#DGP art
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digital-guinea-pig · 1 year ago
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This was a cute little fluffy piece for a commissioner that wishes to remain anonymous <3 I do love me some Alucard!
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deafeninggardenerpanda · 10 months ago
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WOOHOO first batch of af attacks!!
featuring:
Claire - @moon-down
Susie gijinka - @somethinginworl
Dazor - @a-stardusted-sky
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tsuki-sennin-creations · 2 years ago
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Decided to give my DGP Ridersona another draw (on actual real estate this time to boot), but then I went above and beyond and upgraded myself to a (theoretically) extremely effective form~! Here's hoping I survive the Grand End, yeah?
The first is my previous Zagizuki, redrawn on a bigger canvas with discernible detail now~! ...also a little more show accurate, with the small Buckles' actual eye color. In love with the helmet and scarf. Doing the ID Core was a little difficult, and... well, it's defintely a bit more orange than I intended, but that's okay!
I'm oddly kind of enamored with the super yellow color palette for Powered BuilderMonster. Complete with even bigger hammer! Drawing it was a fun experience... staying up late to do so wasn't as much, but hey~! Drawing the Monster Buckle so small was hard, but pretty worth it.
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dgp14gyba · 1 year ago
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fanowski projekt logo Decepticonów - PL
fan Decepticon logo design - EN
~DGP14
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desi-girll · 8 months ago
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মেয়েরা রাত দখল করো: THE NIGHT IS OURS
WOMEN RECLAIM THE NIGHT, JUSTICE FOR RG KAR VICTIM
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let's do our part in protesting against the brutal rape and murder of RG Kar PGT doctor who was on a 36 hour shift on Friday, 9th August when she was resting alone in a room. please read the entire post even though it's long.
if you don't know what happened, the 31 year old woman had been gang raped (both before and after murder), and tortured to such an extent which cannot be explained. afterwards, the authorities and police first tried to cover it up by telling her parents it's a suicide but later it was revealed not to be so. it is a case of rape and homicide.
(i) speculations are that the girl had possibly become privy to some unlawful work going on at the hospital during night shifts, and hence to silence her, all this was done.
(ii) parents were refused to be allowed to see their daughter's body until after 3 hours of their arrival. they had to beg and plead for their basic rights.
(iii) what's more is that her body was burned by the police without taking the consent of her parents, possibly to erase evidences in case a second post mortem was to be done.
(iv) the girl's father has also reported to the high court, the fact that the DGP called him up and asked him not to take matters forward and just settle it amongst themselves.
(v) the person who has been arrested for this incident is speculatively just a scapegoat who has been paid to take the blame for something done by a larger group of people, probably under the protection of the syndicate ran in West Bengal by the government.
Post Mortem report of the victim (which again, was conducted by RG Kar doctors themselves, and we don't know if some details are intentionally being hidden or not
The postmortem report of the trainee doctor raped and murdered at Kolkata's RG Kar Medical College and Hospital revealed that she was throttled to death. Her thyroid cartilage was broken due to strangling and a deep wound was found in her private parts, the four-page report said. Sources said the murder and rape likely took place between 3 am and 5 am on August 9.
Injuries were found on her belly, lips, fingers, and left leg. Sources said the victim's nose and mouth were clamped, and her head was pushed against a wall to prevent her from screaming.
The scratch marks on the woman's face are believed to have been caused by the accused's fingernails, indicating that the victim desperately tried to fight back.
"The mouth and throat were constantly pressed to prevent screaming. The throat was strangled to suffocate. The thyroid cartilage broke due to strangling," the postmortem report said.
The report also mentioned that the woman was bleeding from both eyes, mouth and private parts. The report said the wounds in her private parts were caused by "perverted sexuality" and "genital torture". However, the reason for her eye wound has not been determined yet.
Source of the post mortem
so today (14th August, 2024) at 11:55 PM IST, there is going to be a midnight protest held across Kolkata. women protestors have planned to hold night long agitation across multiple spots in the city. the campaign titled 'Women, Reclaim The Night: The Night Is Ours' is aimed at seeking justice for the sexual assault and murder of the woman doctor. Men have also decided to join the protest in large numbers to show their solidarity with the cause.
The protest will take place simultaneously at the Jadavpur 8B Stand, Academy of Fine Arts, College Street, Sinthee More, Dunlop, Maldah English Bazaar, Siliguri (Darjeeling More).
i know it isn't possible for many of us to attend the protest but let's do our part virtually if not physically. share posts about the incident on your social media, with your friends, relatives. take part in the online campaign going on in social media. at 11:55 PM IST (14th August, 2024) tag your posts with #womenreclaimthenight and #thenightisours.
make this tag trending on all your socials. share this post to raise awareness. share all other posts related to this incident. with the tags i wrote above.
spread the word to your friends and relatives, do your part this way. indians and non indians, both alike. male, female, non binary, all genders, all alike. raise your voice before it's too late.
because the next victim could be you or any of your loved ones.
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"All happy families are alike; each unhappy family is unhappy in its own way"—Leo Tolstoy
Behold, our 64 dysfunctional families!
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Round One will start Monday, July 24, with 8 polls released a day. Polls will go on for a week.
Matchups below the cut!
