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dunmeshistash · 1 month ago

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Ryoko Kui Exhibition & ''Delicious in Dungeon'' Exhibition pamphlet

Transcript under the cut

Disclaimer is that I used an image to text website and then proof-read it myself and made corrections where it got the text wrong. There was a few typos in the original text (like writing fied instead of fried) but I kept those in just in case I interpreted something as a typo but it wasn't.

[page 1]

Ryoko Kui Exhibition & "Delicious in Dungeon" Exhibition Introducing Ryoko Kui (1) Manga artist. After working through her website "Nishi ni wa ryū ga ita" (A dragon in the west) and her own dojinshi (self-published works), Kui made a debut with "Ryu no gakko wa yama no ue: Kui Ryoko sakuhin-shu" (The dragon's school is on top of the mountain: Ryoko kui works) published with EAST PRESS in 2011. Then published "Kui Ryoko sakuhin-shu: Ryū no kawaii nanatsu no ko" (Ryoko Kui collection: Seven Little Sons of the Dragon) in 2012 with KADOKAWA, and "Hikidashi ni terrarium" (Terrarium in Drawer) in 2013 with EAST PRESS. In 2014 she started her first long-running series "Dungeon Meshi" (Delicious in Dungeon) in KADOKAWA's magazine Harta. In January 2024, she released her book, "Kui Ryoko rakugaki bon Daydream Hour" (Ryoko Kui's sketchbook: Daydream Hour) of illustrations she made while working on "Delicious in Dungeon" as well as illustrations from before her debut. She has a diverse range, from science fiction and fantasy to historical dramas. The world building in her fantasy works is particularly unique, as they merge the extraordinary into the everyday to create an overwhelming realism and persuasiveness through meticulously refined settings. Kui won the Excellence Award in the Manga Division for "Terrarium in Drawer" at the 17th Japan Media Arts Festival by the Agency for Cultural Affairs, and "Delicious in Dungeon" has been awarded numerous accolades, including the 2015 Comic Natalie Grand Prize, TAKARAJIMASHA's award for This Manga is Amazing! 2016 Men's category 1st place, the Nationwide Bookstore Employees' most Recommended Manga of 2016, and the 55th Seiun Award in the Manga category, which is awarded to outstanding science fiction works. Introduction (2) Delicious in Dungeon" is a hugely popular manga; over 14 million copies have been sold.* To celebrate its anime adaptation, the large-scale exhibition "Delicious in Dungeon" Exhibition was held in Tokyo and Nagoya from April 2024. This exhibition is a continuation of the touring "Delicious in Dungeon" Exhibition, with the addition of the Ryoko Kui Exhibition; the first exhibition of artwork by the original artist Ryoko Kui. In the Ryoko Kui Exhibition, you can see her outstanding character designs, realistic settings and the unique narrative developments which have captivated readers, through reproductions of manga manuscripts and interview exhibits. We hope that you enjoy exploring the fascinating world of Ryoko Kui. In the "Delicious in Dungeon" Exhibition, you can enjoy photo spots, and impressive three-dimensional monster displays from the labyrinth adventures undertaken by Laios and his companions in the first season of the anime. We hope you will enjoy the fun of the original manga, the anime, and the exhibition to your heart's content. We would like to express our sincere gratitude to Ryoko Kui and the original editorial team, including everyone involved in the anime production and everyone who helped with the planning of this exhibition.

Ryoko Kui Exhibition & "Delicious in Dungeon" Exhibition Executive Committee

As of April 2024, including digital editions.

The dragon's school is on top of the mountain (3) This is Ryoko Kui's debut work, and her first collected volume of works. Published in 2011, it collects seven of her stories previously published on her website and in doujinshi (self-published works), as well as two new stories. It includes a trilogy of tales which may have taken place behind the scenes of the heroes' adventures in a Role-Playing Game; and which follow the conventions of an RPG. These are "Kikyō" (Return home), which portrays the sorrow of a hero having returned to his hometown after defeating the Demon King; "Mao" (The demon king), which tells the tale of the Demon King from his birth to his downfall; and "Ma�� jō mondai" (The problem of the demon king castle), which depicts the course of events surrounding the demon castle having lost its master. The story "Gendai shinwa" (Modern myths) depicts the daily lives of coexisting horsepeople (centaurs) and ape-people (homo sapiens), told from the perspectives of a centaur and homo sapien married couple, and a female homo sapien company employee and her junior male centaur. It comically depicts real-life issues such as anti-labor regulation demonstrations, and the disparity between retirement benefits and life expectancy, and as such can be considered satire of the diverse issues faced by modern society. The title story "The dragon's school is on top of the mountain" is set in a university that has the only "Faculty od Dragons" in Japan. It depicts the members of the dragon research society who seek out ways to use dragons, which apparently have no demand in modern society. They explore uses for dragons, such as for food, as pets, and as advertising media. Other highlights include Kui's sad love stories, told from unique perspectives, such as the fairytale-esque "Daikon yama no yome sagashi" (A bride for Daikon mountain) which tells the tale of a man's efforts to marry a female god in order to bring fortune to his poor village, and "Shingaku tenshi" (School-going angel) which depicts the woes of a high school girl with angel wings.

[page 2]

Seven Little Sons of the Dragon (4) This collection of short stories includes self-published works and short stories published in KADOKAWA publishing's magazine Fellows! throughout 2011 and 2012. The collected volume was published in 2012. The stories are set in different countries and time periods, featuring supernatural beings such as dragons, mermaids, gods, and werewolves. "Ryū no Shōtō” (The dragon turret) is set in two neighboring mountains and sea kingdoms. A dragon builds a nest and lays eggs on the border at the only crossroad connecting two warring nations. The nations declare a ceasefire in fear of the dragon, but as peddlers are also unable to come and go, supplies become scarce. A Sea Kingdom soldier who was taken as a prisoner of war by the Mountain Kingdom is tasked with transporting supplies between the kingdoms, and in time he becomes close with a girl of the mountain Kingdom. But the time for the dragons to leave their nest is approaching, meaning that the war will begin again. “Ōkami wa uso wo tsukanai" (Wolves don't lie) starts out with the premise of being a parenting manga by a manga artist whose son has "werewolf syndrome", then suddenly turns into a story told from the perspective of the son, who is a werewolf. The feudal drama "Kane nashi Byakuroku" (Byakuroku the penniless) tells the story of an elderly gifted artist who always leaves out one eye because otherwise his creatures come to life and pop out of the paper. He is deceived by his apprentice and left penniless, so paints both eyes into the only work remaining, counterfeit picture of a samurai. He enlists the somewhat incompetent fake samurai who has come to life, to help him raise money, and misadventures ensue. Each of these precious seven stories depict the bond between parents and children, family members, and loved ones. While humorous, they are also emotionally stirring.

Terrarium in Drawer (5) This is a collection of short stories that were published in the literary web magazine MATOGROSSO (EAST PRESS), as well as the cat anthology “Nyansolo” (EAST PRESS), Aoharu (Shueisha) and doujinshi. The story “Ryū no gekirin" (Wrath of the dragon) portrays the process of cooking dragon cuisine from preparation to seasoning with trivia about the ingredients. "Kigō wo taberu" (Eating symbols) depicts unique ways of cooking symbols such as circles being fied whole, while squares are sliced thinly and served with sashimi soy sauce. A motif that is also common in "Delicious in Dungeon" can be found in these stories. Other chapters include “Kawaiku naritai" (I want to be cute) which depicts the makeup techniques of a cat who wants to be beautiful; "Shōtoshōto no shujinkō" (A short, short story's protagonist) which is a meta perspective comedy while having many twists and turns; and "Yume no aru hanashi" (A dreamy story) set in a Santa Claus temping agency during the busy season. You can enjoy 33 diverse stories with creative perspectives and approaches, ranging from science fiction to fantasy and fairy tales. Another charming aspect of this book is the wide variety of styles it showcases, from shojo manga, to horror, gekiga, and even a simple touch of experience-based manga. The homages to famous authors and their works are also quietly amusing. In 2013, this collected volume won the 17th Manga Division Excellence Award of the Japan Media Arts Festival, organized by the Agency for Cultural Affairs, which is awarded to outstanding works of art and entertainment.

Delicious in Dungeon (6) This is Ryoko Kui's first long-running series. It began serialization in Harta published by KADOKAWA from February 2014 to 2023, spanning a total of 14 book volumes. The story is set in an expansive labyrinth that suddenly appeared on an island one day. The main character Laios is an adventurer whose sister Falin is devoured by a Red Dragon while exploring the labyrinth. Falin casts a final magic spell which lets Laios and the rest of his companions escape the labyrinth, but they return to rescue and resurrect Falin. However, having lost their equipment and supplies, the group decides to become "self-sufficient” by cooking and eating the monsters they defeat along their way, as they adventure deeper into the labyrinth. Grounded in the familiarity of classic fantasy RPG elements, the series adds its own unique settings and meticulous world building. Its monster cooking scenes are illustrated alongside detailed cooking instructions, making it a never-before-seen labyrinth gourmet manga, which has become an overnight sensation. According to Kui, the motif of "cooking monsters" was born from an idea she had of wanting to depict what falls between the lines of adventures, such as meals and camping, which are typically not depicted in roleplaying games*. The manga has been adapted as a television anime series to run for two seasons from January to June 2024. A second series has also been announced. The series was produced by TRIGGER inc., who also produced and animated a commercial for the manga in 2019.

First published in an interview in Newtype, February 2024 issue.

