#3d jet fly

[doe-prince]

I love Golden Shrike! I've had my own comic idea for about a decade now, but I'm wondering, for you, how long did it take you to be confident enough with your art to start your comics? had you attempted panels and backgrounds earlier and didn't put them out because you weren't happy with them yet? I'm almost done with my characters and writing but I'm worried I'm not good enough to actually start doing panels

(these are just my views and experiences! there's as many approaches as there's artists)

I was BAD when I started comics, but then I again I was a kid who didn't care if my bunny-cat-digimon comics weren't good enough, it was just fun to do. Which is what it should still be, fun and a fulfillment to you. I think the happiest an artisit can be is when they can draw like they have no audience.

My comics stopped in my teenhood when I actually wanted to make something good. I made so much groundwork but VERY rarely got to the actual page production because I thought everything should be perfect, but we all know there's no such thing. When I noticed all my attempts were doomed, I stopped making them for like ten years until I was zapped with Fuck It We Ball-mentality. And it's the best thing that has happened to me. Childhood whimsy. Make your own toys.

Did I make test pages for Golden Shrike before starting production? Well, the first page of the comic is a test page. And the second page. And the whole first chapter. I just never stopped. Not smart but it's what works for me. Starting these 'test pages' has kickstarted two bigger comics for me, Golden Shrike and Jet and Harley.

Sure I made couple of style tests for GS even though I had a clear visual vision from the start, but Jet and Harley I just started to draw without any real practice pieces, just based on couple of CSP brushes I wanted to use. This isn't very smart as you'll likely find out later that MAN, this style takes too much effort, but if you're unlike me and don't care so much for consistency, you can always simplify it on the fly. And even I've had to change it: I stopped shading after chapter 5, briefly used 3D assets in upcoming pages, now I'm gonna shrink the font a little. They're teeny tiny things for readers, but huge for me.

There's many comic authors who like to plan every little detail before getting to work, but it doesn't work for me so I can't say much about it. I have a skeleton to follow, but I fully flesh out each chapter one by one when I reach them with pages, because I like to revisit my old visions with fresh brains. When you actually get to work, you might realize some scenes aren't needed, or they'd be better changed. Don't be scared to crack some ribs off your story skeleton. Being too loyal to your old vision can often hinder you.

Starting production is the biggest monster in comic making, but after the first step you'll mow over it leaving it in your dust and create a baby you can be so proud of. I wish you, and everyone else on the cusp of their projects GOOD LUCK, HAVE FUN, LOVE YOUR WORK.

[randy-jester]

My Imaginary Ride The Cyclone Hybrid Live-Action and Animation Feature Film that only exists in my head: Part 1

I originally wrote this in response to @sleepboysummer 's post about wanting to bring back the "imaginary rtc production in my head' trend, but it got so long I felt like it deserved it's own post. And then that got so long that I had to split it into multiple parts 😅

Anyway, here's my concept for what I would want for a Ride The Cyclone movie. This part covers everything from the beginning (Introduction + Uranium Suite) to "Talia".

The majority of the movie is shot in live-action, but colored in sepia (Think like the Wizard of Oz but while Dorothy is still in Kansas). The coloring is meant to represent how dreary the choir felt like their lives were living in Uranium.

Karnak will be a life-size animatronic creature puppet from Jim Henson's Creature shop.

The warehouse, despite presumably being abandoned for years, appears to look no worse for wear (for now). Sure, lots of old carnival stuff is stored here. Yet for some reason, nothing seems to have fallen into significant disrepair. It just looks kinda old.

Karnak's opening dialogue will have different jokes depending on whether the audience is watching the movie in theaters vs if they're watching it on home video. The theater version can keep the "armrest bit". But the home video will have it's own joke to replace it.

The first half of "Uranium Suite" is shown as a flashback. We see the choir in competition, snippets of them getting their fortunes read and enjoying the other rides at the carnival, then boarding the doomed Cyclone rollercoaster.

When Karnak says the line "hurtling the children to their deaths", we watch the choir's rollercoaster cart fly off the loopty-loop. But rather than hitting the ground, they stay floating through the air for a while. It's only when they say the lines "round and round and round" when they slowly start to descend toward the ground. Right when they're about to crash and hit the ground, the scene changes. We see the choir land in the warehouse, their souls summoned by Karnak. They get back up, almost robotically, and perform some (Karnak-controlled) choreography for the end of the song.

When it comes to the choir's individual songs, the visuals change to animation. And to reflect the individuality of the choir members, every song uses a different art style.

"What the World Needs" will use 3D CGI animation that has a classic Disney/Pixar look to it. This is meant to reflect multiple aspects at once (the happy/poppy style of the song, Ocean's bubbly personality, etc.)

During her number, Ocean dons a dramatic costume change. She's got a bright pink power suit (think like if Barbie was a businesswoman)

After her number, the world returns to normal (live-action and sepia). We see Ocean standing on the human pyramid wearing a loose pink necktie. This is meant to show that the animated sequences are "dreams" acted out by the choir. The costume pieces they get in real life were from storage.

