the fortress where battles to the death are staged on a regular basis")
I was refering to the q3 story in the manual where the bots are the arena lords and the Vadrigar the masters of all the arenas.I know it is rather Avant Garde and kitschy of me but hey that's me lol
STORYLINE
Many years ago mysterious Arena Masters, known as the Vadrigar, constructed an arena to satisfy their desire for carnage and battles. They have brought all of the greatest warriors of the universe into their arena. You have just joined the rank of these great warriors. As a gladiator in this arena, you must win each battle by fragging (killing) the most opponents. If you die, the Vadrigar bring you back to life to fight more. After you successfully win the battles, you will face Xaero, Lord of the Final Arena.
cya from ROODOG

As i didn't know the word i thought i would look it up.If this is the general feeling my maps give you then perhaps i better just take up lawn bowls lol....Thanks for your honesty...I think lol
A Definition
Kitsch originates from the German term etwas verkitschen (which has a similar meaning to "knock off" in English). It categorizes art that is considered an inferior copy of an existing style. The term is also used more loosely in referring to any art that it is pretentious or in bad taste. It has been voted as one of the ten English words that are hardest to translate in June 2004 by a British translation company.
Because the word was brought into use as a response to a large amount of art in the 19th century where the aesthetic of art work was confused with a sense of exaggerated sentimentality or melodrama, kitsch most closely associated with art that is sentimental, mawkish, or maudlin; however, it can be used to refer to any type of art which is deficient for similar reasons — whether it tries to appear sentimental, cool, glamorous, theatrical, or creative, kitsch is said to be a gesture imitative of the superficial appearances of art. It is often said that kitsch relies on merely repeating convention and formula, lacking the sense of creativity and originality displayed in genuine art. --http://en.wikipedia.org/wiki/Kitsch [Sept 2004]

A Definition
NOUN
1. Sentimentality or vulgar, often pretentious bad taste, especially in the arts: "When money tries to buy beauty it tends to purchase a kind of courteous kitsch" (William H. Gass) 2. An example or examples of kitsch. ETYMOLOGY
German, , probably of dialectal origin. -- The American Heritage® Dictionary
In the arts, anything that claims to have an aesthetic purpose but is tawdry and tasteless. It usually applies to cheap sentimental works produced for the mass market, such as those found in souvenir shops and chain stores, but it is also used for any art that is considered in bad taste. --Helicon Publishing

In the 1960s pop art began to explore the potential of kitsch, and since the 1970s pop culture and various strands of postmodernism have drawn heavily on it. The US artist Jeff Koons (1955– ) employs kitsch extensively. --source unknown

Camp [...]
Camp - essentially, something that is so bad, that it's good.
Another Definition
kitsch (German: rubbish)
Any artefact that aspires to have artistic integrity but is judged to be pretentious, sentimental, or out of step with current notions of good taste. While this clearly includes cheap mass-produced souvenirs created to satisfy a market that is unable to distinguish between what is kitsch and what is not, it is also true that many objects now regarded as kitsch have been coveted as original creations in other periods. Some 20th-century artists and sculptors, particularly those associated with postmodernism, have purposely produced items that they themselves regard as kitsch.
The Macmillan Encyclopedia 2001
Kitsch in Art
Art characterized by vapidly sentimental, often pretentious poor taste. It is typically clumsy, repetitive, cheesy, and slickly commercial. Artists whose works have been considered kitsch are William-Adolphe Bouguereau (French, 1825-1905), Maxfield Parrish (American, 1870-1966), and Norman Rockwell (American, 1894-1978). Although their works are more seriously considered and even admired by art critics and historians today, there are many other artists whose works continue to be labeled kitsch. Among contemporary examples, the work of Thomas Kinkade (American, 1958-), whose frothing oceans, idyllic cottages and feverishly colorful gardens bear titles like The Blessings of Spring and Hometown Evening, have been called kitsch. His website, nevertheless says that he's "America's most collected living artist," and the corporation that bears his name, and manufactures photographic reproductions of his paintings (adding actual brushstrokes to many of them), has been making annual profits in the millions of dollars for several years. (pr. kitsh) --artlex.com
Disco [...]
Scorned and ridiculed as feather-lite, escapist pap when it emerged in the mid-70s, and now reduced to a kitsch scenario of Afro wigs, polyester suits and drunken singalongs at office Chrstmas parties and bachelopr weekends, disco is just about the last place anyone would look for avant garde practice. [...] --Peter Shapiro, Wired, Feb 2003.
Susan Sontag on Camp [...]
Many things in the world have not been named; and many things, even if they have been named, have never been described. One of these is the sensibility - unmistakably modern, a variant of sophistication but hardly identical with it - that goes by the cult name of "Camp." [...] Many examples of Camp are things which, from a "serious" point of view, are either bad art or kitsch. Not all, though. Not only is Camp not necessarily bad art, but some art which can be approached as Camp (example: the major films of Louis Feuillade) merits the most serious admiration and study. [...] Susan Sontag in http://www.tao.ca/~lemming/notesoncamp.htm [...]
Avant-Garde and Kitsch
by John Miller
What is the quintessential icon of kitsch? Perhaps a plastic Venus de Milo statuette complete with working clock embedded in the stomach. An image such as this affords, among other things, a convenient reference point from which to draw a line between us, those who can be counted upon to know kitsch when they see it, and them, the untutored masses. Unfortunately for “us,” whoever we might be, the reliability of such distinctions is more often than not questionable, if not illusory.