[Map showing the numbers from each ection from 1 to 8]

[page 3]

"Delicious in Dungeon" Artwork (separate post with pics) Cover illustration draft, vol. 1 Since this was the first volume, I tried out a few different drawings and had the editor and designer choose which ones they wanted, then made small adjustments. I personally liked the top-down draft, and the one of the cooking processes (back cover) the best. But looking back, I sincerely think it's good that we didn't go with those. (Kui)

Cover illustration draft, vol. 2 The format was decided for volume 1. So, volume 2 came together quickly. (Kui)

Cover illustration draft, vol. 3 I thought it might be cool to make the character Chilchuck darker in the foreground, and the background brighter! But it didn't quite work out the way I had imagined. I think it could have been a bit better. (Kui)

Cover illustration draft, vol. 4 I remember that the overall shape of volume 4 came together very quickly. The character Senshi's hands didn't fit nicely, so I moved them backwards and to the side. (Kui)

Cover illustration draft, vol. 5 I thought people might start to think "how many have I bought?" so I wanted to create a slightly different impression with this volume. I decided to put the character right in the center and try putting it together all in blue and green hues. (Kui)

Cover illustration draft, vol. 6 With the Red Dragon defeated, have we reached the halfway point in the story? With this in mind, I thought of how many volumes were left to go, and the number of characters, and decided to pair up the characters Namari and Shuroiro. In hindsight, it would have been fine to have them on one cover each. (Kui)

Cover illustration draft, vol. 7 The image is of focus lines converging on the character Izutsumi. This is the kind of cover, with upside down characters, which I've always wanted to try once(?) I submitted it as a trial, thinking that at this point the cover wouldn't dramatically influence sales. However, in the end, we decided it would be better not to have it upside down. (Kui)

Cover illustration draft, vol. 8 I tried blurring the mushrooms in the foreground, then I accidentally saved over it, and couldn't go back to the original. I remember apologizing that it was probably tacky, when I submitted it. (Kui)

Cover illustration draft, vol. 9 I don't think snake meat is marbled at all, but if it has an unfamiliar look, people might not recognize it as meat… so I made it look like beef to make it easier to understand. (Kui)

Cover illustration draft, vol. 10 I thought it might be interesting to have more than one of the main characters on the cover again, so I added the character Falin. I remember it wasn't badly received, but it still ended up just being Thistle on his own. (Kui)

Cover illustration draft, vol. 11 I wanted this cover to be covered in shiny gold. After I finished it, it didn't have enough color, so I painted the tablecloth green, and it ended up looking like Christmas colors. (Kui)

Cover illustration draft, vol. 12 Up to this point, the covers have featured one of the main characters holding cooking utensils in the foreground and a monster in the background, but I thought it might be interesting to reverse the format just before the final volume, so I drew this cover with that in mind. (Kui)

Cover illustration draft, vol. 13 volume 13 was meant to be the final one, but it was too thick to be published as a single volume, so we decided to split it into two. The question of “so, what should I draw next!?" may be at the forefront of volume 13. (Kui)

Cover illustration draft, vol. 14 I had decided that the final cover definitely needed to have everyone eating together on it, but because I was publishing two books at the same time I was pressed for time, and it was difficult to have a cover with so many characters on it. I also submitted a rough for an illustration that didn't need me to draw any crowds, but such obviously easy ideas are never adopted. (Kui)

TV anime "Delicious in Dungeon" About the ending illustration. I drew these based on the director's instruction "This kinds of pictures." I hardly ever have the chance to draw color illustrations, so it was a valuable experience for me. (Kui)

©Ryoko Kui ©Ryoko Kui,KADOKAWA/Delicious in Dungeon PARTNERS ©Ryoko Kui/ EAST PRESS CO.,LTD. Translation by Kyoto International Manga Museum

[page 4]

Interview to celebrate the opening of the Ryoko Kui Exhibition (7) (separate post) About Delicious in Dungeon: Story making

Q1. Your first long-running series has lasted for about 9 and a half years. Has it been different from your previous experience drawing short stories? A1. Compared to short stories, the series has been easier because the same characters appear each time. But I was surprised to find that I got tired of drawing the same characters too many times.

Q2. You have said before that the overall structure of the story was decided before serialization began, but how much of that had you communicated to your editor? Also, what kind of communication did you have during the series production? A2. The goal was something we discussed and had decided on from the beginning. The goal itself was simple, but the path to get there was more difficult and took longer than imagined.

Q3. Regarding the overall story concept and development, did you write out or put anything down in writing (such as the plot)? A3. I did, but it was simple.

Q4. Did you come up with the dishes based on the monsters you wanted in the story? Or did you come up with the monsters based on the dishes? A4. It depended on the story, but usually the story came first followed by the monsters or food. I feel like that was most often the order.

Q5. As you progressed in drawing the series, what elements of the characters, story, or world expanded or grew in the most unexpected way? A5. Nothing particularly unexpected perhaps. When I used to draw web manga, I tended to think up inconsequential settings. So, from the beginning I tried to restrain myself as much as possible and not expand too much. I was surprised when my editor said "Let's expand it more," in the second half of the series.

Q6. "Delicious in Dungeon" starts with a relatively simple setting, but as the series and the labyrinth exploration continues, the map slowly expands little by little in the readers' minds. It becomes more three-dimensional, revealing the secrets of the world, and taking on a multilayered structure. Are there any sources that you used as a reference, or which influenced you in creating this multilayered structure? A6. A long time ago, when I was working on my personal web manga (fantasy), I drew it however I wanted, thinking that "Only people who can read this will read it," but I regularly received feedback that it was "unreadable", so I tried to make it as easily. accessible as possible.

Q7. The series combines many elements, including "fantasy", "gourmet", "battles", and "puzzle solving", but I think it's also important that it is a "comedy" which makes people laugh. Could you let us know if you have a creative commitment towards depicting humor? A7. My hopes are that I can make it fun for people to read.

[page 5]

About Delicious in Dungeon: Drawing manga

Q1. Please tell us about the drawing tools you currently use, both digital and analogue. A1. In terms of analogue tools, I use a light box, a G pen, a round pen, and a brush pen. And for digital, I use CLIP STUDIO PAINT and a Wacom LCD tablet. Screentone pasting is always done on the computer, so ultimately it all ends up as a digital manuscript. Q2. Do you have any rules or reasons for using digital and analog separately? A2. I'm always looking for ways to draw better and save time, so the exact approach is probably different for almost every chapter. Personally, I feel that analogue methods create more appealing lines, but I feel like digital saves time, so maybe I'll do a digital rough sketch and do the inking by hand… I might have been using a G pen, and maybe I'll try out a turnip pen, or this time I'm short on time so I'll draw it entirely digitally, but with digital I can redo it over and over, so maybe analogue is still faster, and so on and so forth. I'm indecisive in this way and so haven't developed a consistent process.

Q3. I understand that you prepare 3D data for your assistants to draw the backgrounds. What kind of data did you make for "Delicious in Dungeon" ? A3. You could call it 3D, but it's not a proper model, just something to help with the rough sketching. I line up cubes to share the perspective and sense of scale, and they use it as a reference.

Q4. At the beginning of the series, the characters and backgrounds were somewhat simply drawn, and it seems like they became richly detailed over the progression of the story. What was your intention behind using these different styles? A4. It's simply that my technique isn't stable. I thought I'd put a lot of effort in at the start. I remember being confused when my editor asked me to add more in to the drawing, and I wondered "Where…?"

Q5. Thinking about the food, were there any menu illustrations that you were particularly satisfied with, or which you struggled with? A5. I've never liked my own food illustrations. But the times when I read other people's manga and thought "That looks delicious," I think it's been more an influence of the movement, the staging, and the situation than the drawings.

Q6. For the world maps and the terrain of each continent, did you refer to any maps of the real world? I feel like the shape of the 'island' is similar to the shape of Fukuoka Prefecture or Kyushu. A6. I didn't reference any specific geography, but I did try to put thought into things like whether a developed city would be near a river or the sea, and what the coastline would look like. I'm pleased if it feels similar to a real place, because it means my interpretation was pretty accurate.

About Delicious in Dungeon: Other

Q1. Which is your favorite monster? A1. Nightmare.

[page 6]

Q2. I'm sure you have received a lot of feedback from readers in countries and regions outside of Japan. Please tell us if there was anything from them that made you happy, was unexpected, or which made a lasting impression on you. A2. When you play foreign games, there are times when you think "Why did they translate it into Japanese like that?" But having been on the side of having something translated, I've realized some things are unavoidable, or endless, and there are many things that don't matter either way from the author's perspective, so it was interesting.

About Ryoko Kui's short story collections and herself Q1. Dragons are a consistent and important motif in your work. Was there any particular work or experience which inspired this? Also, are there points about drawing dragons which you find interesting or have had to work hard on? A1. It's less about liking dragons, and more that I'm interested in the worlds in which dragons exist. When I draw dragons, the depiction in itself has a sweet feeling to it. I have never had a pet reptile, so I don't have a very good understanding of them.

Q2. Unomiya University in your story "The dragon's school is on top of the mountain" has a Faculty of Dragons, Department of Environmental Studies, and Department of Technology Studies, and a Faculty of Veterinary Medicine. If you were to enroll in the university, which department or faculty would you like to enter? A2. I probably wouldn't be accepted….

Q3. The collection includes a short story staged as an essay manga. Are you a fan of essay manga? Please tell us about any genres of essay manga that you like. A3. I love all kinds of essay manga. I read them often.

Q4. If you were to make your own game, what kind of game would you like to make? A4. I prefer being a player when it comes to games.