"Noel's Lament" is animated in 2D black and white animation. Think like the classic Betty Boop cartoons from the 1930s. Additionally, his entire song is recorded through a radio filter (think like how Alastor sounds in Hazbin Hotel). That way it really makes him sound like he's from the "olden days".

"This Song is Awesome" will have a gritty, graffiti type art style. Whereas "Talia" will be done entirely in watercolor.

The transition from "This Song is Awesome" to "Talia" will be different from the stage version. "This Song is Awesome" will be framed like Mischa's dream bachelor party. We see him living it up as a world-famous rapper, partying with his friends, then taking the private jet to Ukraine. When he says "And then I see this girl. Shawty." at the end of "This Song is Awesome", there's a visual gap between where Mischa is standing (still in the graffiti art style) and where Talia is standing (in watercolor). We can hear the beginning notes of "Talia" being played in the background. Noel leans close to Mischa and asks, "Who's that?", referring to Talia in front of them. Mischa says, "That is my girlfriend. I was saving up to move back to Ukraine just to see her. Natalia Muruska Bolinska." As he says her name, Mischa steps between the gap, changing his appearance (and the rest of their surroundings along with him) to the "Talia" watercolor style.

EDIT: Here's the link to Part 2! Sorry for splitting it up. Tumblr literally wouldn't let me post it as one large chunk. ^^;

[tacticalspider]

*bad ass gitair noises*

image description in alt and under the cut, along with ref

reference picture:

[image number one shows a drawing of ray toro as jet star playing guitar. he has greenish skin and bright green hair flying around everywhere, and blue stubble and a thin mustache. his eyes are mostly closed and his mouth is partly open. he's wearing an orange jacket over a purplish blue shirt and greenish orange pants. his guitar is bright green with an orange panel on the front and a green strap. "jet star" is written in the top right corner in big blue 3d letters, and "tactical spider" is written above his arm as a signature]

[image number two, aka the reference picture, is a photo of ray toro playing on stage. imagine a photo version of the drawing i just described, but with normal colors, black clothes, and a natural wood guitar. he looks very hot, possibly even edible. anyway. end id]

[orangetubor]

[image description: a recording of a 3ds, showing mii versions of the carte blanche crew from the penumbra podcast. Juno and Neureyev are the lead singers, jet, buddy, and vespa are background singers, and Rita is flying around stage for half the song. Lyrics are as follows:

Oh, woe is me

There's nothing left

Except sorrow and tears, I cry alone

How can this really be my destiny?

You come back

And comfort me

We make up and finally

I hold your hand

And know our love can make

A much

Better

Tomorrow. End description]

[usafphantom2]

I wanted to share this from my private Habubrat SR 71 Facebook page. This page has not been hacked.

Short story of her love to Blackbird.

As first I wanted to say hello to everyone in the group, especially for Linda Sheffield Miller for creating such an amazing community circled around Blackbird - that's really stunning.

I wanted to share a story - a story of my wife who is actually too shy to talk about her love to Blackbird. Not too many of people outside of US here on the group I'd say, so it may be worth a while reading about this 🙂

Karolina (or Caroline in English) is 29 this year, we've been married for 3 years now. She is mechanical engineer that ended university of technology in 2014. From when I remember, she always had Blackbird on her wallpaper on Laptop and phone. As I'm Polish armed forces officer (we come from Poland) , the background of it was also interesting to me, so many years ago she told me a story of herself.

She is the kind of woman that never played Barbies, she was the Lego kid playing with cars, dreaming of Jaguar E-type and flying through space. When we met, she knew (and still does) know more about cars than I do.

Her dream was always to build Next gen Blackbird - anytime someone asked about her wallpaper, she said the history of it and how awesome it is (they only tried to small talk but she instantly went all in for telling about it 😅).

When she finished UoT, she worked for the company making parts for planes, but she recently changed the job to be a part of the team creating jet engines. It's her dream job right now, but still keeps saying that her future lays in Lockheed Skunk Works.

Last year we had delayed honeymoon, 34 days in United States to see as much as possible from what we only saw in movies.

We visited Kennedy Space Center (it's great for real), where she was amazed and almost cried seeing Saturn V. But the real thing was just coming.

When we arrived in the Washington, the only thing she was waiting for was going to Udvar Hazy Air and Space Museum, where one of the Blackbirds stands.

You can only imagine how she reacted seeing it when we stepped on the gangway above SR-71. She cried her eyes out, but positively.

There was a guy (expert) on a big screen right next to Blackbird, who was actually connected through Skype or something, so we could talk with him and he could tell us the story of this plane. I remember them talking for some time with her making notes of what he said and she didn't know.

When we came back to Poland, with the help of my friend, I decided to make her a scale model of Blackbird. Since I like a little bit of engineering myself and I have 3D printer, I designed the exhaust fumes with Mach diamonds to be lit

When she saw it lit up, she cried again, the same as she did in US when she saw the real one. She is crazy about the Blackbird even more than she was before, but too shy to talk about it outside of her group of friends - maybe your reaction will make her open up a little more in here.

@Habubrats71 via X

Hope the story wasn't too long - since this group exists and I watched Lindas Habubrats for some time now, I always wanted to share it. The fact this plane and community around it is so amazing that the plane itself has fans all over the world.