The Batfamily (DCU) VS the Entrati Family (Warframe)
2. The Roys (Succession) VS The Todoroki family (My Hero Academia)
3. The Asanos (Assassination Classroom) VS the Aether family (Pokémon Sun & Moon)
4. The Mikaelsons (The Vampire Diaries / The Originals) VS the Bluths (Arrested Development)
5. Fire Nation Royal Family (Avatar: The Last Airbender) VS the Okiura family (AI: the Somnium Files)
6. The Wang family (Everything Everywhere All at Once) VS The Entire Pantheon of Greek Gods (Greek Mythology)
7. Loustat Family (Interview With The Vampire) VS the Schnees (RWBY)
8. The Samtheon (Friends at the Table - Seasons of Hieron) VS the Shijimas (Kamen Rider Drive)
9. The House of Finwë (The Silmarillion) VS the Preaker/Crellins (Sharp Objects)
10. The Crowders (Justified FX) VS the Falsettos family (Falsettos)
11. The Homunculi (Fullmetal Alchemist) VS the Chrobin family (Fire Emblem Awakening)
12. The Horsemans (Bojack Horseman) VS DGP Staff Family (Kamen Rider Geats)
13. Big Mom Family (One Piece) VS the Buendía Family (One Hundred Years of Solitude)
14. John and his lyctors (The Locked Tomb) VS Familia Madrigal (Encanto)
15. Agreste/Graham de Vanily/Fathom family (Miraculous Ladybug) VS the Wattersons (The Amazing World of Gumball)
16. House Greyjoy (A Song Of Ice And Fire) VS the Ushiromiya family (Umineko When They Cry)
17. The Hargreeves (Umbrella Academy) VS the Gemstones (The Righteous Gemstones)
18. The Winchesters (Supernatural) VS House Davar (Stormlight Archive/Cosmere)
19. The Gravity Brothers (Bungou Stray Dogs) VS King Arthur's Family (Arthurian mythology)
20. The Reynolds + Charlie + Mac (It's Always Sunny In Philadelphia) VS the Fowls (Artemis Fowl)
21. The Sohma Clan (Fruits Basket) VS Essun's family (The Broken Earth trilogy)
22. Clear Sky's family (Warrior Cats) VS the Strider-Lalondes (Homestuck)
23. Tachibana Sakuya + Kamijou Mutsuki (Kamen Rider Blade) VS the Minyards+Nicky (All For the Game/Foxhole Court)
24. The Mishima Clan (Tekken) VS the Donquixote family (One Piece)
25. The Fey family (Ace Attorney) VS the Klim family (Zero Escape)
26. Marika's Bloodline (Elden Ring) VS the Lehnsherr-Maximoff+ Family (Marvel)
27. The House of Atreus (Greek Mythology) VS the Lucis Caelum Family (Final Fantasy XV)
28. The Muniz family (Malcolm in the Middle) VS the Jiang family (Mo Dao Zu Shi)
29. The Gallaghers (Shameless) VS the Kirigaya-Yuki family (Sword Art Online Abridged)
30. The Hoovers (Little Miss Sunshine) VS the Afton family (Five Nights at Freddy's)
31 . The Puppingtons (Moral Orel) VS the Simpsons (The Simpsons)
32. The Whitleys (Prodigal Son) VS the Zoldycks (Hunter X Hunter)
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acequinz · 2 years ago
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Seeing people calling Daiji and Keiwa villains.
As if they aren't just two people who had their entire world view rocked and broken to the point they were barely left with anything, so they tried to cling on to what they knew in desperation and fear of losing everything.
It makes them very frustrating people cause they are supposed to be, they are characters whose ideals the show actively shatters but they aren't villains.
Their reasonings and steps don't make sense, because they aren't supposed to. They are just supposed to be characters who lived their life believing in one thing, being proud of that one thing and then being told that one thing was wrong all along and their ideals are wrong and messed up.
Which ended up messing them up.
Does this mean they are good? At their heart and base of their character? Yes. They just want to help even if that help comes in a fucked up way because just like the crumbling ideals, they have lost their way.
Here's what I think is Keiwa's mentality in the show.
From the start we know Keiwa has big ideals, but he doesn't have a path to attain those.
He wishes for world peace, even in his job interview and the way he does, seems like a kids wish. There is hope in it and even faith but the reality is missing. The reality of a proper path towards that ideal/desire.
Then DGP comes into the picture and Keiwa finally has a path.
Even then he hesitates, questions the path repeatedly and every time Ace is there, supportive and understanding even respectful. You need to work hard for your ideal/desire.
Then comes the time when he finally comes to trust the DGP in a way, he is determined to walk the path and now the world is screaming that it is a wrong path, but Keiwa has been walking this path and it seems like the surest and best way to his ideal/desire.
But then the path is full of blood and what can he do now?
The right answer would have been to accept that the path was wrong and back out and leave, but then what about the others who are already lost to the path? Is there a way to bring them back???
The only answer to that would be to reach the end of the path. But how to walk down that path when you know it's wrong and bad?
You blame the creator of the path and continue to walk with the will for your own desire.
Is it still the wrong path? Yes.
But is there any other path? No.
And the only way to escape the guilt of having participated in this, for having made the choice to ever become a part of it, you cling to the same thing. Because there's still a tiny little ray of hope that makes you believe that things can be better, that they can still be saved.
