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chojin-cu-chulain · 5 years

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VR Trooper S1 Summary

As always watch for spoilers

Story: Tommy Oliver returns to Crossworld City with his martial arts sensei, and legal guardian Tao where he reunites with his best friends Kaitlin Scott, and JB Reese, and helps them run Tao's Dojo.

One day they get a message on their computer from a mysterious man named Professor Horatio Hart who has a message from Tommy's long lost father Tyler Oliver.

Tommy, and his friends find Professor Harts lab but are attacked by bio mechanical mutant cyborg creatures.

At the lab the Professor, and a recording from Tommy's father inform them that long ago Tyler Oliver, and Horatio Hart where doing experiments with Virtual Reality technology, and were able to create an entire alternate dimension with it.

But a criminal mastermind found out, and used their technology to transform himself into an mutant warlord named Grimlord, and created an army of mutant robots. So Oliver, and Hart created good cyborgs called the VR Troopers to fight Grimlord's mutants.

Unfortunately the VR Troopers needed human hosts in order to function, and Grimlord mortally wounded Professor, and kidnapped Tommy's father to drain his knowledge of Virtual Reality to enhance his army of mutants robots.

Now Professor Hart recruits Tommy, Kaitlin, and JB to become the VR Troopers, and protect both realities from Grimlord, and his evil robot. And what is the secret behind Grimlord's most powerful warrior Dark Heart, and what is his connection to Tommy, and his missing father.

Troopers:

Tommy Oliver Trooper Forms: Blue VR Trooper, Blue Hyper Tech Trooper Weapons: Lighting Hand Command, Hyper Tech Lightning Hand Command Age: 18 Bio: Formerly the Green Ranger he returns to Crossworld City to help Tao, and his friends run Tao Dojo. He becomes the leader of the VR Troopers after learning the dark truth about what happened to his father. He dreams to become part owner of the dojo with Tao. He is also a motorcyclist, and mechanic.

Kaitlin Scott Trooper Forms: Red VR Trooper, Red Hyper Tech Trooper Weapons: Laser Dagger Command, Hyper Tech Laser Dagger Command Age 18 Bio: One of Tommy's best friends, and Jason's cousin she works as a reporter at a local newspaper called the Underground Voice Daily where she does human interest stories, and bring attention to serious issues which often puts the Troopers at odds with Ziktor Industires. Her goal is to become an editor at the Underground Voice Daily.

JB Reese Trooper Forms: Black VR Trooper, Black Hyper Tech Trooper Weapons: Laser Lance Command, Hyper Tech Laser Lance Command Age: 18 Bio: Tommy, and Kaitlin's other best friend he is a computer genius who runs the computers at both Tao Dojo, and the lab, and helps create inventions for the Troopers. He is currently saving money to go to college, and helps his father run the local library.

Allies:

Professor Hart Age: 48 Bio: The Troopers' mentor, and Tyler Oliver's partner in the creation of Virtual Reality, and the VR Trooper powers. He was once a normal human until he was mortally wounded by Grimlord which forced Tyler to virtualize his mind in the lab's computers. He helps the Troopers with his knowledge of Virtual Reality, and gives them new equipment to help stop Grimlord's warriors.

Jeb Age: 10(acts 35) Bio: Tommy's pet bloodhound he gains human level intelligence, and speech after an accidental exposure to the lab's machines. He acts sarcastically, and loves to pull pranks on people but helps the Troopers when he can, and falls for a dog named Princess.

Tao Age: 48 Bio: The Troopers' martial arts sensei, Tommy's legal guardian, and Trini's uncle who runs the dojo where the Troopers study, and teach martial arts. He seemingly doesn't know his pupils are the VR Troopers but he still helps them with personal problems, and sometimes with Grimlord.

Tyler Oliver/Dark Heart Age: 48 Bio: Tommy's father a brilliant scientist working on Virtual Reality technology when Grimlord stole his, and Horatio Hart's research to create evil mutant cyborgs, and kidnapped Tyler. Grimlord spent years draining Tyler's knowledge of Virtual Reality to enhance his mutants, and once his knowledge is drained Grimlord has him converted into one of his mutants, and he becomes Grimlord's most powerful warrior. Tommy is able to free him mentally but he remains a mutant, and uses his powers to help his son, and his friends fight Grimlord's army until the Troopers, and Hart can find a way to return him to human form.

Villains:

Karl Ziktor/Grimlord Age: 48 Bio: A cruel, and greedy businessman he stole Tyler Oliver, and Horatio Hart's virtual reality technology to transform himself into the mutant warlord Grimlord, and created an army of mutant cyborgs to conquer both realities. He spends years draining Tyler's knowledge of VR to enhance his monsters, and then converts Tyler into his most powerful cyborg warrior Dark Heart.

