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demifiendrsa · 4 years

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Ghost of Tsushima – Version 1.1 Update Trailer

Ghost of Tsushima version 1.1 update will launch on October 16 and add the Ghost of Tsushima: Legends cooperative multiplayer mode, New Game+.

Overview via PlayStation Blog:

■ Ghost of Tsushima: Legends

As we announced in August, Ghost of Tsushima: Legends is a brand new, online cooperative multiplayer experience that will be a free update for all Ghost of Tsushima owners. A classic element of some of our favorite samurai films is warriors standing together, ready to fight as a team. In Ghost of Tsushima: Legends, you can fight side-by-side with your friends, which is such an important part of fulfilling that samurai fantasy in a whole new way. We’re so excited to hear from everyone who teams up with their friends and jumps in.

Ghost of Tsushima: Legends features two-player story missions and four-player survival missions, as well as a Raid that we’ll release in the weeks following launch. After you’ve downloaded version 1.1 of Ghost of Tsushima, you can visit the PlayStation Store from your PlayStation 4 to download a free unlock for Ghost of Tsushima: Legends, which will allow you to play. Keep in mind that an internet connection and an active PlayStation Plus subscription will be required to play with other players.

Once you have version 1.1, you’ll notice a new character at various towns and locations in Tsushima… Gyozen the Storyteller! He’s heard the rumors about the Ghost of Tsushima, but he has a different perspective about what’s actually happening in his homeland. Gyozen is the author and gatekeeper of the stories you’ll find in Ghost of Tsushima: Legends, and when you talk to him, he’ll be happy to share one of his transportative stories about the “Ghosts.”

Speaking to Gyozen will give you access to the Ghost of Tsushima: Legends lobby, but you can also get there directly from the title menu or the pause menu… or by accepting a PlayStation Network invitation from a friend!

Classes

In Ghost of Tsushima: Legends, you’ll be able to pick between one of four classes. Each one has their own unique advantages. When you start Ghost of Tsushima: Legends, after a short tutorial, you’ll choose which class you want to unlock first. As you rank up, you’ll unlock each of the remaining classes.

In addition to each starting with their own unique ability, each class can unlock an alternate ability as you progress, as well as earning class-specific Charms and ranged weapons.

While playing with friends, you can mix and match classes however you’d like, whether that’s a party of four all playing the same class, everyone playing as a different class, or any combination in between.

—Samurai

Samurai players can run straight toward combat and stay there, sustaining their health while chopping enemies down left and right. When you’re overwhelmed, use the Hachiman’s Fury ultimate attack to slash through enemies in a flurry of strikes.

—Hunter

As a Hunter, you can stand on the edge of combat and snipe enemies before they even see you. You can also use explosive arrows to slow down groups, and when the combat gets really fierce, the Eye of Uchitsune ultimate attack will unleash multiple arrows straight at your enemies’ heads.

—Ronin

Ronin players can revive their entire team with the Breath of Izanami ultimate ability. You might play Ronin because you want to help your human friends… or you might do it because the Ronin class is also able to summon a Spirit Dog. (And yes, you can ABSOLUTELY pet your Spirit Dog!)

—Assassin

If you prefer doing massive damage with a single attack, you’ll love the Assassin. The Shadow Strike ultimate attack will allow you to teleport across the battlefield and directly strike your enemies. If that’s not intimidating enough, wait until you see the terrifying masks the Assassin gets to wear!

Story Missions

Ghost of Tsushima: Legends Story Missions are designed for two players, and take you through Gyozen’s stories about what’s really happening in Tsushima. When you unlock higher difficulties, you’ll face new encounters, tougher enemies, bonus objectives, and greater rewards.

Survival Missions

In Survival, you can team up with three other players to fight off waves of enemies while defending different locations in Tsushima. You and your team can activate blessings to help yourselves, like “ignite enemies” or “summon a Spirit Bear.” The longer you survive and the more bonus objectives you complete, the more rewards you’ll earn!

Raid

You’ll need all your skill, top-tier gear, and a great four-player team to be able to survive in Iyo’s realm! The Raid is an epic three-part adventure that will require excellent teamwork and communication to overcome. It will be released in the weeks following the launch of Ghost of Tsushima: Legends.

Other Features

Ghost of Tsushima: Legends also has a few features you’d expect from Ghost of Tsushima. Our robust Photo Mode is still present here (as long as your teammates opt in) and you’ll be able to show off all the new masks, armor, and emotes you’ve earned.

Legends is packed with new cosmetics, and they’re all unlocked through gameplay without any microtransactions. Looking cool is important, but Ghost of Tsushima: Legends gameplay progression really centers around the gear you’ve equipped and the techniques you’ve unlocked. You’ll be rewarded with increasingly rare and powerful gear as you take on greater challenges, and you’ll unlock new techniques as you gain experience with each class.