[spacetimewithstuartgary]

Mission to Map the Elevation of Earth

Kevin Kregel had his lucky fishing hat firmly in place, complete with an array of fishing tackle above the floppy brim and a chinstrap cinched up tight. It was time to try the fly-cast maneuver. Commander Kregel wasn’t out for trout on a mountain stream. He was at the controls of the space shuttle Endeavour. Instead of wielding a fly-fishing rod, he and the crew of the 97th shuttle mission were preparing to whip a slender, 200-foot-long mast into place on day two of their 11-day quest to create an unprecedented map of Earth.

With one end mounted in the orbiter’s payload bay and the other cantilevered out into space, the mast was a central part of the Shuttle Radar Topography Mission (SRTM). It was also the longest instrument ever flown aboard a space shuttle. A detector at the end of the mast and one nestled inside the shuttle bay were ready to collect reflections from a radar beam aimed at Earth below. First, there was the matter of swinging the fragile mast around to precisely orient the instrument in orbit. Doing it with a detector as heavy as a grand piano attached to the far end was going to be the tricky part.

Closing Mapping Gaps

Nearly a quarter century after the mission to map the world, the SRTM’s data still yields results. Just this year, it aided in wildfire forecasting for Iran’s Zagros Mountains, tracking soil erosion in South Africa, assessing flood risk on the coast of Brazil, and even determining how the locations of power-generating wind turbines affect real estate values. Tens of thousands of research papers are published every year that rely on SRTM maps for these and other environmental, economic, agricultural, and public safety studies.

Back when Endeavour launched on February 11, 2000, much of Earth’s surface was a mystery, topographically speaking. No one knew the precise heights of many of the world’s mountains or the depths of the valleys between them. Where height information did exist, topographical maps varied in quality and scale from country to country. The result was an incomplete patchwork of maps.

Prior to 2000, correcting these mapping deficiencies had proven elusive. Most imaging satellites had a hard time seeing through cloud cover, particularly over portions of South America and Africa; it was expensive to fly mapping instruments on planes crisscrossing remote regions; and in some cases, countries denied access to airborne mapping efforts due to political conflicts. Scientists and engineers at NASA’s Jet Propulsion Laboratory set out to solve the problems with an instrument that could see through clouds and map much of the planet over the course of a single space shuttle mission.

Their solution was the SRTM instrument that now hangs from the ceiling in the Smithsonian National Air and Space Museum’s Steven F. Udvar-Hazy Center in Fairfax County, Virginia. Only a fraction of its fragile mast extends from the golden canister where it was stored for the trip to orbit and back. Fully deployed, the trusswork of slender rods would reach two-thirds the length of a football field. When packed away, the entire thing collapsed like an accordion to fit in the canister, which is a bit taller than the average adult.

The radar system at the heart of the SRTM instrument had flown twice on Endeavour for prior mapping efforts. During those missions, the instrument offered two-dimensional views of the ground from orbit. By combining data from different vantage points, NASA scientists produced stereoscopic images that revealed stunning 3D topographic views. But the need for multiple passes over the locations slowed the process, and while clouds are transparent to radar, changes in the atmosphere between orbits limited the quality and accuracy of the resulting maps. The missions primarily focused on areas of scientific interest in South America, Africa, Europe, Asia, and Oceania, covering about 10 percent of the planet’s surface on each of the two flights.

With a radar antenna mounted at the end of the SRTM mast and another inside the shuttle bay, the new instrument could continuously view Earth in 3D, ensuring that atmospheric changes from one orbit to another were no longer a problem. Because it could capture images in a single pass over any given area, the SRTM would be able to scan large areas of the planet and reveal detailed topography nearly ten times faster than its predecessor. In total, the SRTM collected elevation data over 80 percent of Earth’s landmass in a single flight, with coverage spanning the areas visible in the maps at the top of this page.

Fishing for Data

If not for the weightlessness of orbit, a thousand-pound radar antenna would have been far too heavy for the delicate mast to handle. But even in space, there’s still the problem of inertia—the resistance of things with mass to changes in motion. That meant that the SRTM mast was going to flex whenever the spacecraft turned to put the instrument in position to map the planet below. Despite its rigid design, the long mast would act like a spring, with the antenna wobbling at the end after any shuttle maneuvers.

“It’s a very small angle wobble, less than a degree,” said Scott Hensley, a senior research scientist at JPL who helped develop the SRTM instrument, “but it translates into big error.” The motion would have amounted to inaccuracies on the order of a thousand feet (300 meters) in features on a topographical map.

The JPL design team had anticipated the flexing and installed a system of gas jets at the end of the mast to counteract the wobble. “It was a really clever idea,” Hensley said. “It worked for like a day and a half, and then I think it froze, so it no longer ejected the gas.” Fortunately, engineer Bill Layman had outlined a fly-casting contingency plan in the event of a problem with the jets. Which brings us to Kregel and his fishing hat.