Natasha Ziktor/Desponda Age: 48 Bio: Karl's equally cruel, and vicious wife she uses their wealth to pursue her vain interests she also used virtual reality technology to transform herself into a mutant cyborg with the power to transform into a plant or a robot.

General Ivar Bio: Grimlord, and Desponda's second in command. He is the leader, and sometimes creator of their robot armies. He leads their armada of airships, and tanks, and commands the Sky Castle. He likes to personally challenge the Troopers especially JB, and Kaitlin, and assumes human form as Karl, and Natasha's body guard.

Colonel Icebot Bio: The leader, and creator of Grimlord's bio engineered mutant armies. He spends his time in the Sky Castle making new monsters for Grimlord but occasionally can leave the Sky Castle to assume his own monster form to fight the Troopers personally. He can assume human form in reality as Karl Ziktor's chief scientist Strickland.

Decimator Bio: One of Grimlord's most powerful generals he is the field commander of Grimlord's cyborg forces. Like Ivar he likes to challenge the Troopers personally particularly Tommy, and later Dark Heart.

Zelton Bio: The field commander of Grimlord's robot armies. He doesn't always challenge the Troopers directly but when he does he proves to be a force to be reckoned with due to his ability to transform into other mutants. He is in love with a fellow mutant named Sirenbot.

Toxoid Bio: The field commander of Grimlord's bio engineered mutant armies he is cowardly, and incompetent but is still one of Grimlord's most powerful, and dangerous creatures.

Blue Boar Bio: Grimlord's field commander in charge of his Gunbots, and Airbots. He demands absolute loyalty to both himself, and Grimlord, and like Grimlord does not tolerate failure from his troops.

Renegade Bio: Grimlord's newest, and most powerful robot after Dark Heart. He becomes one of Grimlord's most powerful minions after Dark Heart, and develops a personal rivalry with Tommy, and Dark Heart.

Minotaurbot, and Chrome Dome Bio: Two of Grimlord's mutants who serve as personal henchmen for Renegade, and help him fight the Troopers. They are frequently defeated by Tommy, and Dark Heart

The Vixens Bio: Five Skugs in the form of beautiful, and dangerous women. Two of them(one in green the other in black) work with Grimlord personally in his dungeon while the other three(in blue, silver, and gold) work with Desponda in the Sky Castle. They assume human form in the real world as Ziktor's secretaries

Changes:

Tommy is the leader of the VR Troopers in reference to how Jason David Frank was originally going to be Adam Steele the proto version of Ryan in Cybertron the proto version of VR Troopers.

Kaitlin's last name is Scott because I've seen merchandise, and comics with that as her name, and I thought it would be a good way to maker related to Jason, and tie VR Troopers with Power Rangers.

The Troopers now how codenames based on their colors because even when he's Metalder in the first season Tommy is the only VR Trooper who wears blue.

Desponda is introduced this season, and she is Ziktor's wife who is a Sabanized Cruella De Ville the way Ziktor is a Sabanized Lex Luthor

General Ivar, and Icebot can assume human form in the real world as Ziktor's bodyguard, and Strickland respectively.

The Vixens are introduced this season as American versions of S, and K from Metalder, and Rikki, Shadow, and Gash from Spielban

Decimator, Zelton, Toxoid, and Blue Boar lead their own armies like in Metalder.

Similar to my versions of Power Rangers monsters from Metalder that were good or become good are good or become good in VR Troopers.

All episodes/chapters will have one monster and monsters that had to share their episodes with other monsters will have their own episodes.

Certain episodes will like The Dojo Plot, and The Transmutant will be two parters.

Graybot, and Jeremy Gibson will be separate characters with Graybot being Cannonbot's apprentice in a reversal of their relationship from Metalder.

The Virtual Spy, and Rise of the Red Python will be combined, and saved for the next season.

Defending Dark Heart will be split in half with the first two episodes being the mid season finale where Dark Heart is introduced, and joins the Troopers, and the other two being crossed with the first two episodes of Quest For Power as the season finale.

The Battle Grid suits will still be used but they will be called Hyper Tech Mode that the Troopers can use in both the real world, and virtual reality to battle Mutant Skugs, and Vixens.

The Troopers will have their own transformation phrase to transform into the Hyper Tech suits instead of the Professor transforming them.

The Battle Grid itself will be saved for the next season where it will be merged with the Indigo Sector/Fractal Zone/Dream Zone concept.