Q5. When did you first start drawing illustrations (doodles)? A5. I don't exactly remember when I first drew a picture, but I think I started drawing manga around the fourth or fifth grade of elementary school. in my notebooks and had my friends read them.

Q6. What is the most fun part about drawing manga? A6. Every part is fun and hard in its own way.

Q7. Please tell us if there is anything you "just can't stop no matter what". A7. My procrastination habit.

Q8. Could you please tell us if there's something you want to draw now? A8. I've been working continuously since the serialization, so I'd like to take about 2 to 3 months to just draw whatever I want.

[end]

#Dungeon Meshi #Ryoko Kui #Dungeon Meshi Exhibition #Ryoko Kui Exhibition #Delicious in Dungeon Exhibition #Delicious in Dungeon #Im gonna make the transcript of a few sections their own posts #exhibition

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arminreindl · 11 months ago

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Fossil Crocs of 2023

2023 has been a year with its ups and downs, but one consistent thing has been its fossil crocs at least, giving us another interesting variety of species and genera not known before. Like last year, I'll go down each of them (including phytosaurs) and give you some key notes. And since I've done my best to make individual posts for them I'll link those when available. I'll also try to give translations where possible, but do note that sometimes I might switch around a word due to it just sounding awkward otherwise.

Scolotosuchus

Starting us off is Scolotosuchus basileus ("royal scythian crocodile"), a basal, rauisuchian-like animal from the early stages of the Triassic. An animal roughly 3 meters long, it is primarily known from vertebrae and some other material, which however does have interesting implications. Based on the anatomy of the vertebrae, it has been speculated that Scolotosuchus performed a lot of rapid movement of the neck, presumably while hunting. Furthermore, it might be that Scolotosuchus lacked osteoderms, instead having developed a bracing system for its body much more like that of dinosaurs and mammals. Artwork by @knuppitalism-with-ue (he'll pop up quite a lot)

Colossosuchus

Fast forward to the Late Triassic, the hayday of early Pseudosuchians, and we find our first phytosaur of the list. Colossosuchus techniensis ("colossal crocodile of the Indian Institute of Technology") was an enormous animal from India's Tiki Formation. This one is known from undisputably better material, perhaps some of the best on this list as we have an entire bone bed of these guys, possibly representing a mass death site. Size estimates of the large specimens generally range from 6 to 9 meters in length, also making it the largest animal of this list, with the authors favoring an estimated 8 meters for the largest individual. Of course this is all subject to change, as we don't know the precise proportions (the downside of a bone bed is that all the bones are kinda jumbled together and god knows what belongs to what). Artwork by Joschua Knüppe again, a female being courted by an overconfident and confused Volcanosuchus (told you so)

Kryphioparma

Ok I won't bother you with this one too much. Kryphioparma caerula ("blue mysterious shield") is an aetosaur from the Late Triassic Chinle Formation of Arizona. Now aetosaurs are cool of course, but the thing is that Kryphioparma is known from exclusively osteoderms, their large armour plates. While thats valid, its also not really exciting (as you could have guessed from the absolute lack of artwork). Best I can say is that it coexisted with a bunch of other aetosaurs, which surely would have been a sight to see back in the day.

Venkatasuchus

Now Venkatasuchus armatum ("Venkata's armoured crocodile") is in a similar boat. This Indian aetosaur too is only known from osteoderms, tho at least a lot more of them that were found together, meaning we got a much better idea of its shape. There are some interesting implications it has on paleogeography and how different animal groups spread across Pangea, but that's probably beyond the scope of this post. There is at least some art of it tho, including one piece by Joschua featuring Jaklapallisaurus, an early sauropodomorph.

Mystriosuchus alleroq

Now we got our first new species of a preexisting genus. While I did my best to make posts on new genera, which typically went hand in hand with their respective wikipedia pages, species are a different matter since they'd require me to overhaul and research the whole genus. Which for Mystriosuchus would go all the way back to 1896.

Anyhow, Mystriosuchus alleroq ("jawbone spoon crocodile") is the newest in a long line of Mystriosuchus species and has been recovered from western Greenland of all places. Like Colossosuchus it is known from multiple individuals, at least four in fact, And like Venkatasuchus, it appears to have wideraning implications for the spread of archosaurs during the Triassic. Oh look its Josch's art again, neat.

Jupijkam

The final phytosaur and the final Triassic taxon of the year, Jupijkam paleofluvialis ("horned serpent of ancient rivers") was recovered from Nova Scotia Canada and represents one of the northernmost phytosaurs (alongside obviously our friend Mystriosuchus alleroq above). It is far less complete than the other phytosaurs I covered so far, but still nothing to scoff at. It's also one of the youngest known phytosaurs, possibly having lived during the last stage of the Triassic. There's no art but here's an image of its snout from the original paper.

Turnersuchus

And with this we have reached the Jurassic and somewhat of a double feature. Ordering these via chronology makes this almost like storytelling. Turnersuchus hingleyae ("Hingley's and Turner's crocodile") is the oldest and basalmost named thalattosuchian, a group of crocodylomorphs that took to the seas. As such it shows a mosaic of features, already having begun to reduce its limbs, having a moderately long snout and still bearing osteoderms, which some of its descendents would come to lose. Turnersuchus dates to the Pliensbachian, a stage of the early Jurassic, tho the paper mentions how its not likely to hold its title as oldest member of its group for long as even older material has been discovered and is awaiting publication. Artwork by Júlia d’Oliveira and Joschua Knüppe

Torvoneustes jurensis

While Turnersuchus gives us a glimpse at what the earliest thalattosuchians were like, Torvoneustes jurensis ("savage swimmer of the Jura Mountains") represents them at one of their most derived. At 4 meters long, it must have been an impressive creature, entirely smooth and lacking osteoderms, highly reduced arms and a tail fluke to boot. There are some interesting features, as unlike other species of Torvoneustes, this one does not appear to have been as durophagous, instead appearing to be more of a generalist. It's the last Jurassic croc of the year and practically lived at the opposite end of this time period relative to our previous thalattosuchian, during the Kimmeridgian. Artwork by Sophie De Sousa Oliveira, not to be confused with Jùlia who drew Turnersuchus.

Comahuesuchus bonapartei

From marine to terrestrial, Comahuesuchus bonapartei is a member of the Notosuchia, land-dwelling cousins to the Neosuchia. This new species is known from the Cretaceous of Argentina and was described on the basis of a lower jaw, which differs from the previously described species of Comahuesuchus by the fact that the teeth are situated in individual sockets. Its jaws were short and wide, being described as U-shaped, giving it a somewhat pug-nosed appearance. In case you're wondering why I don't have the translation of the name thats because I can't access Bonaparte's first paper, so all I can say is that the new species is named after famed Argentinian paleontologist Jóse Fernando Bonaparte. Artwork by I mean you probably guessed it, its Josch again.

Aphaurosuchus kaiju

I have some mixed feelings on Aphaurosuchus kaiju ("powerless kaiju crocodile"), not just because I have to rewrite its genus wikipedia page that I am no longer happy with. No, Aphaurosuchus is a great genus in my opinion, given the complete nature of the holotype. But I do think that the species name of this second form is a bit of an exaggeration, seeing as it is to my knowledge not that exceptionally big. So why name it kaiju other than to sound cool? I also think it just kinda becoms funny when you consider the meaning of the genus name. Anyhow, it does look pretty mean, but thats to be expected from a baurusuchid. It lived during the Late Cretaceous in Brazil and the phylogenetic analysis that accompanied its description had some interesting implications that I'm curious to see tackled in the future. Other than that it's just another baurusuchid from a place crawling with baurusuchids, which tbh is pretty cool itself but doesn't really help make it stand out. Arwork by Paula Zeinner

Dentaneosuchus

It is the middle Eocene. France is entirely occupied by mammals. Well, not entirely... One indomitable reptile still holds out against the invaders. Yes, I am of course talking about Dentaneosuchus ("frightfull crocodile"), the titan of the Eocene, the terror of the jungle. Easily among the most exciting finds, this animal was an enormous sebecid previously thought to be a member of the genus Iberosuchus, but recent research not only shows its distinct but enormous. With a lower jaw around 90 cm long, it rivals even the famed Barinasuchus of Miocene South America. The total body lenght is of course a matter of debate given how little we know about sebecid proportions, with the paper lowballing it at 3 to 4 meters and I personally recovering something more akin to 5 meters. Regardless of the specifics, this would make it easily one of the top predators of its time, tho sadly this was not meant to last. It was among the last non-mammalian apex predators of Europe, before climate change and competition from mammals eventually drove them to extinction. Arwork by Joschua Knüppe and @mariolanzas

Baru iylwenpeny

Our last three entries were all members of the Notosuchia, the terrestrial crocodiles that existed from the Jurassic to the Miocene, so lets jump to the other major group of the time, the Neosuchians, specifically their most recent branch, the Crocodilians. Yes finally we are getting to crocs in the stricter sense.

Baru iylwenpeny ("divine crocodile thats good at hunting") is an animal we also knew for a while under the informal name Alcoota Baru based on where it was found. This year I spent a lot of time writing in the Mekosuchinae, Australasian crocodiles of the Cenozoic and just when I had finished the page for Baru, this guy got published. It's the largest, most robust and most recent member of the genus. Good at hunting is a good choice for the species name, as this animal was over 4 meters long with a head commonly likened to a cleaver and a hunting style speculated to consist of inflicting a lot of trauma on its prey with its massive teeth. I could gush about Baru for ages, but thats the important parts. It lived in central Australia during the Miocene only 8 million years ago. Artwork by the incredible @manusuchus

Antecrocodylus

Now for the last crocodilian described this year and one I remised to make a dedicated post for due to time constraints (I had a busy few months). Antecrocodylus chiangmuanensis ("before Crocodylus from Chiang Muan") is a close relative of the modern dwarf and true crocodiles from the Miocene of Thailand. It is only known from the back of the skull and an associated lower jaw, but it serves to highlight how little we know about the crocodiless of eastern Asia during the Miocene, which is a shame given that this region is crucial to deciphering where true crocodiles originated.