The creator still seems ugly to you, they are wrong people but you are consuming it with the right intentions so you can't be wrong. (Or that's what you tell yourself so you don't come to hate yourself.)
Just because the artist is bad, doesn't mean the art is as well. Which is what I think Keiwa believes.
Art is what you interpret it to be.
At least that is how I think Keiwa is justifying his own actions or losing himself to those thoughts.
We know he has a big guilty conscience.
Only getting Tanuki Soba because he doesn't want his sister to pay a hefty sum on him, she's already taken so much care of him. He can't even get a job.
Then, is fighting the only option? That man wanted to save his son, he deserved to win too.
Have the jyamato been real people all this time and have I been killing/hurting actual people.
He's the type to let guilt control him. And then you put in the fact that he participated in something that was fucking everyone over?
That amount of guilt would drive most people crazy and it did, his ideals were shattered right before he died when he saw someone he saved, be the reason of someone else's death and then he comes back and sees his sister stuck in the same cruel games and knows it would break her like it did you him.
The one person that Keiwa wanted to protect is in the worst possible situation because of him!
The game needs to pay. The DGP needs to pay but not before he saves the people that were lost along the way, because it's the only thing he can think of to alleviate his own guilt.
Is that self serving? Yes absolutely
But your ideal world is always worth fighting for right?
This is by no means a justification for his actions. But also we can't call him a villain because as frustrating as it is, it is not villainous. He's not going out of his way to hurt people or kill people, he wants the bad guys to pay for their sins and save the other people who were lost.
Anyway what Keiwa needs is therapy to deal with the guilt, maybe even the survivor complex.
As for daiji well... That would be a separate post altogether.
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asknarashikari · 1 year ago
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From this ask: https://asknarashikari.tumblr.com/post/732703950744272896/from-this-ask
Anyway... this is after Keiwa has accepted Hiromi's offer to let him train in Blue Bird's facilities.
Keiwa: I swear, Hiromi-san, you're trying to recruit me for Blue Bird.
Hiromi: You're free to join any organization you want, Keiwa-kun, just not Shocker.
Keiwa: They were our Showa-senpais enemies right?
Hiromi: They're still around but in hiding.
Hiromi: So you need to be careful
Hiromi: So about that spar?
-----
Ikki, Daiji, Sakura, Hana, and Tamaki are watching Keiwa and Hiromi spar.
Ikki: Say, Daiji, how did Keiwa fare against you when we first met them?
Daiji: He was a decent fighter, he was caught off guard when Kagerou showed up.
Kagerou: Just goes to show how spineless he is.
Ikki: Did it seem like he had martial arts training to you?
Daiji; What do you mean?
Ikki: Just look at him, he's got good form, from all his attacks and defenses.
Sakura: I can see it.
Hana: He is good.
Tamaki: Totally different from when I was still with the deadmans and even when I became OverDemons I was still just flailing my hands around.
Daiji: you do have a point.
Daiji: But the resume that got leaked because of that DGP nonsense says he has no martial arts training.
Sakura: To be fair, that was for his application at an IT company if I remember correctly.
Daiji: No, the most recent one, where he put gang leader in.
Hana: Why did he even do that?
Daiji; Who knows, according to him before the world was reset he took over a gang, which I still find unbelievable, and ran it.
Daiji: From that we know he put everything about himself into that resume.
Ikki: Huh, maybe he just retained the knowledge from the buckles he used in that tournament, it did give me information how to use the guitar axe with the Beat Buckle.
Hiromi be out there still trying to recruit Keiwa to Blue Bird... Keiwa just give in already I'm sure there's a good benefits package and hazard pay in it for you
Also... Keiwa, why would you put that in your danged resume XD
Honestly I'm amazed Daiji's able to carry on with a normal conversation when Hiromi is sparring because I know I'd be distracted by him lol (especially if the archer biceps are on display)
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thankyoumskobayashi · 1 year ago
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the true horror of geats is the implication that in the future, the denliner express has mastered the art of microtransactions
there's microtransactions baked into the dgp itself. neon's premium ~skin~ clothes, how the sponsors pay to send powerups, and how the players negotiate trades with each other
plus the future binches all live in microtransaction world + they're from the far future which means at some point the owner of the denliner express gets a fancy vending machine to entertain the guests in the dinercar
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pulaasul · 2 years ago
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Geats Headcanons.
I figured tumblr bloggers such as @acequinz​ and @narashikari​ are always requested by people, me especially, to give us their headcanons for Kamen Rider Geats characters.
I thought, I should balance that out by giving out my own headcanons for the Geats characters.
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Ukiyo Ace:
The golden coin he always finds in each of his lives acts as his personal ID core and makes him remember his past lives.
He has acquired a lot of skills in his various lives by way of a DGP wish or working hard to learn that certain skillset.
He learned draw and paint by being in the same vicinity as Michelangelo.
He learned to appreciate art in all its forms by being around Shakespeare.
We can also blame his association with Shakespeare to the fact that he knows how to fool someone like Keiwa into giving him the Boost Buckle the first time and how he tricked Keiwa into doing something to get the Ninja Buckle.