The Troopers will also have weapons in Hyper Tech mode that are similar to the weapons they use in their Metal Hero armor

Kaitlin will have her own finisher that involves slashing at a monster with her daggers that she uses against either American original monsters or a monsters from Metalder that had suits but never actually fought Metalder.

Also because of reusing spaceship, and tank battles, and American footage like the Hyper Tech suits, and American footage with the Metal Hero armor there won't be episodes were the Troopers don't transform.

#VR Troopers #fanfiction

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lovebugcody · 5 years

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So in like March last year I found a skateboard in my local park. Other than the rusted screws and slightly expanded wood of the board itself, it still works awesomely. It turns amazingly and smooth, the wheels turn smoothly too. And so yesterday I decided I would repaint the board (it was a super faded image of some World Industires art bc that’s the brand it is). Anyways it’s not done yet but I’m hardly on tumblr anymore as thought I’d share how it looks currently

I still have to finish the top webs then I’ve got to do like three more coats on all the webs but yeah

#char paints #personal #char rambles

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meineliteraturwelt · 3 years

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Der "gute" weiße Mensch...

Der "gute" weiße Mensch... @rowohlt #BrittBennett #rasicm #society #puppets #movie #literature #Art #History #goodwhitehuman #USA #allovertheworld

Hallo liebe Freunde des Lesens, ich bin selber ein weißer Mensch, der im Leben und in der Gesellschaft offentsichliche Priviliegen genießt. In diesem kleinen Buch zeigt Brit Bennett, wie schwarzen Menschen, sie auch selber unter der Kunst und Industire leiden und was eigentlich die sogenannten “gute” weiße Menschen sind. Erschienen ist das Buch beim Rowohlt Verlag. Inhalt: Brit Bennett stellt…

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2dtcnjspring · 4 years

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Scale/Proportion

Scale

Scale and proportion are related terms in that both basically refer to size. Scale is essentially another word for size. Large scale is a way of saying big and small scale mean small. Big and small however are related. What is Big? Big is meaningless unless we have some standard of reference. A big dog means nothing if we don’t know the size of most dogs. This is what separates the two terms. Proportion refers to relative size, size measured against other elements or against some mental norm or standard.

We often think of the word proportion and connection with mathematical systems of numerical ratios. It is true that historically many such systems have been developed. Artists have attempted to find the most pleasing size relationships in items as diverse as the width and length of sides of a rectangle to parts of the human body.

Scale and proportion are closely tied to emphasis and focal point. Large scale especially large scale and proportion to other elements, makes for an obvious visual emphasis.

Honore Sharrer, The Industiral Scene, center panel of Tribute to the American Working People, Oil on canvas, 25 x 31" 1945-50.

A dramatic juxtaposition in scale is made possible through montage of images. Think about how we collage found images together, weather through the cut and paste the photographs or digitized editing possible with the computer. this allows us to play with ideas of scale and proportion very easily.

Palette Narmer

In past centuries visual scale was often related to thematic importance. The size of the figure was based on their symbolic importance in the subject being present. By making the most important person the largest in the composition, the artist immediately establishes not only an obvious focal point that indicates the relative conceptual status of that individual. this use the scale is called hieratic scaling.

The gigantic pyramids made a political statement of the pharaohs eternal power.

Scale of Art

Human scale reference -

One way to think of artistic scale is to consider the scale of the work itself - It’s size in relationship to other art, in relationship to its surroundings, or in relationship to human size. Unhappily book illustrations, the internet, slides, social media, etc. cannot show art in its original size or scale. Unusual or unexpected scale as a rusty in an attention-getting. Sheer size does impress us.

Scale is the size of something compared to the world in general - an artwork might be termed miniature, small scale, full scale or life-size, large scale or larger than life, or monumental.

Miniature scale

Slinkachu - Relics, 2010

Monumental Scale

When we are confronted by Frescoes such as the Sistine Chapel ceiling, our first reaction is simply all at the enormous scope of the work. Later we study and admire details, but first we are overwhelmed with sheer magnitude. Works of art option selected or creative for specific locations, and their size and proportion to the setting is a prime consideration. A small religious painting appropriate for side chapel could be visually lost on the altar of a vast cathedral.

Earthworks are unique in the grandeur of their scale.