Layman’s fly-cast maneuver mimicked the motions that sport fishers use when casting with long, flexible fly-fishing rods. In order to rotate the SRTM mast into position, Kregel and Endeavour pilot Dominic Gorie first applied a short burst with the shuttle’s thrusters, comparable to the initial flick of a fly rod. That caused the mast to bend backward slightly as the shuttle turned, and then to rebound forward. When the mast straightened out, a second burst of the thrusters sped up the shuttle’s rotation, mimicking the forward portion of a cast. The timing and strength of the thrusts were tuned to prevent further vibrations as the mast swung into place. Reversing the thruster procedure brought everything to a quiet, vibration-free halt, with the radar system in position to start mapping.

Unlike the frozen gas jets, the fly-cast maneuver relied on the shuttle’s limited supply of thruster propellant. That meant the technique had the potential to cut the mission short. But Kregel and Gorie managed the fly-cast maneuver to reposition the SRTM on six occasions with enough efficiency to leave plenty of propellant to complete the full mapping schedule. The deft piloting allowed the shuttle team enough time to collect elevation data over most of Earth’s landmass, between the southern tip of Greenland and the southern tip of South America.

Read more about SRTM’s treasured maps in the story’s second installment.

NASA Earth Observatory image by Michala Garrison, using topographic data from the Shuttle Radar Topography Mission (SRTM) and SRTM coverage boundary data from the United States Geological Survey (USGS). Photos and illustration from the NASA image and video library, STS-99. Story by James Riordon/NASA’s Earth Science News Team.

[dbarn]

Okay, time for the (relatively) early-morning Zootopia 2 catchup. Looks like we aren't getting a whole lot more detail out of D23, so we'll have to live on these scraps until the next dribble of information. (I wouldn't expect even a teaser trailer until the end of the year.)

ZNN got an "exclusive interview" with Jared Bush, which means that kaijuking asked him three questions which were all answered with variations on "no comment".

Speaking of kaijuking, he also posted a pretty clean-looking version of the (extremely short) Q&A panel with Jared Bush and Yvett Merino. Sadly, there's very little Z2 information contained here, all of which I mentioned in a previous post.

This next bit is literally old news, since it was first reported some time last year, but a new Zootopia-themed 3D "experience" will be replacing "It's Tough to Be a Bug!" in Walt Disney World's Tree of Life at Animal Kingdom. It will be called "Better Zoogether", and here's a decent-resolution image of the promo image.

Along with the more cartoony versions of N&J, you can spot some very familiar faces and silhouettes. (Note the drones flying at the top, one of which Fru Fru is riding -- between that and what appears to be a mouse-piloted one on the lithograph/poster from a couple of days ago, it seems safe to say that such vehicles will make an appearance in Z2. For whatever that's worth.)

And in case you aren't familiar with the Disney Parks' 3D attractions, those are 3D glasses that Nick, Judy, and Clawhauser are sporting, not just weird sunglasses. Unofficial word is that a lot of the mechanisms from "It's Tough to Be a Bug!" will remain in place -- which included jets of air and splashes of water being sprayed in viewers' faces and mechanical doodads simulating insects crawling under your seat -- but will be repurposed for the new attraction.

[krissiefox]

Super Mario Sunshine (Gamecube) (Review)

"I'm having Sonic Unleashed flashbacks…"*

Despite my love for the genre of platformer games, I seem to be having a rough time with 3D offerings of the genre as of late…

Super Mario Sunshine is one of the many Mario titles in my collection I was long overdue for sitting down and trying to complete, and finally began to do so when my wife suggested I play it alongside her while we were resting in our Bungalow lodge on a trip a couple years ago. It starts with Mario, along with Princess Peach, Toadsworth, a bunch of other unnamed Toadstool folk, traveling to a resort island named Delfino. Unfortunately, shortly after arriving, a strange imposter of Mario begins causing messes of weird slime and graffiti around the island, and even cursing away the sunshine!

Shortly after meeting a seemingly sentient robotic back-mounted water pump machine named F.L.U.D.D., poor Mario gets blamed by their not very good court system, lacking any hard evidence and sentencing him based on the fact that "he looks kinda like the guy who did it". Mario is then sentenced to clean up all of the pollution and graffiti using F.L.U.D.D.

The water-themed game play gimmicks are a fun idea, but already present one of the difficulties I had with this game - one of the more important functions F.L.U.D.D. can perform is to spray water forward at enemies to stun or defeat them. Unfortunately, the aiming for this system is very awkward, and you have to very lightly press the fire button if you want to be able to shoot water while running, something that also barely worked for me. These awkward controls resulted in me suffering a lot of cheap-feelings hits, being unable to orient both the camera and my aiming in time to stop an approaching enemy. Thankfully, the other special F.L.U.D.D. moves are more reliable - there's a water jet-pack move that lets you briefly hover after jumping, helping with both reaching far platforms and making a precision landing. You also get to eventually unlock a water-blast jump that sends you flying high into the sky. Sadly, while the controls for both these functions are quite responsive, they tie into another big problem I had with the game - the camera and the physics. Every time Mario goes airborne, he always feels kind of awkward and floaty to me, and because of how the normal high jump works, I'd sometimes send Mario back-flipping in the opposite direction I wanted to send him. The camera seems to be a semi-cinematic style, sometimes moving involuntarily while I'm on a moving platform making it really hard to line up my next jump or rocket blast.