His past lives lived a pretty long life, often times going into the hundreds its how he came to be associated with both Shakespeare and Michelangelo.
He has perfect pitch, in which he can determine what note a certain sound makes and if a certain song is off by a note or two.
He has acquired it because of his Rider powers, his awareness of space made him literally aware of everything around him, including sound.
His Rider form’s perfect pitch bled into his civilian form and thus, singer Ukiyo Ace is born.
Ace’s first television role was in a BL as the guy who was literally and figuratively dumped by his on screen boyfriend in front of the trash can.
Suffice to say, he stole the scene and he’s become the star he is today.
Although he was already dubbed Star of the Stars of the Stars by the public even before that because of his ad works.
His first major role was in a drama where his character was killed by his on screen mother because he was an “Impossible Existence”.
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Due to the nature of the DGP, he;s always took on modeling gigs and guest appearances and not a major role.
He got this title with his wish, he’s confident he gets to keep it forever. Afterall his previous lives wishes, he got to keep them, this was no different.
It’s not like he needs to work.
Ever since meeting Neon, he’s made guest appearances in her channel, boosting his and Neon’s popularity.
His company was not a fan of his random appearances but they can’t say he’s breached contract because he’s always appeared on Neon’s videos randomly.
Whenever he eats with anyone like Neon, Keiwa (with or without his sister), and/or Michinaga, he always foots the bill. Neon wouldn’t know how to refuse, Keiwa’s torn between paying for the meals instead or letting Ace pay for it knowing he couldn’t afford what Ace has ordered, Michinaga just clicks his tongue and lets Ace does it anyway.
He’s tried to let his contacts scout both Michinaga and Keiwa but to no avail. He knows they have potential in the entertainment industry, but they’re just afraid of risking it with the two of them.
But due to the beef he and Michinaga shared in the building a home reality show on camera, Michinaga’s gained some fans and he’s still smug about it.
Ace can dance but he needs coaching. It will take him at least a year’s worth of coaching before he can even dance on camera.
Sakurai Keiwa:
Believe it or not, Keiwa entered the hate the world phase.
He had dyed his hair white, hung out with people with questionable attitudes.
He blamed the world for his parents’ death.
It did not help that the hefty sum they inherited from their parents were being spent frugally by his sister.
It also didn’t help that the people who took them in, his mother’s brother, resented both him and his sister because they were added expenses.
They didn’t show it but it was there.
It came to a point where they had to sell a lot of their parents’ belongings and their belongings, including the game console the both of them wanted to buy and got in the same year their parents died.
So yeah he blamed the world for his family woes.
That all changed when his sister fell ill from doing too much.
He was third year in middle school when it happened. While Sara was on the verge of graduating High School (she was second year but details) and they were poised to move out of their uncles home three months after she graduates.
They weren’t kicked out, both she and Keiwa thinks its for the best for both parties.
He was busy ignoring his sister’s rants at her part time jobs when she suddenly collapsed, thankfully she wasn't holding a knife then.
Sara was diagnosed with over-fatigue, and since then Keiwa’s turned over a new leaf, even taking an idealistic approach to life.
One downside being, his idealistic approach was his default answer whenever he was questioned. The reason being if he does stray for that line of thinking, he’d lose the only family he had left. Sara collapsing in front of him traumatized him.
and yes he’s not naive, like a lot of people seem to think he is.
After it was ruled that Sara had better rest from everything, Keiwa took the reigns and hasn’t let go of it since.
He gathered up some courage and asked his uncle’s wife to teach him how to cook., which he was surprisingly good at.
The family has been eating Keiwa’s cooking until they moved out of the house.
He actually expected to take a beating after he blew off his group of misfits for suddenly trying to fit in to the mold, he was rather surprised when they offered him smiles and the best of luck for his new road in life.
He started getting good grades in all of his subjects, he even went as far as trying to learn English on his own, to increase his prospects success may vary, but he’s better than most.
In solidarity with his newfound road in life, Keiwa’s old group recommended him to join a dance group, where he had thrived.
Nowadays, Keiwa barely manages to visit the dance group and dance with them because of his job interviews. He does visit as often as he can.
But with the added responsibility of being a Kamen Rider, he rarely visits the group, he does reassure them he’s fine.
They panicked when Sara asked them where he was, so did Keiwa’s old group  (their memory of panicking over Keiwa was erased from their memory once Keiwa’s was wished back to life.)
Keiwa barely has any knowledge about weapons but as soon as he became Kamen Rider Tycoon, he began to search for weapons and tried to learn how to use them online, its why he was good with a crossbow in his second game.
Official papers say Keiwa’s green band gives him an immense amount of luck, which may be true but one of Keiwa’s greatest strengths is adaptability, he can adapt to any given situation and make things work in his favor, barring sabotage and sneak attacks.
Despite the very modest, very modest, life style they live (apparently Sara sleeps on the couch while Keiwa has a bed, as per the recent episode) they still have a lot of money in the bank and they just spend it frugally and are saving it for emergencies.
Keiwa has made appearances in Neon’s streams, but his back is always on the camera so people often speculate who the tall guy was. It even got to a point where people compared his height to Ace’s height because they thought the mysterious guy was just Ace in disguise and this was also the birthplace of platform heels Ace was born. 