We’ve also added some new Trophies for Ghost of Tsushima: Legends, which will appear in a separate section of your Trophy list and do not count toward Ghost of Tsushima’s Platinum Trophy.

■ Ghost of Tsushima Single-Player Campaign Updates

In addition to Ghost of Tsushima: Legends, version 1.1 will include new updates for Ghost of Tsushima’s single-player campaign based on your feedback.

New Game+

If you’ve already beaten Ghost of Tsushima, you’ll find the option to re-embark on Jin’s Journey in New Game+. You’ll start New Game+ from the release to the open world, shortly after Jin’s initial confrontation with the Khan. You’ll keep all of the Techniques, Gear, and Vanity items obtained in a previous playthrough, and difficulty will be increased to provide a new challenge (but you can still adjust it down in the menu).

You’ll also find yourself with a brand new New Game+ horse, which features a vibrant red mane and unique saddle. There are also new, extremely powerful Charms available that can help Jin unleash devastating attacks and may change the way you play. You’ll also be able to unlock an additional upgrade for your sword, bow, and armor.

We’ve also added some new Trophies for playing Ghost of Tsushima on New Game+, which will appear in a separate section of your Trophy list and do not count toward Ghost of Tsushima’s Platinum Trophy.

—Ghost Flower Merchant

Exclusively in New Game+, you’ll be able to earn a new type of flower: the Ghost Flower. This new type of flower can only be earned in New Game+, and is accepted by a mysterious new merchant that you’ll find in Ariake. If you complete a Tale or activity and already have the reward, you’ll earn Ghost Flowers in its place, so even if you’ve completed Jin’s journey before, it’s still exciting to explore Tsushima once again to collect as many Ghost Flowers as you can.

You can exchange these flowers for new armor dyes and other vanity gear only found in New Game+, featuring much more elaborate designs than those found in your first playthrough.

The merchant will also offer an array of powerful new Charms intended to create new combat experiences, empower existing playstyles, and allow you to customize your experience for even greater challenges!

Other Features

Once you’ve installed version 1.1, you’ll now find the option to enable Armor Loadouts, which allow you to assign all Charms and vanity items to each armor set to quickly swap between loadouts to match your playstyle and roleplaying preferences.

You’ll also find that your total play time is now displayed when you select a saved game file to load, and new options have been added to Photo Mode.

These features will apply to your existing game, or to a New Game + playthrough.

#Ghost of Tsushima #Sucker Punch Productions #Sony Interactive Entertainment #video game #PS4 #long post

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mexicanbabe1997 · 4 years

Quote

Maria the mouse

Name: Maria The Mouse (Full name: Maria Antonella Gomez Raffaelli) Age: 17-19 Gender: Feminine Date of Birth: March 31 Sign (horoscope): Aries Height: Undefined Weight: Unknown Type of blood: +B Hair Color: Ocre Eye Color: Green

*FAVORITES*:

Food: Muffins, chocolate, pizza, and pancakes.

Sport: Swimming

Flower: Gardenia

Music: Rock n’ Roll and Pop (classics from 60’s to 90’s) Color: Blue (mainly the aqua/teal colors), pink, and green.

Hobbies: Singing, drawing, listening to music, eating, resting, reading, writting, exploring new places, swimming, collecting cute stuff, playing video games, brushing her hair, snorkeling, daydreaming, being small, making bead bracelets, skating (she’s an amateur), foiling bad guys, practicing the violin, taking strolls, posing in the mirror, playing dress up, and dancing (she’s taking lessons cuz she’s not that good).

Likes: Music, hot chocolate, books and mangas, pastries, adventures, freedom, tranquility, having friends and family, flowers, animals, Damien, her sister (Dana), shabby chic style, art, perfumes, bubble baths, video games, city lights, comedy-romantic movies, justice, Sonic, Tails, having fun, cute boys, romance, fantasy stories, helping people, bravery, magic (she believes in it), rainy days, brownies, hide and seek (in mouse size), roller coasters, tomboy girls (she admires them), travels, ocean, the beach, aquariums, tours, ballet (when she was little), comfy socks, and cute shiny things.

Subject: Calligraphy, art and music

*LESS FAVORITES*:

Food: Gherkins, soda, and coffee

Sport: American football Music: Reggaeton

Color: Lilac Dislikes: Mean people, backstabbers, blood (she suffers from hemophobia), being confused for a rat, horror-gore movies, injuries, darkness, algebra books (They always make her fall asleep), disrespect, bullies, snobbishness, braggarts, know-it-alls (but she can make some exceptions, like Tails for example), leeches, balls (she always gets hitted in the face), people messing with her friends, Dana acting overbearing, her hair getting ruined, people fearing her for being a mouse, being taken pictures, being called a “weakling”, not having a family, suffering, injustice, Eggman’s evil plans, cheaters, harassment, cowards, stealing, manipulators, being insulted, getting kidnapped, cold weather, storms, animal abuse, feeling left out, not having friends, getting lost, exterminators, mouse traps, bees (she had a bad experience with one), rice pudding, getting pranked, shallowness, letting people down, and when people say that rodents are nothing but “pests”.