It was Clement Greenberg who, in his 1939 essay “Avant-Garde and Kitsch,” strove to define the avant-garde as a last bastion against kitsch. In treating the vagaries of mass culture as a moral contaminant, however, he seriously underestimated its overall revolutionary potential and the extent to which traditional culture would be irrevocably transformed by the ongoing processes of industrialization. The dissolution of so-called high art was already well underway when the Dadaists incorporated imagery from popular magazines and newspapers into their photomontages. By the time “Avant-Garde and Kitsch” appeared, Surrealism , with its hybrid dream objects, had heralded an onslaught of Venus de Milo clocks to come. But beyond the progression of various art movements per se, Greenberg failed to comprehend how mass culture-as-spectacle enabled kitsch to gobble up authentic masterpieces, even the Venus de Milo herself. Charles Baudelaire foresaw this involution in his 1863 essay “The Painter of Modern Life”: “The world—and even the world of artists—is full of people who can go to the Louvre, walk rapidly, without so much as a glance, past rows of very interesting, though secondary, pictures, to come to a rapturous halt in front of a Titian or Raphael—one of those that would have been most popularized by the engraver’s art; then they will go home happy, not a few saying to themselves, ‘I know my Museum.‘” Pop artists grappled with this condition in an effort to keep their art from becoming too corny. They showed that artists must address how spectacle inexorably saturates everyday life; failure to acknowledge this truth only perpetuates kitsch. This marked a curious reversal of the accustomed battle lines. Ironically, it is purist aesthetics that then became most vulnerable to kitschification. -- JOHN MILLER

Memphis Design [...]
In 1981 at the Milan Furniture Fair, the world of design was shattered, visitors discovered after years of rationalism a collection of strange furniture with flashily coloured plastic laminates emblazoned with kitsch geometric and leopard-skin patterns usually found in 1950s comic books or cheap cafés.

see also Good Taste, Popular Culture

Books

Kitsch in Sync: A Consumer's Guide to Bad Taste - Peter Ward [Amazon US] [FR] [DE] [UK]
While it commences with a somewhat weak prehistory of kitsch in the 19th century, the light style and deceptively glib analysis of this slender volume are a perfect complement to 20th-century trash culture. In what is essentially a history of mass-produced tackiness, Peter Ward provides insightful commentary on how good taste becomes officially bad when its audience changes. He also catches the sense of humor of Jeff Koons, who appears just a few pages past the Bay City Rollers, a juxtaposition I'm sure Koons would enjoy. Kitsch in Sync is worthwhile for its novel take on '80s new romantic music and for the illustrations of the postwar culture of disposable and ugly home furnishings. --Amazon.com

The Artificial Kingdom: On the Kitsch Experience (2002) - Celeste Olalquiaga [Amazon US] [FR] [DE] [UK] From her pet glass-globed hermit crab Rodney to the Victorian era's Crystal Palace, Celeste Olalquiaga offers a meditative look at the origins of kitsch and what kitsch tells us about the conflicts between the real and the artificial, tradition and modernity, nostalgia and melancholy. Olalquiaga artfully traces this form to the mid-1800s and establishes kitsch as a sensibility of loss-a yearning for objects to help recapture the past-and explains how these artifacts respond to a deep-seated human need for meaning and connection with nature. The Artificial Kingdom beautifully elucidates this aspect of culture as an attempt to recover what industrialization has destroyed. --amazon.com

Shit yes hmmmm lawn bowls....lol cya

Pretty interesting stuff going on here, but i agree it doesnt really have much longevity as a playable map. More detailing and more verticality would have made this level more interesting. Cool snow!

BTW, those look like rtcw/et textures..