Keiwa has been with Neon and Ace a lot that people got a little curious about him, to their respective fanbases, Keiwa’s the mysterious guy that both Ace and Neon knows.
Kurama Neon:
Her streams aren’t limited to her escaping her family home. There are times when she streams while she’s on a trip with her mother.
She also streams whenever she feels like dancing.
As the heiress, she’s lived the loneliest life, even before the reveal of the nature of her existence.
After the incident, she wasn’t allowed to go into schools, until her first year of high school
After meeting Ace for real, the both of them danced for a video, Ace was lucky that Neon wasn’t live streaming.
If its “fight-dancing” Ace can dance very well. He can time his “attacks” to the rhythm of the music, so that’s what she and Ace does in her videos.
Neon is good at baseball, at the very least, she’s a good batter.. She snuck to a batting arena a few times where she was able to hit a lot of the baseballs coming right at her.
She has embraced the cat aesthetic when she was in high school and has been her brand since she started her life as an online personality.
She’s not as bad as the others who always add “nya” in their sentences, which a lot of people found annoying, but she does it with her actions. She once retaliated at Ace in a video imitating a cat scratching an offender, which her audience found cute, (especially Sara)
Michinaga Azuma:
He and Toru were more than brothers.
The both of them just had this mutual understanding about each other.
He was really devastated when Toru died.
He had vowed revenge on every Rider because a Rider killed his best friend.
His angry personality has landed him and Toru in various troubles.
After living life as an orphan, he learned to stand up for himself and become the top dog in no time.
Michinaga has joined the DGP for a total of eight times, ever since Toru’s death, not counting the JGP and DR.
Sumida Kanato:
After retiring from the DGP, he has gained friends. He has learned not to push people away.
Which led him to living a peaceful life, not wishing for the world’s destruction.
Koganeya Morio:
After retiring from the DGP, he has surrendered himself to police custody.
And while he’s still skeevy, he doesn’t con his way into and out of situations.
Ganaha Sae:
Aside from Nadge-Sparrow, he’s the only other Rider that can match Ace in athleticism, she might even surpass him. Ace just has an advantage over her just by being aware of his surrounding space,
Sae is the only other Rider that has utilized a lot of the buckles to their potential without being harmonized with them.
One of Sae’s fears was to see her siblings fight in the DGP alongside her.
Ace has offered to sponsor her athletics career one time, but she almost decked him in the face after she joined the DGP for the second time.
After Michinaga, Sae has joined in the DGP the most times, by five.
well that’s all I have for now, it was fun racking my brains for these headcanons.
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jonathanlamantia · 2 years ago
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Full inks for my part of the cover of Sean Richer's wild Dungeon Grand Prix: Hell-Climb, out today! Like the first volume of DGP, I also did the interior art & I'm really happy with how they all came out! While I'm mostly horror these days it's been so much fun to work on my action/comedy/fantasy chops!
https://www.drivethrurpg.com/product/449657/Dungeon-Grand-Prix--HellClimb?src=hottest_filtered
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deafeninggardenerpanda · 9 months ago
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"A personal audience with the head of the famed Galaxy Soldier Army is certainly rare--much more so as a pair of Nightmare's servants! You'd think there'd be some kind of security risk, but perhaps meeting you alone like this is a display of trust.
…Or perhaps she just knows she could take the both of you easily. Whatever the reason, you might as well enjoy the afternoon tea while it lasts."
WOOHOO! here's a fun attack for @bigbossmaker featuring their characters garland and drizz'l! (and lady alexandria is mine of course). was so inspired by their last attack on me i decided to try out something more comicy >:D
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epitome225 · 21 days ago
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glampetz · 23 days ago
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DGPS Survey Services In Amritsar
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guster-animations · 3 months ago
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Kamen Rider Geats Finale Commemoration Producers’ Symposium: Translation (V2 Part 2)
this is part 2 of my revised translation for kamen rider geats’ producer round-table.
part 1 | part 2 (HERE) | part 3
i originally did geats’ symposium first because it’s already been graciously transcribed and posted by other people (with a few typos)— you can find that transcription of the original japanese text here.
TOKU TRANSLATION MASTERPOST HERE
this translation was done for a few projects of mine. join the henshindex wiki today!
Forward I: To Create “Uniqueness”
Takebe: The timing of Ziin’s first appearance was planned by Yuya from the start. When the existence of the audience for the reality show of the Desire Grand Prix is revealed, it seems to turn on its head for a moment. We did that between the end of the year and the beginning of the next. That part of the plot was one that Yu also took pride in.
Takishima: On the other hand, the design work is always planned pretty far ahead, but I remember that when the miscellaneous concept art for the varied Rider forms for the DGP players and supporters were presented, Yuya really got the idea that “fighting as a duo sounds interesting” in his head.
Takebe: That meeting had its ups and downs…
Takishima: Yes. Like Kamen Rider Kyuun’s motif being changed from a dragon to a lion. I don’t remember why it was changed (Laughs).
Takebe: It was to have a matching cat motif, wasn’t it? At least Yuya was thinking about many things ahead of time, which was helpful. Well, while we’re talking about Yuya trying to do things too early, something we kept saying “Please wait a little bit” on and stopping him from doing was the development of Sara’s death and Keiwa’s awakening.