Subject: Mathematics and physics.

*PERSONAL INFO*:

Personality: She’s a cheerful although very shy girl, curious, kind-hearted, tender, headstrong, and energetic. Despite being shy with those she doesn’t know well (especially boys), she is honest, feisty, passionate, sweet, caring, respectful, and friendly. She tends to be rather clumsy sometimes and can get innocent to the point of being somewhat clueless, but don’t let that fool you cuz she isn’t stupid. However, she also has a very bad temper and is very impatient and stubborn, she can also get sassy or capricious and sometimes throws tantrums when things don’t go her way. She also has a grudgy side, and can become insensible, harsh, unforgiving, and cold if you hurt her feelings a lot or if she feels betrayed. Despites those flaws, she also has a huge heart, is fun loving, sensible, very femenine and never forgets her manners when saying “thank you”, she enjoys the outdoors and likes the flora and fauna as much as her hair, and knows when to apoligize if she really messed up at something. When facing dangerous situations she can act and be pretty serious, tough, brave, tomboyish, and determinated whenever the situation requires it, and always refuses to give up on a friend in danger. She finds family as the most important thing to her as well as her friends and will go to any lenghts to protect them. She’s also either amorous or a hopeless romantic, gaining many crushes on cute guys who get her attention, though she always ends up getting single at the end, but that dosen’t stop her from believing in love and having a good future.

History: She was the youngest member on her family, having two parents and an older sister named Dana. She lived in a sheltered yet comfortable lifestyle, she was dearly loved and cared by her parents and sister, she had a beautiful house and lots of toys to play with. However, she was far from being social, and rather then playing with other kids she prefered to stay at home and either play with her toys, watching tv, drawing, or reading books. She was a very calm yet withdrawn girl, unable to speak with other people or kids. The other kids always thought that she was a snob for the way she acted and often tried to prevent being around her, others also said that she was odd. Both her parents loved her and she also loved them back, she also liked and admired her older sister so much because she always protected her. One day she was sent along with her older sister to visit her grandmother out of town, at a luxurious villa. Maria was a bit sad for leaving her parents but they promised that it would be only for a week. But then weeks passed and the two sisters didn’t heard anything from their parents. Dana knew something was wrong so she went to investigate but never returned. Maria was depressed for sometime but with some help from her relatives she was finally able to move on and live happily, though deep inside she still felt depressed for not having her parents nor her sister with her.

Powers and abilities: Electrokinesis, good sense of smell and hearing (when concentrated enough), can shrink to the size of a real life mouse and go back in size at will, manipulation and control of machines and electronics, speed, excellent swimmer, good stealth when being small, can climb the walls thanks to static, magnetism and can magnetize any metalic objects, create thunderstorms, Railgun anime-like ability to shoot nuts and bolts like a powerful laser cannon, using her powers she can create weapons out of the metal and minerals of the floor, summoning thunders, create plasma, and can also shrink other people and back to their original size as well.

Weaknesses: Magnets can block her powers and in magnetic fields she is stripped of them. When she suffers from fever her powers are uncontrollable, she becomes overcharged and makes electronics go high wire. Whenever a lightning falls on her, her powers dissapear for at least a week. Since she’s innocent this also gives her a naive streak, as she can get pranked or fooled easily by Phoebe. Since she isn’t an animal of artic weather, this makes her untolerable to cold, and when in extreme freezing temperatures she can get mortally weak or faint due to losing heat. When small she is prone to be highly vulnerable to many things (extreme cold or hot temperatures, hits, falls, or poison), she also has to restrain eating chocolate unless necessary, cuz it grows her back to her normal size which can become troublesome sometimes. Instrument: Violin Romantic Interests: Damien, Blasco, Fido, Sonic and Shadow.

Best Friends: Phoebe, Irving, Damien, Nova, Serah, Dana, Sonic, Tails, Fido, Clarissa, Cat-O, Lisa, The barker gang, Blasco, Thomas, Jake, Chase, Indigo, and the Freedom Fighters.

Enemies: Dr. Eggman, Pearl, Crystal Maria, Dr. M, Fallz, Voidless, Edna, Amadeus, Dimensi, Evan, and other bad guys. Paraphernalia: A photo of her parents (her only clue to find them), a comb, and her cellphone. Hometown : Twilight city (formerly)

Family: Silvana (Mother), Salvatore (Father), Dana (Older sister), Stella (Maternal aunt), Rupert (Maternal uncle), and Maternal Grandmother.