The game's world is set up like it was in Super Mario 64 - You have your main Hub world, Delfino Island, with magical portals that you can eventually discover and unlock that send you into other locations. Each of these special locations contain many different missions. Some of the missions I found pretty enjoyable, even with the awkward controls and camera, the environments are lovely to look at and fun to explore. Some missions will send you into what I call "obstacle courses" where Mario gets F.L.U.D.D. taken away and is tasked with navigating platforms over a bottomless pit -meaning that the controls and camera become just that much more of a nightmare. I dreaded every one of these obstacle courses and couldn't wait for them to be over so I could go back to hopping around on solid ground again.

Graphically, the game is delightful. Being one of the Gamecube's launch titles, it did a nice job of showcasing the water motion and shader effects the new console could pull off, which are pretty impressive for a game from 2000, and it still looks really nice to me now. As with any Mario game it is also bright, colorful and full of fun character designs. The music and sound design are great, though the limited voice acting in the game made the cut scenes feel kind of strange and disquieting - characters would often speak to Mario, but Mario would just stare back at them and barely emote at all, making him feel kind of creepy. This is a shame because having gotten to meet Charles Martinet (Mario's voice actor) last year, I find Mario all the more charming as a character because whenever he makes his happy Mario sounds I think of Mr. martinet having himself a good time in his little voice recording booth, and can't help but smile at that.

Outside of wonky controls and a fussy camera, another problem with the game is the usual Nintendo sexism. Not long after starting the game, Peach is once again treated like a trophy object and repeatedly kidnapped, needing rescuing multiple times over. This sort of thing i off-putting when it happens, and makes me glad that they aren't doing this to her in that recent Super Mario movie.

Overall, I have very mixed feelings about this game. Much like with Sonic Unleashed, I love the visual presentation, the audio design, and some of the level missions are a lot of fun - while others are a slog to be simply endured. If you have a lot of patience for difficult 3D platforming, you may have a good time, but otherwise I might suggest looking into one of Mario's other game offerings - there's certainly no shortage of them!

*Note: This is another game I decided to just post up my review of even though I haven't finished it, due to continuous frustration and loss of interest.

[spatio-rift]

saipsi 3ds game review

its bad plain and simple LOL theres very limited original stuff to the scenarios it just reuses a bunch of chapters and slightly reworks them to fit the gameplay so dont expect much in terms of story. but granted i might have been expecting too much due to the knb games being amazing about that and having so much great original content. i mean there are a few added lines that i did like but theyre totally not worth playing the whole game for. gameplay-wise its um terrible LMFAO mostly bc of the camera but even then the game just isnt particularly fun to play........ oh well

saiko appearances:

was in london for some reason in a scenario that takes place before he transfers to pk but he still says this isnt a place for peasants like saiki nendou and kaidou so like LOL but i was delighted to see him

his introduction was reworked a little into a full scenario and it was really whatever but we did get that one girl who still called him saiko-sama in her thoughts even after the brainwashing wore off so like. i cant speak badly of this scenario when i found a kindred spirit in it

he was there when the gang was gathering chestnuts so chiyo could make a mont blanc for everyone w them. not gathering chestnuts w the gang i mean he was just there laughing at them obviously. and then he went home to eat his own mont blanc. didnt expect to see him at all so it made my entire day and i replayed his dialogue like 5 times because the voice line was him laughing

the okinawa winter trip where he had one (1) line complaining about everyone making him use his jet to fly them there and then just straight up leaving them and going home. not much in there but the fact that i predicted how the scenario would play out (at least the saiko part) amazed me. maybe i DO know these characters. also saiko hanging out w hairos group... now it may just be that they couldnt have saiko fuck off without writing it like this but still i liked that he chose to hang out with hairo and aren (and mera?) before going home. crazy. 1 damn line and yet this scenario gave me happiness for an entire day.

overall: dont be fooled it sucks. but im still glad i was able to play it!

[miloscat]

[Review] 7th Dragon III: Code VFD (3DS)

The coolest RPG on two screens.

I’m not going to lie, the first thing that brought this game to my attention was the fact that one of the character designs is a big, clear, direct Jet Set Radio Future reference. But from that starting point I found lots more to love about it too. It has Sega legends Rieko Kodama (producer, director of Phantasy Star IV) and Yuzo Koshiro (composer) involved. I saw it recommended independently for its (somewhat) progressive queer representation, and just for being a solid RPG. And upon playing it I enjoyed the variety in combat, the side content, and the stylishness.

The 7th Dragon series started on DS, in what was essentially an Etrian Odyssey spinoff, with old-school dungeon crawling and customisable party members. The PSP sequel (and its direct follow-up) rebooted the setting to a probably Persona-inspired modern Tokyo along with an aesthetic refresh that saw manga artist Shirow Miwa take over as character designer, plus a shift to 3D graphics. Due to the demise of the developer Image Epoch, Sega gave the series to one of its in-house teams to wrap up the story on 3DS. This final instalment feels like a close continuation of the PSP games (reusing many assets as it does) but brings in time travel to revisit the original game’s setting.