Yoshikawa: That was a constant back-and-forth exchange.
Takebe: The existence of Sara as comfort was precious. Even if we had to do it at some point, doing it too early would make the work feel bleak, so I made him wait do it for a considerable amount of time by saying “a little further” and “a little more”. As a result, Tycoon’s awakening was delayed for 40 episodes.
TTFC: With the style of having not only the Riders playing a game, but also having Supporter Riders and management Riders, there are a lot of people and you have a lot of variation. I think it’s differentiated itself from prior so-called “many-Rider” seasons.
Takishima: As the series gets longer, it’s really difficult to do something like that. Even recently, “Kamen Rider Saber” was a many Rider season, and “Kamen Rider Revice” had a fair amount of people transform by the end as well. We had to discuss how to differentiate it from recent seasons a lot. With “Geats’” situation having the “setting” of the Desire Grand Prix first and foremost, we sort of made having an increased number of riders an inevitability.
Takebe: But we also intended to make the setting clear, so we had a lot of Riders appear in episodes 1 and 2. That was the first difficulty.
Each year, the number of Riders gradually increases from just one or two people as the story goes on, but in the case of “Geats”, it was necessary to make many Riders appear at once since people want to see how the system works at the start. In the announcement, too, we showed an image of seven pitch-black Riders running closer, and wanted to make them think, “Just what will happen this year?”. We were picky about that area, but our schedule was tight because we were being so different from the norm… that was a lot of trouble.
TTFC: You had to show what the “Desire Grand Prix” was like at the start regardless.
Takebe: Yes. The game was shown less as the middle stage progressed into the second half, but for the first part of the show, everyone was focused on the contents of every episode’s game. I was confident because Yuya already had experience with continually writing for shows in the Kamen Rider series two different times. He wrote in the large amount of characters and items really well. There were naturally things we couldn’t do due to budget and schedule issues, but I think that even so, we were able to do as many things as possible in the most extravagant way possible this year.
Forward II: The Personalities of the Directors
Takebe: This time, Yuya wrote for each director… He tried to write things that fit the personality and strengths of whichever director was in charge of the episode.
Takishima: He was able to do that because he had past experience while writing “Kamen Rider Ex-Aid” and “Kamen Rider Zero-One”.
Yoshikawa: For example, Sakamoto likes to do action with untransformed characters [civilian fights] in his episodes, so he decided to write an episode (episode 13) where the belts get stolen and they can’t transform (laughs).
Takishima: And it seems like Keiwa (Ryuga Sato) can somersault, so he decided to try that when Keiwa became a ninja (episode 27).
Yoshikawa: Director Yamaguchi has an affinity for napalm, so he made episodes 20 and 21 a bomb game.
Takishima: After that was a scene with riding bikes. That episode, he was trying to decide who would drop out next, so he picked based on what would fit the director (Laughs).
Takebe: That way of making things is interesting. I think more than anything, all of the directors for “Geats” did great work. Not just Director Yamaguchi, but Directors (Kazuya) Kamihoriuchi, (Ryuta) Tasaki and (Hirofumi) Fukuzawa too. Even if just for one or two episodes, I’m glad they did it. Director Tasaki will be doing the pilot for the next show, “Kamen Rider Gotchard”, but he was able to help with “Geats” (in episodes 31-32) before starting preparations for that. I’m glad we could work with Fukuzawa in (episodes 35 and 36). There was good excitement on the filming set.
Takishima: In terms of the filming order, the TTFC special “Avataro Sentai Donbrothers VS Avataro Sentai Donburis” was ahead of it, but Fukuzawa’s work in “Geats” was released sooner.
Takebe: We actually asked him to do this first, too. We had already decided to ask him at some point, so we told him that he should watch “Geats”. Director Nakazawa was always saying, “I’d like to see some Fukuzawa episodes,” too. I’ve worked with Director Fukuzawa, him being a director and action director in the Super Sentai series for many years, and I’ve seen his talent up close, so I believe he was confident that he could create something interesting. And if he was not in charge (as action director) of Donbrothers next, he would have had more time in his schedule to shoot.
Takishima: When you listen to the stories from the cast, it was like a completely different way of direction. Things like, “Try doing this kind of stance.” I think this movement-based acting approach was refreshing for them as well.
Takishima: When you listen to the stories from the cast, it was like a completely different way of direction. Things like, “Try doing this kind of stance.” I think this movement-based acting approach was refreshing for them as well.
Takebe: In my personal experience, I still like the episodes when people like Directors (Osamu) Kaneda and (Hiroshi) Butsuda were able to join in during “Tokumei Sentai Go-Busters” (2012), but those were directors that made the best of their backgrounds in action or special effects direction. Director Kaneda’s foundational way of thinking is that “acting is also action”, and that was reflected in his direction, so when Fukuzawa did it this time, I wasn’t worried at all, and if anything I was looking forward to it. It was impressive how much more adult-like it was than I expected. Even though Fukuzawa really excels at it, we couldn’t spend much time on action, and I’m sorry about that.
Takishima: It was one where the characters were talking to each other a lot more than usual.
Takebe: I think it was difficult for all of the lead cast members to gather in episodes 35-36, even though it was a new director in the second half.