Alligator munensis

And our final taxon is Alligator munensis ("Mun river alligator"), which, obviously, is a member of the modern genus Alligator and thus most closely related to the still extant Chinese and American Alligator. Likely having been split from its Chinese relatives when the Tibetan plateau was lifted up, this species lived during the middle Pleistocene in Thailand and may have survived until the Holocene. It's head was short and robust and its teeth globular, which could indicate that it fed on hard-shelled prey like clams and snails. It was also small, likely not much bigger than 1.5 meters. Artwork by Joschua Knüppe

And that should be all of them, all new species and genera of Pseudosuchians described this past year. It's once again been fun to look back and I hope that you find them just as interesting as I do. Lets hope that 2024 will bring equally fascinating discoveries.

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all-hail-trudos · 3 months ago

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Something interesting that's come to light: Rune Factory: Guardians of Azuma is being developed in Unreal Engine. I can't find which version, but either way this is actually excellent news, since RF5 was made in Unity. I don't know how many people know this, but despite being a go-to engine until recently, Unity is a pain to optimize for the Switch by most accounts. RF5 had a number of development problems, but the choice of game engine definitely did not help. (It's also appropriate that they used a game engine favored by indie studios when it sounds like they had a really small dev team). This might sound like nerdy rambling, but hear me out. The fact that RF:GoA is being made in Unreal Engine 4 or 5 instead says two really encouraging things!

1.) This is an engine favored by larger studios with a bigger budget. Not that we don't see indie games using UE, but primarily this is what AAA studios use if they're not running on their own custom solutions. It's safe to say this is a sign that Marvelous is genuinely investing in the series and wants it to go places.

2.) Unreal Engine is without question a lot more powerful than Unity but needs more tinkering out of the box to get it running right. More importantly, it doesn't have Unity's reputation of needing a lot of finessing to work right on the Switch. Back in 2017, most UE4 games were just not coming out on Switch, because optimizing things enough to run at anything more than 12 fps was impossible. That has since changed enormously, but the key takeaway here is: If Guardians of Azuma is made in UE but is still coming to the Switch, we're 100% going to get better performance than RF5.

Also, this is much wilder speculation, but the release date of Spring 2025 coincides with when we're finally for sure getting details on the Switch 2. There's a very good chance this game is either going to get a re-release on the next gen system, or we're going to see it get a backwards compatibility patch adding DLSS which WILL FOR SURE improve performance like 100x over.

In conclusion, Guardians of Azuma has many signs that point positively to the future of the series, and to running well on the Switch and, since it deserves a place in the conversation, the Steam Deck. Solid performance on the PC is obviously a given. Just buy a GTX4090 and you'll never see less than 60fps ever again. Thank you for coming to my TED Talk.

#rune factory #guardians of azuma #rf:goa #is that a tag yet?#it is now

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nepofm · 7 months ago

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* ꗃ event unlocked . . . CASINO NIGHT !

hey ues readers . it’s finally hitting seventy degrees out so that means spring is here and with that so are this season’s most anticipated events . and we’ve got word on a new exclusive grand opening party for you .

club 1919 is a new speakeasy that’s making waves in manhattan’s social circle . located in the basement level of the empire hotel , this club is rumored to be the next exclusive location . a callback to prohibition , this club serves prohibition-era cocktails and operate just like a speakeasy with a nondescript entrance requiring a password . but you didn’t think it’d be that easy , did you ? passwords change monthly and only communicated to members via word-of-mouth . this grand opening party is simply to give everyone a taste of what club 1919 has to offer .

and what better way to commemorate this opening than a casino night theme ? a perfect juxtaposition between elegance and pure debauchery . and of course , it wouldn’t be an event with manhattan’s elite without a dress code . this will be a black tie event and as usual , we expect to see your best .

event invites were sent out months in advance so i hope for your sake , your invitation didn’t get lost in the mail . word has it that the invite list is exclusive and comprised of celebrities , influencers and most of the upper east side social scene . anyone who’s anyone will be here . and as always , make sure your nepoupdates notifications are on ! we’d hate for you to miss out on a good time .

OOC DETAILS

out of character: this is a full length event ! the duration is three weeks , starting on friday , may 17th at 12:00 am est and will last until sunday , june 2nd at 11:59 pm est .

in character: the party will take place in the span of one night on friday , may 3rd at 8:00pm at club 1919 in the empire hotel . dress code is BLACK TIE FORMAL . along with the club's signature drinks catered specifically for the grand opening party , an open bar will be available to attendees as well as a varity of food selections . additionally , there will be live musical performances throughout the night . you can view this pinterest board for event inspiration . this is a dash only event .

event participation is optional , however highly encouraged ! by participating in the event , you can apply for 10 points from our points system ! points can be redeemed for both ooc & ic prizes .

please utilize the #nepofm.event009 tag for any event related posts be it muse outfits or starters . feel free to share your muse’s outifts in our ooc discord channels as well !

nepoupdates will be interactively involved in the event . muses can send in anonymous ( or not ) tips to the gossip blog .

once the event is over , you may continue & finish the threads from the event but please do not start any new ones ! if you decide to fade to black plots for event , please leave plotting updates for nepoupdates .

finally , this event is 100% about character & connections development as well as fun for both muses & muns ! if you have any questions , please don’t hesitate to reach out to admins on main or through our #questions channel on discord !

#nepofm.event

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pinkmoondoll9shihtzu · 7 months ago

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Hello there 🙏🫶 I just want to share this rn with you..... 💌 Recently i have developed a crush on a girl. She is so wonderful and we talk every day & i feel so giddy LOL. I don't even know her face😭 I am so unsure over alot of things & it is both mortifying & exhilarating to experience .. & thats the fun if it..omg.. recently i feel like so many friends are having crushes i wonde r your thoughts on this..

also i forgot how to flirt entirely so i dnt even know if its noticeable to her at all that im interested that way since i havent been bold enough LOL any advice on signaling this to her is appreciated i feel like13 again likeso clumsy LOL its so exciting too omg wishing you a beautiful day when u reaD this i hope it;s fine to send this to u i know u like your inbox used as a confessional but i'm still shy HAHA

🙏🌞🫶🫧🌈

AWWW💞💞💞 happy for u Anon :]....Ues it seems lately many people have been finding new love, i noticed it too the past few weeks :o I've only had that feeling a handful of times over my life, its a special one cus it can be quite fleeting depending on how fast things move, treasure it🌟 altho W/ me and slimbo it lasted ages so by the end of it when we finally confessed love i was FRIED from haveing butterflies in my stomach for so long lol i was losing my marbles over it. anywyas--

Honeslty im BAD at flirting like. i have noooo idea how to make a move , slimbo n i both tried to keep it .pokerface. for years because we're like, i dont even know, we're stupid we were almost enemies for a while. there was a timespan where we were SOOOO competitive and whenever we tried to play games we'd fight so much and i'd end up crying LMAO im laugjing so hard typing this cus we're not even like that now. Like as soon as we got together we became the ultimate harmonious team of considerate affectionate lovers but the courting phase was such a trainwreck lmao. i love it like its beautiful it all worked out, but yeah i suck at flirting i am swagless in that position🧎‍♀️

Altho when it's irl i definitely at least try to Thot it Up, concoct minxy outfits , move in a charming way, one of my most successful tactics has been attempting to orchestrate accidental voyeuristic scenarios for them to catch in their peripherals lol. but you have to be reeeeally subtle to pull that one off ;] i guess mostly i just try to talk to them a lot !! and be thouggtful. send telepathic uncondtional love. SHOW THEM SONGS!!!!!!! if its an internet thing, maybe u can watch movies or youtube videos together. be inquisitive and ask her lots of questions ^_^ one thing that always drew me to slimbo is how curious they are and their #intellect.. But everyones different so just feel it out day by day thru communication💓💓💓

hhope that helpes in some way.. its ok to feel giddy and clumsy im sure ur crush just wants to get to know the most authentic -you- so dont stress too much about specifics ^u^ Enjoy your weekend love ~ ~ ~ P.M.d.9

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dorianwolfforest · 1 year ago

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I feel like your blog would be the best to ask this, haas anyone here watched eleanor nightwalker's new video about Alex and Maya as queer rep? My adhd brain is curious but would not let me waste my time on it

you just made me click on an eleanor nightwalker video on my own accord and download it onto my computer (she gets no seconds of watchtime from me, fuck that) how dare you

Basically "ue ue ue all the relationship development happened outside of the game" which, fair, but it's hard to retcon things when they've already happened in your main story line.

"The events in Elli's comics don't feel official because they don't add anything to the game" die mad wtf are you on about, we got so much lore regarding the game and the characters in it from those comics

"You meet them as two separate characters and then all of a sudden they're cuddling in a field" yes, people in relationships are also their own separate entities, good job!

"We need something to explain why they're a thing, not just that they are" yet you do not push this narrative on any straight couple in the game. queer people do not owe you a grand romantic story to be "permitted" to exist, sometimes their relationship can just be one small part of their story and their existence does not need to be justified.