It’s also the only game that was officially localised, although the other three have fan translations. I hadn’t played the others; knowing a little about them helps to bolster this game’s story but it does its best to fill in new players. The primary setting is 100 years after the PSP games in a semi-post-apocalyptic Tokyo. Otherworldly dragons have devastated Earth and you find yourself employed by a video game company which is a front for training dragon hunters. Later you travel to the past of ethereal Atlantis and the first game’s fantasy era, which is now established to be 5000 years in the future. There’s some twists and “turns out”s as you might expect, some of them pretty interesting, but it all eventually descends into faux-high-minded philosophising about evolution and the well-worn JRPG trope of a handful of teenagers defying destiny and killing God.

Oh well, at least getting there is fun. RPGs with time travel are my jam, and so is the theme of bringing together different eras and different people to a common cause. I liked expanding the office building hub zone as you progress, unlocking new functions and side activities with a little corporate satire thrown in. This includes housing refugees from the disparate time periods, so you’ll see your home base become more populated and people interacting through the side quests, not to mention the fleshing out of the main casts’ tragic backstories (but not the blank-slate PCs). You even rescue cats in dungeons to fill out a cat cafe!

The Etrian roots persist in the party composition mechanics; you can make new characters at any time, and while they are designed after the specific classes available, appearance is not tied to their role. There’s a decent range of appearances, all with two gender variants, and a host of known seiyū providing their voiced barks. I started my save from the free demo, which carries over to the full game and gives you some bonuses; this meant my initial team had default settings but I liked them and was attached to them at that point so continued with them (the demo line-up also includes the most JSRF guy—the logo is even on his shirt!—so I was happy). Later you get two backup teams that you can swap between on the fly, and which enable various in-battle support mechanics. This also unlocks new class types and appearances for further customisation.

There’s a lot of depth to character abilities. Every class feels versatile with their own buffs and debuffs, and multiple types that have healing skills. My main party had the schoolgirl samurai, the Jet Set “agent” with hacking and gun skills, and the all-around combo attacker/buffer/healer “godhand”. Experimentation is encouraged, and building your skill trees how you like is satisfying. The game isn’t too difficult but fights do require some strategy as you go on. Luckily there’s a difficulty toggle you can change anytime outside of battle, and if you lose there’s a Mario and Luigi-style option to restart the battle immediately. My ultimate party maybe wasn’t the most tactical, as I just wanted one of everything, so the very final postgame dungeon and DLC quest were beyond my scope; you need some really tailored parties and careful play to get through those marathon battles, even at level 99 with the best gear. Speaking of DLC, I recommend at least the “seed outbreak” mission pack for efficient grinding (you will very soon have to pirate this on custom firmware due to the shutdown of the 3DS eShop).

I’m pleased I took a punt on this. It’s a slick modernisation of the dungeon-crawler format with an interesting setting and some memorable characters. It makes good use of the second screen for maps, and your backup parties in battles. It took me a breezy 35 hours, with all sidequests done. I recommend it, even without playing the previous games!

[mdshipontalukderofficial]

SAMSUNG 85" Class Neo QLED 4K QN90B Series Mini LED Quantum HDR 32x, Dolby Atmos,Object Tracking Sound+,Anti-Glare,Ultra Viewing Angle,Smart TV,Bluetooth with Alexa Built-In(QN85QN90BAFXZA,2022 Model)

Buylink: https://amzn.to/3W2OZzd

Screen Size85 InchesBrandSAMSUNGSupported Internet ServicesDisney PlusDisplay TechnologyQLEDResolution4KRefresh Rate120 HzSpecial Feature100% Color Volume with Quantum Dot; Real Depth Enhancer; HDR10+; Works with Google Assistant and Alexa, Quantum Matrix Technology; Neo Quantum Processor 4K; EyeComfort Mode100% Color Volume with Quantum Dot; Real Depth Enhancer; HDR10+; Works with Google Assistant and Alexa, Qua… See moreModel NameQN85QN90BAFXZAIncluded ComponentsUser Manual / E-Manual, SolarCell Remote™ TM-2280E, Power CableConnectivity TechnologyHDMI

About this item

QUANTUM MATRIX WITH MINI LEDs: Brilliant details shine even in daylight; Powered by a huge grid of Samsung’s ultra precise Quantum Mini LEDs, it takes exact control of the individual zones of light in your picture for breathtaking color and contrast

QUANTUM HDR 32X: Every detail bursts to life with realistic contrast and brilliance; With HDR 32X and its wide range of vivid shades of color, you’ll discover all the nuances in the latest movies and shows made for High Dynamic Range

NEO QUANTUM PROCESSOR WITH 4K UPSCALING: See all you enjoy upscaled to spectacular 4K resolution; The Neo Quantum Processor 4K uses AI based deep learning to analyze your content and optimize it to full 4K

ANTI-GLARE WITH ULTRA VIEWING ANGLE: You’ve got the best view from every seat. Designed to reduce glare and deliver brilliant color across your screen, Ultra Viewing Angle makes sure you’ve got amazing picture quality, from virtually anywhere in the room