Robert Smithson - Spiral Jetty, 1970, mud, precipitated salt crystals, rocks, water, coil 1500’ long and 15’ wide

Claes Oldenburg has made use of a leap of scale and his “Spoonbridge and Cherry.” As with the work of other pop artist, the piece calls attention to an every day object not previously considered worthy of aesthetic consideration. Oldenburg transforms the object by elevating it to a monumental scale. A magnification such as this allows us to see the form with fresh eyes, and as a result we might discover new associations, such as the graceful arch of the of the spoon’s handle. It can also be argued that Oldenburg makes monuments appropriate to a consumer culture.

Naturalistic images blown up to such monumental scale cannot be ignored and they alter an urban environment.

Kent Twitchell, The Holy Trinity with the Virgin, acrylic wall painting, 40 x 56’ 1977-78.

Look at the difference of scale can make an a painting.

Richard Phillips

Scale within Art

INTERNAL PROPORTIONS

The second way to discuss artistic scale is to consider the scale and size of elements within the design or pattern. The scale here, of course, is relative to the overall area of the format - A big element and one painting might be small and a large work. Again we often use the term proportion to describe the size relationship between various parts of a unit. Do you say an element in a composition is out of proportion and carries a negative feeling, and it is true that such a visual effect is often startling or unsettling. However, it is possible that this reaction is precisely what some artists desire.

The three examples contains the same elements. But in each design the scale of the items is different, that’s altering the proportional relationship between the parts. This variation results in very different visual effects, in the same way that altering the proportions of ingredients in the recipe changes the final dish. which design is best or which we prefer can be argued. The answer would depend on what effect we wish to create.

In the figure above the large black circle would certainly be called large scale. It is a large element and occupies much of the space, given the overall dimensions of the design. It can also be described as out of proportion. Compared to the other tiny elements it is too large and overwhelms the rest of the pattern, demanding all our visual attention.

CONTRAST OF SCALE

Scale can attract attention in different ways depending on the artist purpose. Scale can be used to draw our attention to unexpected or exaggerated, as when small objects are magnified or large ones reduced. Just the extreme change and scale attracts attention.

Unexpected skills often used in advertising. The visual attention can be directed to a product, we regularly see layouts with a large package, cookie, automobile grill, or cereal Flake, for example. A sudden scale change surprises us and gets our attention. The use of larger small skills often employed and painting or design. However, a more common practice is to combine the two for dramatic contrast.

Josef Muller-Brockman, “Mind the Child”, poster, 1953

Paul Strand, Wheel 2 Mudguard, platinum print, 1917. Metropolitan Museum of Art, New York

Scale Confusion

The deliberate changing of natural scale is not unusual and painting. Some artists you scale changes intentionally to intrigue or mystify us rather than to clarify the focal point. Surrealism is an art form based on Paradox, on images I cannot be explained and rational terms. Artist who work in this manner present the irrational world of the dream or nightmare - recognizable elements in impossible situations.

Urbanized movie poster

Bradbury Thompson, Westvaco Inspirations, magazine double paper, 1949

Jean Carlu, Gift package for Hitler, CAA Advertisement 1943

Rene, Magritte, “Personal Values” 1952, Oil Painting.

The Magritte painting shows one such enigma, with much of the mystery stemming from a confusion of scale. we identify the various elements easily enough, but they are all the wrong size and strange in proportion to each other. Does the painting show an impossibly large comb, shaving brush, bar soap, and other items, or are these items normal size but placed in a dollhouse room? Neither explanation makes rational sense.

Proportion

Proportion is the relationship of sizes between different parts of a work. For example, how wide it is compared to how tall it is. Some proportions, such as the golden ratio and the rule of thirds, are thought to be more naturally pleasing.

NOTIONS OF THE IDEAL

Proportion is linked to ratio that is just say we judge the proportions of some thing to be corrected the ratio of one element to another is correct. For example, the ratio of a babies head size to its body size is in proportion for an infant, but would strike us as out of proportion for an adult. In a life drawing class you might learn that in adult is about 7 1/2 has top. Formulas for the ideal figure have at times had the authority of a rule or Canon. Contemporary art or design seldom seems based on such cannons, but you may have noticed the apparent standard of 10 heads tall in an exaggerated proportion of fashion illustration.

The agent Greeks had a desire to discover ideal proportions, and these took the form of mathematical ratios. They found the perfect body to be seven headstall and even idealize the proportions of the parts of the body. In similar fashion they saw perfect proportions and rectangles employed in architectural design. Among these rectangles the one most often cited as perfect one is the golden rectangle. Well this is certainly a subjective judgment, the golden rectangle has Influenced Art and design throughout this is seceding centuries. The fact that this proportion is found in growth patterns in nature and lens itself to a modular repetition has given it some authority in the histories of design.