"Alex had a crush on justin in the clouds over silverglade comics!!! She also thinks about him a lot when we need to rescue him and is the one who suggests breaking him out of jail." WHAT. OUTRAGEOUS. BISEXUALITY? IN MY VIDEO GAME? (Doesn't even need to be bisexuality a lot of queer people mistake their close friendships as romantic feelings because they haven't clocked what they're attracted to yet) Also, like, yeah, if i was breaking someone out of prison i'd... think about them too? "She needs to stop defending him to make Alex and Maya's relationship seem more genuine" She's being a good friend? A good Samaritan? A person who sees someone get kidnapped and says "yeah i don't think that's right, stop it"??????

"Lisa would be the best queer rep because she doesn't have a romantic past and it fits her character" Lisa is word-of-god-confirmed to be bisexual. Get dunked on. Also, die mad.

"Maya's model is smaller than Alex so it looks weird" ok? fuck short ppl ig.

In short yeah, i'm sure we all want to see more of alex and maya, but that doesn't make their representation forced or bad. To finish off, die mad.

#TW eleanor nightwalker #none of this anger is aimed at you anon i just fucking. hate her lmaooo #that is 8 minutes of my life i will never get back

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puroresu-musings · 11 months ago

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NJPW NEW YEAR DASH!! 2024 Review (Jan 5th, Sumida Ward Gymnasium, Tokyo)

NJPW World TV Championship - Hiroshi Tanahashi (c) vs. Ryusuke Taguchi **1/2

Hirooki Goto & YOSHI-HASHI vs. Kaito Kiyomiya & Ryohei Oiwa ***

El Phantasmo & Hikuleo vs. Yuto Nakashima & Oskar Leube **1/2

Tama Tonga, Shota Umino, El Desperado, Master Wato, Togi Makabe & Tomoaki Honma vs. EVIL, Ren Narita, Yoshinobu Kanemaru, SHO, Yujiro Takahashi & Dick Togo *1/2

Will Ospreay, Jeff Cobb, HENARE, TJP & Frencesco Akira vs. David Finlay, Gabe Kidd, Alex Coughlin, Clark Conners & Drilla Moloney ****

Tetsuya Naito, Shingo Takagi, Yota Tsuji, Hiromu Takahashi & BUSHI vs. SANADA, Taichi, Yuya Uemura, DOUKI & TAKA Michinku **1/4

KOPW 2024 Championship ~ Pinfall Only 10 Minute Sprint - Toru Yano vs. Great-O-Khan vs. YOH vs. Taiji Ishimori *1/2

Kazuchika Okada, Bryan Danielson, Jon Moxley & Tomohiro Ishii vs. Zack Sabre Jr., Mikey Nicholls, Shane Haste & Kosei Fujita ***3/4

Photos.

This was your typically fun, brisk NEW YEAR DASH!! show, that was as always was more about the angles and story progressions into the year ahead (or indeed, lack there of) as opposed to great matches or anything. Debuting in the Sumida Ward Gym, the show was a mystery card, with the matches only becoming apparent once the participants entered. Things kicked off with Tanahashi defending the World TV Title against Ryusuke Taguchi, in an inoffensive, but totally superfluous opener. It only went 5:40, and was pretty much all your typical Taguchi comedy bout, which Tana obviously won with a cradle. The post match was eventful as a video aired of none other than Matt Riddle challenging Tanahashi, so that's certainly an interesting development. Tana claimed to have no idea who Riddle was. Next up, NOAH Ace Kiyomiya and NJ Young Lion Oiwa put in a losing effort against former tag champs Bishamon. This was a nice little match which saw Goto pin Oiwa after the Shoto in 7:40.

The next outing was Young Lion's Nakashima and Leube's official last match before their excursion. They took on the new Tag Champs, ELP and Hikuleo in a standard tag match. Phantasmo pinned Yuto at the 8 minute mark with Thunder Kiss 86. After bidding the Young Lions farewell, Chase Owens attacked the champions, and announced himself and KENTA as their next challengers. Fab. It was 12 man tag action next as the entire House of Torture took on the New Japan Babyface All-Stars. This was pretty bad, and devolved into the usual HoT nonsense. Umino pinned Togo in 8 minutes after a Death Rider, then the heels beat everyone down in the post match. Narita focussed on Shota, so their feud continues, Kanemaru laid out Despy with a whiskey bottle, so there's his next Jr. Title challenger, and EVIL laid out Tama, cut his hair, and posed with the NEVER Title, which he then stole. I can't possibly pretend that any of these pairings interest me in the slightest, but if there's one positive, it's that at least EVIL isn't anywhere near the main event scene.

United Empire battled the Bullet Club War Dogs next in a 10 man. This was all excellent. The match itself only went 5:10, but it was all-action and super intense; they brawled around the building, Akira hit a balcony dive, Connors Speared and beatdown the referee, Gabe Kidd juiced a gusher after hitting the exposed buckles, the War Dogs all threw chairs and guardrails from the crowd into the ring, and the match was thrown out, ruled a No Contest. There was a crazy post-match beatdown, which included the heels trying to gouge Akira's eye out with a metal object, and he juiced too. Just when it looked like they were done, the UE fought back and cleared house, only for Gedo to blindside Ospreay with a lowblow. They were about to take him out when TJP made the save by Misting Finlay, and Ospreay hit Gedo with a running Powerbomb through an upright table in the corner. Ospreay then said his last night in New Japan is New Beginning in Osaka on February 11th, and challenged all 5 guys to 10 man war fare, and he'd let Finlay choose the stipulation. The new Global Champion chose a Cage Match, so that should be outstanding stuff. This was the highlight of the show by far.

LIJ and Just Five Guys faced off next in a total House Show affair. It wasn't bad, but certainly wasn't good, and the post match didn't fill me with much excitement. TAKA scored his first win in maybe 15 years when he pinned BUSHI with a Michinoku Driver II at 8:47. The post match saw SANADA challenge Naito to a rematch (meh). I'd much rather someone else challenge for the World Heavyweight belt at this point, maybe even Taichi, but this was the inevitable issue with putting the belt back on Naito. There just aren't many/any fresh matches for him. The 2024 KOPW Champion was decided in the next match, which was a pinfalls only 10 minute sprint. This sucked, the crowd was dead, the action uninspired and even though it only went 10 minutes, it felt 30. After O-Khan pinned everyone, Ishimori snuck in, stole a pin, then ran away to beat the clock and win the Championship. Whatever. I think this belt is way past its Use By date now.

And then it was main event time, as the Dream Team of Okada, Ishii, Mox and Danielson took on the TMDK guys. This was lots of fun, everyone looked great and all the individual stories made for a compelling watch. Ishii tore the house down every time he got in there, and Danielson and ZSJ's exchanges were the best wrestling on the show. Obviously. The finish saw Haste and Nicholls put Ishii away with the Tank Buster whilst Sabre had Danielson tied up in a Manjigatame at the 13:50 mark. The post match saw Zack challenge Danielson (now THAT'S a rematch I can get behind!), with both guys promising to tap each other out (despite all the talk of submissions, their last match ended in a pinfall), then Fujita said he, Nicholls and Haste were next for the NEVER 6 Man Titles. Okada was very annoyed at this, saying Fujita was in no way ready to face him, then they stared down Tanahashi on commentary to end and eventful show.

NDT

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nonbinary-coder · 3 months ago

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after some research and deliberation, I've decided to do my game development in Godot.

I had been considering Unreal Engine, because I've used it before, but since I'm mostly interested in 2D gaming atm, and UE's idea of 2D appears to mostly be "3D but flatter", which probably takes more processing space than I want, I figured I'd go with something actually intended for 2D. I did consider GameMaker, which I've also used before, but decided that since it's been long enough that I'd basically have to relearn it anyway, I may as well try something new. (and I wasn't about to consider Unity, because of that whole mess a few years ago. last year? idk, time isn't real)

Godot is open source and free, which is nice. Including that they won't ever charge you to use their program to make games, no matter how much money you earn for it. Unlike Unreal, which wants royalties once you earn above a certain amount. I'm not currently planning on monetizing my games, but it's certainly good to know.

Currently, I'm midway through the tutorial to make your first 2D game. I'm really liking the program so far. It's different from what I've used before, but it makes sense, and the user manual / tutorial instructions are comprehensive.

It's largely script based, using its own language, and having learned a couple languages before means the logic makes sense to me. Just gotta learn the vocab and syntax.

I'm really excited to finish the tutorial and then start on my own games.

#nonbinary coder #godot #game development #godot engine #solodev

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psychewritesbs · 2 years ago

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When Opposites Attract, part 3: Standing guard

Uh.... not much happening in episodes 32-38... but whatever gems I was able to gather are all beneath the cut.

The things I do for blorbo and my OTP!

But mostly I’m just fast forwarding through all of the bullshit...

Athrun

Ok so we fast forward to episode 34 where we get to see Athrun engage with his daddy issues Chairman Patrick Zala.

What I thought was interesting about this moment was that Athrun at first addresses his father as 父上 “chichi ue”, which is like a super formal and polite way of addressing one’s father in Japan. Even if you don’t speak Japanese, if you’ve been watching anime long enough, you’ve surely heard the word “ottosan” or simply “chichi” being most commonly used to address one’s father.

I think the purpose of having Athrun say “chichi ue” was to show the audience both the level of respect that Athrun has for his father and, most importantly, the emotional distance between them. I mean... “ue” literally means “above”.

... and even that is not enough distance as Papa Zala demands even more emotional distance from Athrun as he reprimands him for calling him “father” even though there is no one else in the room with them.

Like... is it any surprise that our favorite Zala boy is constantly emotionally constipated given the lack of a mother figure and his own father’s emotional frigidness?