DOLBY ATMOS & OBJECT TRACKING SOUND+: Experience realistic 3D sound that puts you in the middle of the action with OTS+; From strategically placed speakers behind the screen, you’ll hear the getaway car drive from one side to the other, and feel the fighter jet fly overhead; Plus with Dolby Atmos built-in, hear the rain from above and the explosion from beyond

SMART CALIBRATION: Enjoy your screen the way the director intended—in just a couple of clicks; With Smart Calibration, you have professional-quality screen calibration at your fingertips; Simply enhance your screen right from your smartphone in only 7 to 12 minutes

EYE COMFORT MODE: Staring at your TV, Set your sights on a more soothing screen with Comfort Mode; With sunrise and sunset times built in, it intelligently adapts your display and reduces blue light to help keep your eyes more comfortable

SMART TV WITH MULTIPLE VOICE ASSISTANTS: This TV comes with your favorite voice assistants built-in and ready to help.  Choose from Bixby, Amazon Alexa or Google Assistant

[rchobbyproducts]

Selecting the Right RC Plane: A Comprehensive Guide

Imagine guiding a miniature aircraft through the open sky and witnessing its aerobatic maneuvers. Sounds exciting, right? Flying RC airplanes is indeed a fun-filled and thrilling experience. However, selecting the right one is crucial to take your overall enjoyment level a notch higher. Are you wondering how to choose the best one? In this blog, you will explore everything about making the apt choice. Let’s dive in!

#1 Consider Your Skills

No doubt, flying RC airplanes is a favorite hobby for many. However, to gracefully take the airplane off the ground and fly it without crashing requires some skills. So, when it comes to investing in these helicopters, you must factor in your skill level. For instance, if you are a beginner, the RC trainer planes are the perfect choice. They are easy to control, offer greater stability, and come with enough power. On the other hand, jets are an ideal option for experts as they are designed for agile flight and high speed.

#2 Think About the Objective

Are you looking for an RC plane simply to fly for fun? Or are you planning to participate in a competition? Understanding the real motive for buying RC airplanes can make it easier to decide on the right one. While the RC trainer aircraft and sports planes are suitable for hobbyists, the narrow-wing gliders are appropriate for speed competitions.

#3 Understand the Variation in Wing Positions

The single high-wing aircraft are designed for pilots who are new to the hobby. These planes can fly with better stability even when you are not well-versed with all the controls. The single middle wing structure is available on sports aircraft, gliders, and 3D aerobatic aircraft. This intermediate-level wing position ensures an optimal balance between regular and inverted flight altitudes. The single low-wing variation is suitable for pilots with advanced skills as they can be challenging to control.

#4 Consider the Control Channels

If you are in search of RC planes for your kids, the 2-channel aircraft is the perfect choice. It allows children to learn the skill of flying the plane with the assistance of experienced adults. On the other hand, the 3-channel RC airplanes are an apt choice for beginner pilots. Finally, the 4-channel aircraft is designed for skilled pilots. Besides flying, you can perform stunt actions in the sky with these planes.

#5 Gain Insights into the Airplane Motor

The motor is responsible for powering the aircraft during flights. Basically, two types of motors are available, including the brushless and brushed. Brushed motors are likely to cost you less but require more maintenance. On the other hand, brushless motors may be a little pricy but are more efficient and demand less maintenance.

Conclusion

There are a wide range of RC planes available in the market. Each of the aircraft comes with unique capabilities and features. Based on your specific needs, you can pick the best one and enjoy the hobby. Are you looking for top-notch RC airplanes? EXHOBBY can be the one-stop destination for all your needs.

Blog Source: https://rchobbyproducts.blogspot.com/2024/09/selecting-right-rc-plane-comprehensive.html

[maximuswolf]

Need help looking for a specifc Shoot em up.

Need help looking for a specifc Shoot em up. So first of all, it's a side scroller shmup, where the player ship flies from left to right. I can remember many levels being in the sky with clouds. It had multiple types of eneimes and of course bosses. The player ship could be upgraded. It was kinda 3d I guess but it's a shmup with a side view. Now the thing that stood out the most is the art style. The enemies and one of the selectable player ships are all flying biomechanical machines with jet engines. I think they resembled mollusks. Like, full on organic beings with mechanical attachments, like armor and jet engines, I think they also had tentacles. The first main player ship is fully mechanical and is like a turquoise green color, it also had yellow glowing light in the midddle I think. I played it on an old Ipad 4 mini back then.So in short:Side scroller shmup 3DUpgrade systemBiomechanical mollusk like jetsmultiple player ships, either full machine or biomechanical Submitted August 31, 2024 at 12:54PM by Mr_Idont-Give-A-damn https://ift.tt/md2KDjf via /r/gaming

[kingjain]