Takishima: He was originally a player (suit actor) too. He said that he didn’t stop many shots while they were happening because he understands what it’s like to be playing the roles. That way it’s easier to act than if you cut it short. So it’s a longer take than usual, and you have a little more footage to work through.
Takebe: I thought that when I was watching.
Takishima: At the time we did episodes 35-36, the cast had also come to the point where they grasped each of their own roles, so it fit well.
Takebe: More than anything, because he has a career as an action director, he really excels at bringing the set together.
Yoshikawa: The mood was incredibly cheerful on the sets for Fukuzawa’s episodes.
Takishima: Fukuzawa sincerely said, “it’s a good and warm filming set,” but in our point of view, it’s something special of his (Laughs).
Takebe: The assistant director (Koichiro) Hayama and cameraperson Hideko (Takayama) were candidates themselves too since they did Sentai together for his debut, and they helped Fukuzawa with this. The end result was good, and many people said they wanted to see Fukuzawa episodes again, so I’d say it was a success. And of course, Tasaki episodes being Tasaki episodes, the direction in that “Heaven and Hell Game” was great. That was one that Yuya liked doing too. It was an unexpected chance for him to team up with Director Tasaki that had barely happened before now. Only once in Zero-One (episodes 42-43).
Yoshikawa: It was near the end. He did the episode when Izu died from explosion (ep. 42).
TTFC: Director Tasaki also filmed episodes 32-33 of “Zero-One”, but Masaya Kakei wrote the script for those specific episodes.
Takebe: At the time when he was filming for “Geats”, there was a good balance with his work for “Gotchard”, but because Director Tasaki was also doing “Kamen Rider 555 20th Paradise Regained”, announced for this year’s Golden Week, we worried if the timing was right. But it fit into his schedule right after “555” and before “Gotchard”. We wanted Director Tasaki to do at least one set of episodes since he is a person who nurtures cast members.
Yoshikawa: Actually, people like Kan said, “I wanted to work with Director Tasaki more.” At that point in time he had been playing the role of Ace for over half a year, but in Director Tasaki’s episodes he got a lot of new surprises, saying, “Is there anything like the way he does it?”
Takebe: There were four directors who only did one set of episodes—guest directors, so to speak. But we had a rotation beginning with the main director Nakazawa, then to Directors Sugihara, (Takayuki) Shibasaki, and Sakamoto, it was well-balanced. The winter movie was done by Director Shibasaki, and the spin-offs and character song music videos by Sakamoto.
TTFC: It’s amazing that Director Nakazawa is filming one episode, the summer movie, and the final episode.
Yoshikawa: On the contrary, he was in charge of most of the chapter finales, too. Especially in the first half, like with episodes 9 and 10, and 16 and 17. The director said, “I want to do the final episode with another one again” (Laughs).
Takebe: All we can say is, “He’s the main director, that’s how it usually goes” (Laughs). However, he also helped out a lot with making the script. In the summer movie and the final episode, there were quite a few things that were changed based on his opinions. Speaking of the finale, we dared to make the timeline and other parts less straightforward, and that was Director Nakazawa’s idea. “Geats” is fundamentally supposed to be easy to understand, but he thought that, for the final episode, it would be good to leave some of the interpretation up to the viewers, so it turned out as you saw.
Takishima: The preparatory meeting with the director for the final episode was after the one for the movie’s music.
Takebe: The last episode to return to the TV series before the movie was also getting the finishing touches, and there were many close calls, but I think we were progressing relatively easily at that point in the year. We took care of our schedule, anyway. I’m glad to some extent that we saved up money in the early part. (Tsuyoshi) Miyazaki had already joined as action director for the winter movie, and thinking about the progress of the TV series, I thought it would be difficult for Fujita to cover the movie. Of course, Fujita was inserted into the winter movie when he could do it, and I strongly asked him to be in the summer movie for “Geats”. As long as you’re doing that kind of work, it won’t be easy, but still, there was a sense that he was doing as much as possible “so that everyone can be happy.” Actually, Producer (Taku) Mochizuki also stuck with “Revice”, and it seemed like a lot of things improved as the year went on. While getting handed the reins, improving dramatically was difficult, but he tried to improve little by little. If you pay attention, there are cases where the situation gets gradually worse for a project, so… The schedule stabilized as we tried to prevent that from happening, so we made it all the way to the end while taking as many break days from filming as possible.
Forward III: The Assistant Producers’ Work
Takebe: Thinking about both Sentai and Rider, Rider has a storied history, but Sentai is longer (having had more continuous entries), so a lot has been established in its system. Beginning with the event planner 104, there is a large number of staff that have been continuously involved since old times on the Sentai side. However, Rider still isn’t there. It’s a characteristic of Rider to have our work change depending on the season. Changes in staff are also frequent, and we have things where the work doesn’t flow automatically. So, Takishima, since this is your first time with Rider, you must have been bewildered, right? There are probably more things that an AP (assistant producer) has to think about and do than with Sentai.
Takishima: That’s right. But I also like working on the small things, so I’m fine with just doing that, unless it seems like I’m always doing it (Laughs). Really, I can’t go that way either.
Takebe: This year the first thing at the back of the script was a table for the Riders who appeared that time, and the person who did that was Takishima.
TTFC: Indeed. From a perspective like ours, that was very helpful too.