It is then that his father confirms that Lacus gave Kira one of the new Gundams and that their engagement is therefore broken off.

Athrun, I beg of you... there’s a whole fandom that thinks you were heartbroken about Lacus getting with Kira! Do you mind at least pretending that you were, in fact, heart broken or unhappy about it?

Idk... look sad... argue with your dad... SOMETHING, ANYTHING!

Ok but in all seriousness, going back to the idea that both Athrun and Lacus got to know each other and became friends who cared for each other as a result of their arranged marriage, I really appreciated seeing Athrun be in complete denial about Lacus being involved with the new Gundam being stolen.

I like to think that Athrun knew that for someone like Lacus to do such a thing, she must have had a REALLY good reason for it.

That or maybe he just totally overestimated her intelligence and cunning. After all, when Athrun thinks of Lacus he seems to find her whimsical nature... burdensome?

Flashback from who knows what episode earlier on.

Thoughts?

Anyways. Like Cagalli, Lacus challenges Athrun and his propensity to following orders blindly just as she tells him that she’s on Kira’s side.

Then there’s a gun fight, Athrun protects Lacus who is technically now an “enemy” (yay for character development), yadda yadda yadda, and as Lacus says goodbye, Athrun can’t contain himself with how in love he is with her and therefore does not go with her.

True love I tell you. TRUE LOVE!

So Athrun gets on his shiny new Gundam and takes off for the Earth with a new perspective on his blind devotion, which means it’s time for Athrun to become a conscious human being with a free will of his own. That Oedipus Complex is about to have its ass kicked to the curb.

To whom and what Athrun becomes devoted to defines the rest of his character arc.

Cagalli

As for Cagalli... well she’s already had development so all we get from her is that she’s happy to see Kira is still alive, Mwu totally steals the Strike from her rude, and she actually asks for permission now.

Speaking of character development...

She even learned military strategy and is in charge of directing this battle. Nothing beats 15 year old teenage girls directing a country’s military. These Gundam Seed writers sure know how to write realistic battle scenes.

Fast forward... fast forward... and we get to our next asucaga encounter...

Bridging the gap

After Athrun helps win the battle to protect Orb against the crazy Earth Fed pilots, Athrun and Kira stare each other down, proving once and for all that Kira looks about as threatening as a French Poodle or a Pomeranian.

At least he’s not crying so that’s always a win.

But I have to say that I loved Cagalli realizing that the pilot in that other sparkly Gundam was none other than Athrun who is now walking towards the one person he thought he had killed.

Also, why is everyone so surprised and acting like they know what is going on?? Like even the random soldiers behind Cagalli are like “oh my gah! *GASP*”!

Little side note here: Dearka has about as much depth as a kiddy pool but I have to admit I like his personality when he’s not letting himself be influenced by everybody’s favorite Mean Girl™, Yzak. I also have to admit that I wish he wouldn’t have gotten paired up with Milly because it feels like the writers are just pulling ships out of their asses at this point.

But anyways... as the Orb soldiers point their guns at Athrun, that look he flashes them is so...

Like is that a smile? Is he sad? What’s going on here?

I’m in a shippy mood so I’m going to go ahead and gatekeep the fck out of this scene and officially claim that he’s looking straight at Cagalli.

Whatever that look communicated, Cagalli takes notice and bridges the seemingly irreconcilable gap between Athrun and Kira.

What follows then is the conversation between Athrun and Kira on how Kira has chosen to fight moving forward. Now that Kira has earned his status as Kira Jesus Yamato, he’s unlocked new levels of Buddhahood previously not available to him and has chosen the “middle path”.

This gets Athrun thinking (yay! finally!) about Chairman Zala’s extremism but still appears to be torn as to where his allegiance lays and whom and what he will seek to protect.

And like ok. This is one of the gems in Gundam Seed and why I think that EVERYONE needs to watch at least ONE Gundam show. In the end, Gundam is about human conflict and how the gap can be bridged between two opposing sides.

If I’m honest, with the way our world is so divided nowadays, we could use some cute bishonen and jiggly boobs to remind us that the “enemy” too is human. And Gundam Seed got that right, jiggly boobs and all.

But I digress... back to what REALLY matters: the melodrama.

Athrun gets challenged time and time again by others to make a call and decide his place in the war. In the end, if there’s one thing that everyone wants, it’s to end the war--even if they have different approaches for it.

And since I’ve been writing about Athrun and Cagalli “meeting in the middle”, I thought it was a cute detail that both of them mess with their hair when burdened by their own thoughts.

Also, if you know Scorpios, then you know they are stubborn af. Hence Athrun being mega indecisive about how he wants to contribute towards ending the war.

But none of that matters because Cagalli is there...

... standing “guard”.

I think one of the things I’ve grown to really like about Cagalli is that she’s this “steady” source of optimism and support for others.

I also like to think that as a result of all of these conversations he’s been having, Athrun is beginning to break through that Oedipal Complex of his. He realized that at the core of his own father’s extremist attitudes is the pain of having lost his wife.

The problem is that this senseless hatred has spiraled out of control as is shown in this episode when the idea of the nuclear-powered Gundams becomes a point of contention.

It is thus then that Athrun will seek to return to space to try to “kill” his own father, which is in itself a metaphor for Athrun finally overcoming his own rigid mental barriers in favor of a new perspective influenced by his heart as “conscience”.

This also means I’ll have about 10 episodes left before I move onto Gundam Wing and Mobile Suit Gundam: The Witch from Mercury, which I want to watch because it was written by Okuchi Ichiro who also wrote Code Geass and whom I know is a CLAMP fan.

#gundam seed #asucaga #athrun zala #cagalli yula athha

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terrainofheartfelt · 1 year ago

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Sort of inspired by your discussion of Jenny needing to go to London alone to really grow into herself and mature as a person, in an ideal world in which none of the main characters were forcibly tethered to the UES or its more toxic inhabitants post-high school, how do you generally - like broad strokes - imagine them developing as people in college and throughout their twenties? I always wonder where everyone might have ended up had they not been constrained by the type of narrative they were living in, and I’d love to hear any headcanons you have on the subject!

I've been thinking about this on and off since i received it (an embarrassingly - for me - amount of time ago) and now finally feel like I can answer.

because, like, what if we weren't constrained by the harsh realities of making tv? what if the rules meant that they could leave new york?

well, first, let's dovetail off jen moving to london and blossoming, and send eric along with her. he can go to cambridge, or any of the other big name universities in the area, and he and jenny would be flatmates and live their own hilarious queer sitcom of being students in london.

I've already plugged nads' yale au in my answers this evening, but I still really like the idea of dan and blair attending yale, and outside of the maelstrom of manhattan drama, they settle into their own selves and learn they could actually...like each other? and then they fall in LOVE as far as careers, they are the most driven. and we've talked about novelist dan and editress blair and art historian blair and college prof dan.....but lately I've been thinking about blair working in costuming. It's not high fashion design, but I think it's a great synthesis of the things we know blair loves: literature, film, history, art history & fashion history, Evil Dictator of Good Taste, being a specialist and big boss on a niche subject...yeah...

i still enjoy the idea of vanessa being at nyu, or at another arts college in nyc, and making her own way and building her own story (without being boxed in to the secondary character of anyone else's story!) I like the idea of her attending Tisch too, and expanding her skill set into screenwriting in that way.

to plug another au by a friend, S's goodbye stranger introduced the concept of Serena attending Berkeley, and I LOVE it. I love that for her. Berserk-ley. I think that school in that part of the country would be where Serena would really thrive. She becomes a full glamorous SF queen. perhaps she opens a coffee shop. Blair is outwardly mortified but inwardly very proud.

As for Nate, I think he is the character who really should take a gap year. It's never questioned, but the way he is yanked around by the collar those first two seasons, the more I think about it, the more it makes sense that nate would decide that he needs some time to figure out what it is he wants. sidebar: bc the serena gap year felt disingenuous in many ways, yk? serena was so eager to leave new york and go to school and study. she likes learning, we see it, and the opportunity to reinvent herself that college would provide....why would she walk away from it? except for TV Reasons. so, I like the thought of nate taking at least a year. traveling, volunteering, maybe he takes a community college course or two. he falls off the grid for a while and he realizes how healthy and how happy he feels without the constant eyes and pressure of his family & gossip girl. and after that time, he's found what he actually wants to do, and goes to school to do it. -- as always, I'm fond of nate working in health care, as a nurse or pt or something, but it could really be anything. teacher? chef? social worker? children's librarian? (actually culinary student nate has come up in convos with ivy & cherry before and I am into it.)

and uhhhhhh i guess chip wiskers can crash his inherited business and money into the ground bc lets be real that fucko would try to launch his own cryptocurrency and since he seems to hold such disdain for education and self-betterment, he stagnates and falls off the face of the earth byeeee

#gg hcs #asks #anon #gg au #wow I want this all to exist now ty #i am now feeling very passionate about nate taking a gap year #it's like the good version of what carter baizen did #and tbh it did kind of feel like nate would go that way #like in s1 when he was full out crushing on carter and the life he was living?#really thinkin bout it now. what if nate and vanessa went backpacking and nate decided not to come back?

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strelles-universe · 2 years ago

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Rogue Speech - the Sky/Skulk Pidgin

One of the most common trade-speaks used before the Great Connection and one of the few tongues that intriguingly remained un-touched by the Connection, Rogue-Speech is the pidgin created between the Sky Kingdoms and the Skulks near them. With the forest clans being even more isolationist in the past (often refusing business with non-cats before the connection) and the tribes living on parts of the mountains that are difficult to reach (and often had isolation tendencies themselves); the Skies were the near sole progenitors of feline-speech within the pidgin.