The Golden Ratio, Section, Mean, Rectangle, Spiral, Etc.

The golden ratio is a recurring relationship found in math, art and nature, and is thought by many to be inherently aesthetically pleasing. A number of contemporary artists and architects use the proportions of the golden ratio. These proportions do not provide a formula for design success. As with other visual principles, the attributes of the golden ration offer an option for design exploration.

In its many forms it boils down to approximately 1.618: a rectangle with dimensions 1 x 1.62 could be called a golden rectangle. More elegantly and interestingly expressed, two quantities,

a and b, are in the golden ration if a is to b as a + b is to a.

The golden ratio is said to be the basis of the proportions of many works of art and architecture, including most famously the Parthenon. However, like conspiracy theories, once you start looking for golden ratios, you can find them everywhere. Whether the artist intentionally employed the ratio, and whether it helps make the work more aesthetically pleasing, can sometimes be open to debate.

Golden ratio graph over image of a fight that broke out in Australia’s parliament.

The Rule Of Thirds

As a compositional rule of thumb, the rule of thirds states that it’s a good idea to imagine the picture plane divided into thirds horizontally and vertically, and then to align or place compositional elements along these guidelines or at their intersections. Placing the subject off-center and the horizon at the upper or lower third creates a more interest and can invite the viewer to look at more of the picture. If the subject is at the center, it can be more confrontational and in-your-face, and more formally balanced and static. The same idea may be applied to three-dimensional art. Good artists will neither slavishly follow this rule nor automatically center everything in the middle of the canvas or viewfinder: rather, they will consider what they want to convey, experiment with their subject, and then choose the composition and proportions that best help express their intent.

Class Exercise:

Scale, Proportion, & Ratio in Ads & Images (Written assignment) Find 2 ads or images (found or taken) that utilize the 1. rule of thirds and 2. The Golden Ratio/Spiral. You must use your Photoshop tools to help guide you. Overlay your grid or spiral and screen shot your work to upload to tumblr. Then provide a written analysis of the ad's or image’s effectiveness. Written homework must be 250 words each. Post the images on your blog along with your written analysis.

Pertinent questions to ask about: how is scale/proportion used to attract our eye? Does the use of scale create urgency and how? What is placement doing? What is placed where? Analyze and describe any other kind of 2d design issue you think are important. Discuss any subtext that may be crucial to the ad’s or image’s effectiveness.

Homework

Scale and Proportion Advertisements Create 2 advertisement posters that utilize the various scale/proportion issues discussed in class. Posters must advertise exhibitions that you are participating in. One ad should be for a group show that you are participating in. The other must be a solo exhibition.

For the group show consider the list of artists or designers you will be exhibiting with and the premise/theme of the group show. Do your research. What artists have I given you or showed the class over the course of the semester that are similar to your work or interest you? Choose up to 5 artists you would like to show with.

The solo show advertisement, this can be for a gallery or museum exhibit and/or a retrospective of your works at some future date. For the solo show consider carefully the venue that you will show in. Do you research. Where you decide to show your work is important. Make sure you know what type of work the gallery or museum exhibits. The Metropolitan Museum of Art is very different than MoMA PS1 which is different than Vox Populi Gallery which is different than the Mutter Museum. Choose a city and then research the institutions. See which one makes sense for your show.

Requirements and Restrictions

Each ad must include several images or designs relevant to the ad.

Each poster must be at least 11x 8.5 inches.

It can be should be entirely digital in nature (you do not need to print your posters).

#scaleandproportion

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trisscar368 · 7 years

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@ijudgeusohard replied to your post

I feel like post modernism was thought up by people who can't create anything but still want to own it.

I am so sorry that your encounters with art, literature, philosophy, music, and world history classes has left you with this impression.

Western civilization goes through phases. Ideas and concepts are sparked and they spread through everything in the creative spectrum, from typography to architecture. The Enlightenment gave birth to Modernism, and Postmodernism sprouted off as a reaction and counter; that is, an era that praised logic and man’s intelligence and potential and looked for potential utopia ran smack dab into the Industiral Revolution, shortly followed by World War I and World War II.

Postmodernism isn’t just “I get to interpret things however I like” in fandom and literature. It’s a philosophy of skepticism and subjectivity, born from an era where suddenly nothing was as certain as it seemed.

#ijudgeusohard #replies #irrate historian muttering here #postmodernism

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seventeen4ever-blog · 5 years

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Knowledge is Power (EDUC 5385/LAL 6300 Final Presentation)

vimeo

A film by Terri Iwaskow, Lukas Tagalakis, & Alicja Tamowski

Image Credits:

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