Takebe: I think it was quite difficult. But it was very much needed. If new models were involved, “There are new models!” was written in red letters like a price tag. Having that kind of thing in the scripts became common for the whole staff to do.
Takishima: Onsite work is always moving from the current production to preparation for the next production, and so on. So even orders for small props can be irregularly left out sometimes. Accidentally falling into the mindset of “I think someone else will do it” is bad, so I tried to move it along, or to ask the supervisors to decide ahead of time too. I might have been a little pushy, I guess.
Takebe: But I think that was fairly helpful on the sets.
Takishima: Sentai has changed a lot, especially in these last few years, and there are many new components that seem to overturn the series’ traditions, but we have a scheme that’s been developed over decades of kaijin and demon attacks, so to some extent I think we can still handle those changes. For example, when we say “the next episode is a filler episode”, they say, “alright, a filler episode”, or rather, the things that seem necessary get prepared one after another before doing bi-uchi (preparatory meetings for art) (Laughs). I guess those sorts of things are different from Rider after all.
Takebe: On the opposite side, the quantity of form changes and the like is special to Rider. There aren’t many of those in Sentai.
Takishima: Right. Anyway, for myself, although I wonder “is it good that I did this much?”, a big part of myself is happy that I did so.
Takebe: You also wrote the letters. Kyuun’s letters.
Takishima: That was my writing too, I wondered if it was alright…
Takebe: But weren’t there auditions within the staff to write the letters?
Yoshikawa: Yes. I failed it (Laughs).
Takebe: I asked Takishima to do most of the work that needed to be done by a deadline or that needed to be done as quickly as possible. From there, what was assigned to Yoshikawa was now done by Takishima. You’re already doing it all by yourself!
Takishima: No, not at all… I’d like to thank Bandai’s design team too. Especially (Takato) Yamashita (Plex), who made Geats’s design, was great to work with. He responded quickly every time, even to the small requests.
Takebe: He has excellent taste. With the sheer number of Kamen Riders, they were always able to design them to be differentiated without fail.
TTFC: How about you, Yoshikawa? Please talk about what you noticed or felt as you shifted to working “behind-the-scenes”.
Yoshikawa: First of all, I’ve interacted with many more people involved with making the show… Of course, I knew many staff members who came in when I was on the acting side as well. But I didn’t concretely know what kind of work those people were doing at that point. More than that, there are also a lot of staff who aren’t present while filming. There are many great people that just work in post-production, as well as the people at Bandai and Plex that I just talked about, and (Takayuki) Taketani who designs the Jyamato… There are the famous lines “Nothing’s happening in the conference room! It’s at the filming set!” (Laughs), but all of the staff members that don’t come to the set put passion and love into the work, too. I don’t think I’ve met all of them personally yet. I tried to keep that in mind for the young people in the main cast because I have that knowledge. Of course, I think they are thankful for everything that the staff provides, but they come to take it for granted when they spend so much time in the same place. However, aren’t, for example, the actors who don’t properly insert (memorize) their lines just as troublesome as staff members who forget the filming equipment? When I realized that kind of thing, I tried to convey it.
Takebe: It’s because our company’s staff is all so kind. They all care about the actors a great deal, and they even do things normally done by assistants, but they don’t mind. But the reality is that not all places are like that (Laughs), so I don’t want the younger newcomers there to get the misconception that this is the standard. They’re the ones who will lose out in the distant future. I asked Yoshikawa to listen to their conversations, especially the young men. Because he’s close in age to them, his past experience (as a child actor) can be put to good use. He deeply communicated with them, especially with Kan. He gave them movie recommendations too.
Yoshikawa: Kan was very eager. There were times where we’d talk on the phone late into the night. He’d tell me, “I still don’t know how I’m supposed to perform this part in the script for the scene we’re filming tomorrow.” Still, I wonder if he found it difficult to listen to the directors at the same time. I don’t know how helpful I was to him… One day he couldn’t understand his own acting and said, “Yoshikawa, do you have time later today?”, and I went along with him to dinner. Regarding the movie recommendations that Ms. Takebe talked about, he made sure to watch them, and told me his own thoughts about them. In addition, he said things like “When this scene happens, I don’t really get the meaning of that actor’s performance”, and I responded, “These event happened, so that’s why they have that expression!”, and he responded, “I see,” immediately writing a note on his phone. Since he had little acting experience, he was eager to try and take in as much as he could.
Takebe: I’m glad you feel that way. This isn’t about anyone in particular, but today’s young generation doesn’t read books a lot. Personally, I think their way of reading the script also changes when you get them intimate with printed text.
Yoshikawa: That’s right. Because “moved to tears” is written in stage directions, you will read that and cry while acting, but the truth is it’s more important to think about why the character is crying while playing the role.
Takishima: In that area, for example when it is Director Tasaki he’s asking the actors themselves, “Right now, what feeling are you hitting with?” or “Why are you gesturing by raising your right hand?”, and he makes them think about it. After all, if you’re not reading the script, you’re going to move without knowing why. The newcomers start thinking about that going forward, and they develop little by little.
Takebe: Rider and Sentai have expressed “schools” in their sets often, but truly, we teach that kind of thing and have them study it. Of course we also include manners and fundamentals…
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