Being that this variant of trade-speech originated from the Rising Moon and the Old Kingdom of the Shining Sun, much of the canine influence came of the Silverfeathers skulk. The modern version has long since created a minor dialectal difference of Eastern vs. Western where the Western version of the tongue contains more vocabulary and quirks from the Grand Packs while the Eastern holds the Skulks’ influence.

The sounds and the written expressions of them adhere closest to Sivake as it was the skies who reached out first and held onto the information though it was the Skulks who introduced the concept of formal writing to them. Here are the consonants;

And the standard vowels;

As is standard for any pidgin, the hardest sound clusters from both languages were dropped. Because I’m still a bit new at this, I’m choosing to make that mean that the sounds that are either forbidden or are very different from the others are barred.

Phonetic Summary

Onset: m n p t k b d g h l ch sh f v s z x y ny

L Clusters: nl pl ml tl sl hl shl

K Clusters: nk mk lk pk sk

R Clusters: dr vr gr nr kr fr shr xr pr br lr

Nucleus: a e i o u

Coda: l n k sh s v g

A Cluster: aa ao

U Cluster: ue ua uo

I Cluster: ia

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Part 2: Noun Class

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Being that the pidgin is built from languages that all have noun classes, some are kept in this simplified version of it; the semi-animate is dropped from the skulks’ language, migrating everything important into the main two categories of animate and inanimate.

The markers from Sivake are used to confirm or deny animacy of a noun.

Animate - (i)he(m)

Inanimate - (i)hi(m)

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Part 3: Grammatical Number

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The paucal wasn’t necessary for understandings to be made and it was easier to merely convey “one of a thing” vs. “many of a thing” before fluid communication was developed and so; only a singular/plural distinction exists now.

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Part 4: Tense, Aspect and Mood

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As talks became more fluid and grammar straightened out, tense and aspect became to be addressed within the pidgin. For once, it is the kingdoms whose system is a tad simpler; having mostly only a past/non-past distinction with one additional tense commonly called the historical added to it. One the skulks’ side of things, not only do they have a recent and distal past tense but they also have one dedicated to the future.

When the tenses were straightened out; the language adopted three tenses - past, present and future with both languages dropping their distal tenses.

As for the aspects, the kingdoms gracefully traded their iterative aspect (which they use more or less to mean “again” or “a lot”) for the skulks’ habitual while also retaining their momentane aspect. On the skulks’ end, they dropped their resumptive aspect.

It’s not a complex system - which is the goal - but the momentane is important to me. Anyway, let’s borrow sky-word for “to talk.”

And for my own entertainment, here’s the skulk’s word for “to talk, speak” in the chart.

Tacking onwards, the imperative mood is kept from Sivake -ro.

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Part 5: Pronouns

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This is where the most simplification comes in. The Skies were made to relinquish their grasp on their dependent pronouns; sticking only to the independent forms to smooth out communication. In addition; the divine pronouns never made to this pidgin as there was never any reason to use it in casual conversation and would only serve to make future communication more confusion and difficult if they were forcefully inserted. On top of that; Sivake also gave up their paucal pronouns to match the fact that they dropped it as a grammatical number leaving a rather concise handful of pronouns as a base:

The only moderately complex thing about this wonderfully concise collection of pronouns is that the skulks’ inclusion of animacy on their own pronouns invaded these. When not speaking in first person, it’s common for the animacy agreement markers to be tagged to the ends of pronouns. While not exactly expected for second person, it’s considered mandatory on third-person pronouns.

Animate Second | Yahe, Hihe

Inanimate Second | Yahi, Hihi

Animate Third | Xihe, Elihe

Inanimate Third | Xihi, Elihi

The Skies weren’t the only ones making sacrifices regarding their referrals to others - the titles of the Skulks were imported but they were drastically condensed with some of their sounds changed to better fit the current sound-bank.

Haltun - leader, king/queen, crest

Fetun - deputy, prince/princess

Kel - hunter

Vera - healer

Tora - fighter, gladiator

Keshuma - matron, patron, nurse

Kiva - kit, youngling

Iten - elder

The speakers of the Skies are known to modify these terms with gender based attachments to add specification.

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Part 6: Articles and Demonstratives

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The articles and demonstratives are exempt from noun class agreement. The articles follow the Sky Kingdom’s association with only having a definite articles while leaving any indefinite articles unmarked.

Singular Definite - Ta

Plural Definite - Ba

The demonstratives on the other hand come from Kujhikoslan which has only a near/far distinction.

Near Demonstrative - Yel

Far Demonstrative - Sul

Final Note

Given that a vast majority of the talking was done by the Skies, the majority of the vocabulary for this pidgin turned creole is from Sivake albeit sometimes important words were replaced by the Kujhikoslan words when the Sky translation left them as unimportant. This is mostly apparent in words for birds and things related to them given their spiritual significance in the religion of the marrowed skulks.

#strelles au #the sky kingdoms #the roaming skulks #the marrow skulks #strelles rogues and loners #rogues and loners #conlangs #constructed languages #constructed pidgins #warrior cats #fanfiction #erin hunter #fanfic #erin hunter warriors #warrior cats fanfic #worldbuilding

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tritonmarketresearch · 2 years ago

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BIPV Market: Trends Supplement Large-Scale Solar Systems Adoption

As per the International Energy Outlook, the global power demand is expected to rise by 80%, requiring an investment of around $19.7 trillion by 2040. Also, the Paris Agreement set a target of limiting global warming temperature below 2° Celsius, preferably 1.5° Celsius. This has influenced governments to seek innovative ways to reduce emissions while meeting energy demand, which has paved the way for photovoltaic materials in buildings. Triton’s analysis estimates that the global building integrated photovoltaics market will propel at a CAGR of 17.31% during the forecast period 2023-2030.

Building integrated photovoltaics serves the dual purpose of being the outer layer of a building and a power generator. This, in turn, has opened a new frontier in green infrastructure, influencing architects to develop energy-efficient and aesthetically appealing buildings. For instance, Ubiquitous Energy’s transparent solar window panels, UE Power, have emerged as an aesthetically appealing power-generating alternative to conventional windows.

BIPV Revolution: Trends Reshape Energy Landscape

According to the International Renewable Energy Agency (IRENA) , around 90% of the world’s power can be generated with renewable energy by 2050. Since buildings consume high amounts of energy, BIPV integration will facilitate their transition from energy users to producers. On that note, the notable trends reshaping the market are:

Governments perceive investing in green energy solutions as an opportunity to attain GHG reduction targets. Hence, over the past few years, authorities worldwide have employed various measures to stimulate the adoption of sustainable technologies, including BIPV modules, across residential, commercial, and industrial sectors. For example:

As per the Indian Ministry of New & Renewable Energy (MNRE) , the government has implemented the production-linked incentive (PLI) scheme for high-efficiency solar PV modules with an outlay of INR 24,000 crore, to achieve domestic manufacturing capacity of solar PV cells and modules.

In 2021, the German government amended the Renewable Energy Act by establishing grid priority to drive the onshore wind, solar PV, and biogas growth. The government proposed to increase its solar capacity installations to 100 GW by 2030.

The Chinese government also formulated a policy that requires all new buildings to conform to energy guidelines modeled after LEED specifications. This policy combines a recent initiative to reconstruct 50% of residential high-rise buildings. The country is anticipated to add more than 600 GW of solar power by 2030.

Reaping the benefits from such incentives, the industrial sector leads the BIPV market at 39.54%. However, over the forecast period 2023-2030, the commercial sector is expected to witness the fastest growth at 17.38%.

As per IEA, the global solar PV generation reached around 821 TWh in 2020, a whopping 23% increase from 2019. The energy association also stated that next to utility-scale deployment, distributed applications on buildings contribute to around 40% of PV use globally. In this regard, rooftop-based applications are alleviating the burden on the distribution grids, enabling companies and households to pay lesser energy bills while reducing emissions. Moreover, the cost of installing rooftop PV systems reached around $1 per watt. Hence, roofing captures the majority of the market share at 55.69% in terms of application.

China drives the global market, followed by the US, European nations, and Japan playing a major role. The rise in installations from around 19.4 GW in 2017 to 27.3 GW in 2021 was the key aspect that made China a leader in rooftop installations. For instance, Shanghai and Dezhou have acquired the title of ‘Solar City’, which features a large fleet of rooftop solar water heaters. Besides, the Net Zero Energy Building mandate across China is expected to accelerate the PV roofing segment, with solar tiles gaining major traction. Hence, these developments are expected to widen the scope of the Asia-Pacific BIPV market over the forecast period 2023-2030.

IEA projects that photovoltaic systems are estimated to account for approximately 14% of the total power generation by 2050, owing to the rising detrimental impact of fossil fuels. In fact, the organization stated that PV systems saved more than 860 million tons of C02 in 2020. The construction industry is highly innovative in the commercial sector owing to the development of cost-effective zero-emission green facilities.

As per IRENA, Germany ranks fourth in solar energy production globally. In 2021, the nation installed solar capacities of almost 60 GW, an increase of 5.3 GW from 2020. These actions are based on the country’s aim to obtain a 65% share of the renewable energy sector by 2030. Moreover, the Energy Efficiency Strategy for Building suggested advanced technology development to achieve the goal of a virtually climate-neutral building stock by 2050. Hence, the growing focus on sustainable energy sources fuels the overall Europe BIPV market, spearheaded mainly by Germany.