AIM-7 Sparrow Hawaiian Shirt

More Than Just a Shirt:A Statement ofAir Power The AIM-7 Sparrow Hawaiian shirt is more than just a piece of clothing, it's a symbol of your passion for aviation and the thrill of air combat.This isn't your average beach shirt; it's a conversation starter, a badge of honor for those who appreciate the history and technology of air power. Imagine strolling through a museum, gazing at sleek fighter jets, or feeling the roar of an engine as you watch a display team fly overhead. This shirt embodies that feeling. It's a way to share your love for aviation with the world, whether you're an experienced pilot, an aspiring aviator, or simply someone who admires the elegance and power of aircraft. This shirt isn't just about looks, it's about the stories it tells.Every time you wear it, you're carrying a piece of aviation history with you. You're making a statement, showing the world that you're not just a casual observer, but someone who understands the dedication, skill, and technological prowess that goes into flying. This isn't a shirt for the faint of heart. It's for those who appreciate the legacy of air power, the drive to push boundaries, and the thrill of flight.It's for those who see beyond the fabric and recognize the symbol it represents. So, if you're looking for more than just a shirt, if you want to make a statement, if you want to wear your passion for aviation on your sleeve, then the AIM-7 Sparrow Hawaiian shirt is for you.It's a statement piece, a conversation starter, and a reminder of the magic of flight.

Get it here : AIM-7 Sparrow Hawaiian Shirt

Home Page : tshirtslowprice.com

Related : https://kingjain.tumblr.com/post/719892502934618113/strong-tiger-3d-crocs-clog-father-day-gifts-tiger

[orangetubor]

[image description: a recording of a 3ds, showing mii versions of the carte blanche crew from the penumbra podcast. Juno and Neureyev are the lead singers, jet, buddy, and vespa are background singers, and Rita is flying around stage for half the song. Lyrics are as follows:

Oh, woe is me

There's nothing left

Except sorrow and tears, I cry alone

How can this really be my destiny?

You come back

And comfort me

We make up and finally

I hold your hand

And know our love can make

A much

Better

Tomorrow. End description]

[usafphantom2]

Boeing is using Fortnite game technology to update the B-52s

Will this "hyper-realistic" modeling tool help give the program a Victory Royale?

Fernando Valduga By Fernando Valduga 23/09/2023 - 12:27 in Military

A popular Fortnite game engine is helping Boeing modernize 60-year-old B-52 bombers for another three decades of service.

To see how the new Rolls-Royce F-130 engines would work in the U.S. Air Force's B-52 Stratofortresses, the plane's manufacturer resorted to Unreal Engine 5, the software that powers the Fortnite shooting game. The 3D environment of the game engine allows pilots and maintainers to virtually interact with an updated digital representation of the B-52, such as starting and turning off an engine.

It is a "powerful and really impressive tool," said Jennifer Wong, senior director of bombers at Boeing.

Wong said that commercial digital software, such as the "hyper-realism features" of Unreal Engine 5, reduces costs and delivery time.

“We learn faster and are able to adjust faster when we talk about models than [when] we learn after bending metal,” she told reporters last week at the annual Air, Space & Cyber Conference event of the Air and Space Forces Association.

The virtual environment gives USAF “unprecedented access” to modifications from the beginning and gives feedback to Boeing long before they start upgrading the aircraft, Wong said.

This is part of a modernization effort called the Commercial Engine Replacement Program, or CERP, which will replace the eight Pratt & Whitney TF33 engines in each jet to keep the bomber flying.

The program is much larger than just the engine replacement, Wong said, as Boeing will also update the aircraft's displays, cockpits and other avionics systems.

Rolls-Royce is on track to complete the initial engine tests by the end of the year and begin the "critical project review" in the first quarter of 2024.

Boeing will also replace the current B-52 radars with Raytheon's active electronic scanning radar, called AESA. The radar is already used in the U.S. Navy's F/A-18E/F Super Hornets jets.

"When we say things like 'the B-52 will have capabilities similar to those of fighters in the future', that's what we mean. Eventually, the B-52 will be able to have some notion of capacity similar to that of a fighter and a little of that visualization that is currently on the F-18 platform," Wong said.

The new radar will allow the B-52 to track multiple targets simultaneously, Wong said. Other updates to the radar program include a new broadband radome, which protects the radar antenna, large digital touchscreen displays for browsers and manual controllers.

"This will allow us to continue to improve resources in the future, because the advance will be made through software, rather than hardware changes in the future," Wong said.

Raytheon recently announced that it has delivered the first AESA radar to Boeing for the program.

These modernization programs are crucial, since the B-52 could fly even beyond the 2050s, according to Colonel Scott Foreman, leader of the Air Force's B-52 program. Foreman pointed to the A-10 Warthog, almost half a century old, as an example of an airplane that is still flying after several attempts by the U.S. Air Force to retire it.

“Even if we're saying 2050, I have no reason to believe that he can't fly for a long time after that,” Foreman said at the AFA conference.

Boeing said it will have all the B-52s modified with the new radar by the end of fiscal year 2031 and the engine replacement program completed by the end of fiscal year 2036.

Source: DefenseOne

Tags: Military AviationBoeing B-52H StratofortressCERPUSAF - United States Air Force / U.S. Air Force

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Fernando Valduga

Fernando Valduga

Aviation photographer and pilot since 1992, he has participated in several events and air operations, such as Cruzex, AirVenture, Daytona Airshow and FIDAE. He has work published in specialized aviation magazines in Brazil and abroad. Uses Canon equipment during his photographic work throughout the world of aviation.

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