PV Cost Reduction: A Driving Force for Market Players

Since photovoltaic systems generate energy with around 42% efficiency using multi-junction cells, they have emerged as an ideal alternative over complex installations, such as wind turbines. As per the UN, between 2010 to 2020, the cost of power from solar systems plummeted by around 85%. This highlights the question:

What induced PV cost reduction?

The significant cost decline is mainly because of overproduction and higher investment in PV modules. Another factor is the efforts by Chinese suppliers and wholesalers to reduce the stock held in European warehouses to prevent anti-dumping and anti-subsidy tariffs. This oversupply, from China to Europe thus shrunk the cost of silicon. Such developments led energy solutions supplier Sungrow to supply products to the world’s largest BIPV plant (120 MW) in Central China’s Jiangxi Province. Therefore, the increasing efficiency, ease of installation, and decreasing cost of PV modules over conventional sources like coal and natural gas are expected to open new avenues for players in the building integrated photovoltaics market.

#building integrated photovoltaics market #bipv market #bipv #energy industry #power industry #market research report #market research reports #triton market research

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kirabug-tumbles · 8 months ago

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Thoughts:

1. I’m looking forward to playing this machine even though Multimorphic’s “pinball kit” approach results in fairly boring playfields most of the time.

2. The Cliffs of Insanity sound amazing but I hope they’re a toy (that *is* the technical term) that holds up better than the Alien in the Alien pinball machine or the ship in the original Pirates of the Caribbean.

The challenge with high caliber players is they’re rough on machines. Not in the ��beat them up” sense (though some collectors wince when a machine takes a slap save) but in the “was it actually developed to withstand a 30 minute game?” sense.

If you’ve seen the Technology Connections pinball videos you know just how complex and wire-filled pinball machines are (and if you haven’t, pop some popcorn, this is a two parter. https://youtu.be/ue-1JoJQaEg?si=G86FzPhIfG0nMpgy )

3. God I love that movie

4. While the video presenter makes it sound like playing with only one hand is a new development, there are a couple other machines with similar modes. (Hell, Tommy makes you play without being able to see the flippers, much less decide which hand to use.) The wall climbing mode looks like a play off of Bonzai Run (I might be forgetting the name) or a couple others that either load the back of the playfield with toys or put them in the backbox. Pinball has tried a lot of crazy stuff over the years.

That being said, just like a new version of meat, cheese, and lettuce doesn’t make tacos worse, a new version of “light shot, smack ball” is always appreciated.

All told, good review, good (looking) pinball machine (for a Multimorphic) and god I love that movie, so I’m looking forward to adding it to my list of games played.

youtube

Adapting a movie into a pinball machine is a surprisingly difficult task. But the Princess bride pinball machine does it really well!

#princess bride #pinball #please don’t use it for tournament play #not a fan of pinball kit machines usually #Youtube

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maacsatara · 8 days ago

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Introduction to Unreal Engine for Game Development

Unreal Engine (UE) is one of the most popular and powerful game development engines in the world. Developed by Epic Games, Unreal Engine has revolutionized the gaming industry with its state-of-the-art features, stunning visual quality, and versatility. From high-end AAA games to indie projects, Unreal Engine provides the tools needed to create immersive, visually spectacular worlds. Whether you're an aspiring game developer or a seasoned professional, Unreal Engine offers a comprehensive platform to turn your creative visions into reality.

In this article, we will introduce you to Unreal Engine, explore its key features, and discuss how to get started with game development using this powerful engine. By the end, you'll have a solid understanding of what Unreal Engine is capable of and how you can use it to build the next big hit in the gaming industry. Aspiring developers can benefit from enrolling in a game design institute in Pune, where you can gain hands-on experience with Unreal Engine and learn from industry experts.

What is Unreal Engine?

Unreal Engine is a comprehensive suite of development tools used to create high-quality games and interactive experiences. First released in 1998, it has evolved over the years and is now in its fifth version, Unreal Engine 5 (UE5). The engine is known for its exceptional graphical fidelity, scalability, and user-friendly interface. It’s used by developers of all levels to create games for platforms such as PC, consoles, mobile devices, VR, and even films.

Unreal Engine is free to use, with Epic Games offering a revenue-sharing model where developers only need to pay royalties once their game exceeds a certain revenue threshold. This makes Unreal Engine an attractive choice for both independent developers and large studios.

Key Features of Unreal Engine

Unreal Engine stands out due to its powerful features that enable game developers to create stunning visuals, complex game mechanics, and expansive worlds. Some of the key features include:

- High-Quality Graphics:

Unreal Engine is renowned for its visual capabilities. The engine uses a physically-based rendering (PBR) system that allows for highly realistic lighting, materials, and shading. The introduction of Unreal Engine 5 has taken graphics to new heights with features like Nanite, a virtualized geometry system that enables developers to create and import highly detailed assets without worrying about polygon count limits.

- Blueprints Visual Scripting:

One of the most exciting features of Unreal Engine is Blueprints, a visual scripting system that allows developers to design gameplay mechanics without writing a single line of code. This feature makes Unreal Engine more accessible to beginners, as you can prototype game ideas and interactions easily using a drag-and-drop interface.

- Unreal Marketplace:

Unreal Engine has a robust online marketplace where developers can find assets, plugins, tools, and other resources to speed up development. Whether you need 3D models, textures, or sound effects, you can find it all in the Unreal Marketplace, some of which are free or available for a nominal fee.

- Real-Time Rendering:

Unreal Engine’s real-time rendering capabilities are one of its key strengths. It allows developers to see changes and updates in real-time, which is essential for rapid iteration during the development process. This feature is especially important for large-scale projects that require constant feedback and fine-tuning.

- Multiplatform Support:

Unreal Engine supports a wide range of platforms, from desktop computers (Windows, Mac, Linux) to consoles (PlayStation, Xbox) and mobile devices (iOS, Android). This cross-platform capability allows developers to create games for a wide variety of audiences.

- Advanced Physics Engine:

Unreal Engine incorporates an advanced physics engine that supports real-world physics simulations, including rigid body dynamics, collisions, and gravity. It also includes support for soft-body physics, making it ideal for creating realistic interactions in games.

Unreal Engine for Game Development

Unreal Engine is widely used for game development across various genres, from open-world adventures to first-person shooters, racing games, and more. The engine’s flexibility allows developers to create games that range from hyper-realistic simulations to stylized, artistic worlds. Here’s how Unreal Engine supports game development:

1. Level Design:

Unreal Engine provides a powerful editor that allows developers to build, edit, and preview game levels directly within the engine. The editor supports drag-and-drop functionality, enabling you to quickly populate your world with assets, environments, and lighting. The Landscape Tool helps you sculpt terrains, while the Foliage Tool allows for the creation of natural vegetation.

2. Character Design and Animation:

Unreal Engine supports character design through the Skeletal Mesh System, which allows you to create and animate 3D characters. You can import your character models and animations from external programs like Blender or Maya, and Unreal Engine’s Animation Blueprint system allows for advanced character animations, such as running, jumping, and fighting.

3. AI and Behavior Trees:

Unreal Engine comes with robust tools for developing AI (Artificial Intelligence) behaviors. Using the Behavior Tree system, developers can create complex AI logic, such as enemy patrol routes, decision-making, and combat strategies. Unreal Engine also supports pathfinding algorithms that help AI characters navigate through the game world effectively.

4. Multiplayer and Networking:

Unreal Engine provides the tools necessary for creating multiplayer games. With its built-in networking framework, developers can create both local and online multiplayer experiences. Unreal Engine’s Replication System ensures that game states are synchronized across multiple players, providing a smooth multiplayer experience.

5. Post-Processing Effects:

Unreal Engine includes advanced post-processing tools that can enhance the visual quality of your game. With options for color correction, bloom, depth of field, motion blur, and more, you can fine-tune the visual aesthetics of your game to achieve the desired look and feel.

Getting Started with Unreal Engine

For newcomers, getting started with Unreal Engine can seem daunting, but there are plenty of resources available to help you learn. Whether you’re an aspiring game developer or a seasoned professional, Unreal Engine has the tools you need to create your own game.

Here’s a step-by-step guide to getting started with Unreal Engine:

1. Download and Install:

The first step is to download Unreal Engine from the Epic Games website. You can use the Epic Games Launcher to install the engine and access various assets and tutorials.

2. Learn the Basics:

Once you’ve installed Unreal Engine, take the time to familiarize yourself with the interface. Unreal Engine offers an abundance of tutorials, both official and community-created, to help you get started. You can explore everything from basic game creation to more advanced techniques like AI programming and multiplayer development.

3. Start a New Project:

Unreal Engine offers different templates for various types of games, such as first-person shooters, side-scrolling platformers, and top-down shooters. Choose a template based on the type of game you want to create and start experimenting.

4. Use Blueprints for Prototyping:

Use Unreal Engine’s Blueprints Visual Scripting to quickly prototype your game mechanics. This tool allows you to design complex gameplay systems without writing code, which is especially helpful for beginners.

5. Experiment with Assets:

Try importing your 3D models, textures, and animations into the engine to see how they look in the game world. Take advantage of the Unreal Marketplace to find free or paid assets that you can use in your game.

Conclusion

Unreal Engine is one of the most powerful and accessible game development engines available today. With its exceptional visual quality, real-time rendering, cross-platform support, and extensive tools, Unreal Engine provides everything you need to create stunning, interactive 3D games. Whether you’re a beginner or an experienced developer, Unreal Engine offers the resources and flexibility to turn your game development ideas into reality. By taking the time to learn the basics and experimenting with its many features, you’ll be on your way to building the next great game. Aspiring developers can enhance their skills by enrolling in an animation academy in Pune, where you can gain hands-on experience with Unreal Engine and receive guidance from industry professionals.

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