Dream: To find her family.

*INTERESTING FACTS (TRIVIA)*:

* Maria’s voice (English): https://youtu.be/b3DaGbMBgAY

* Her characteristics and personality somewhat reseamble that of a “Majo-Shojo” (Magical Girl). Also many of her features are mainly inspired by some of them, like Serena/Usagi Tsukino from Sailor Moon, Sakura Kinomoto from Sakura Card Captor, Momoko/Blossom (Demashita! Powerpuff girls Z), and Doremi Harukaze from Ojamajo Doremi.

* She’s a very good singer but at first she keeps it to herself due to stage fright. However, she slowly started to get over it and her voice is now recognized by many people.

* Though she likes to be a femenine girl, she also dosen’t mind and is not afraid to do tomboyish stuff either, like climbing trees, playing in the dirt, and doing other kinds of sports (some of which she isn’t very good at, especially when it involves a ball). * She’s extremelly bad at math or anything academical that is related to it. She’s also terrible with computers and dosen’t seem to understand them to that much of an extent then Tails. * She has bad luck with balls, in sports she always get hited in the face, to the point where Phoebe mockingly stated to her that her face was a “Ball magnet”. * Phoebe calls her a “Goofy rat” and Maria in return calls her a “Ruffian princess”. * Her favourite number is 3. * Maria shrinks herself whenever she wants to do things like hidding, eating things in a more bigger perspective, surprising people, helping out, going on adventures and wearing the cute dolls clothes. * When she gets either dizzy or drunk, she has one ear up and the other one is down. * Whenever she goes into a battle, she always takes off her headband to show how serious she is and when it’s over she puts it back. * Maria is a DD bra size. * Her favourite gemstone is the aquamarine. * If her hair gets either cut or burned by someone, Maria goes violent mode and gives a great beatdown to whoever did it. * She is actually very witty when it comes to saving the day, can be sarcastic and is not dumb at all. * She’s allergic to peanuts. * In one of her pockets she always carries around a comb and a compact mirror, while in the other she has the picture of her parents and a cellphone. She also has inner pockets where she stores some coins she finds. * Maria loves animals and can sometimes be found either playing with them or giving them food. She has also went out of her way to rescue them from Eggman. * She uses her own hoodie as a home; she simply takes it off and puts it into place, then she just shrinks and goes in it. She also created her very own bed with some cottons for pillows, a sponge for mattress and a cutted sock for sheet. * Maria and Phoebe’s relationship reminiscence to the one of Serena/Usagi and Rini/Chibiusa from Sailor Moon. * Although Maria is very kind and whatnot, she has several issues when trying to express her feelings openly to the people. She can even be reserved sometimes, including with her close friends, because she feel it is rather complicated to talk to people or she simply dosen’t want to make any squabbles. But the truth is that she dosen’t know how to do it well, since she was not that sociable in her childhood. But she always defends what she believes in, is emotional and is not afraid to spill what she thinks when she feels brave enough or when the situation requires it. * Maria once went to ballet when she was 4 years old, but eventually quited doing it. * She can speak spanish, but just a bit and can say phrases like: “Hola” (Hello), “Amigo, Amiga” (boyfriend or girlfriend) , “Adiós” (Goodbye), “Lo siento” (I’m sorry) and “Gracias” (Thank you). * She always wanted to meet a magical creature. * Maria’s real dream is to have a real home, having someone to love and that loves her back and a family who loves and cares for her in order to have a happy life.

#sonic #sonic fan character #sonic oc #profile #mouse #maria the mouse #character information #fanmade

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kolmogorov-is-sad · 6 years

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Otoñal by Raúl di Blasio. Ice watercolor of Yuzuru Hanyu.

Yuzuru Hanyu’s 2018/2019 season SP analysis by Yulena translation. Source: pt1, pt2.

“The origins of my skating come from Russia. For that reason, I want very much to deliver a strong performance here. Both tomorrow’s and today’s programs have a connection to Russia. [Tatiana] Tarasova helped to choreograph the original “Otoñal” program. I am very grateful to the person who created the choreography and watched me standing, and also [Natalia] Bestemianova and [Igor] Bobrin, who had helped me with choreography for the “Romeo and Juliet” program. I am overwhelmed with emotions just because such people have awarded me with standing ovation. I saw Tarasova as I approached the jump, and Bobrin was in the guest seat of the arena clapping on his feet. Thank you very much” ©

– interview after the SP at Rostelecom Cup 2018

Musical arrangement of the 2018/2019 season’s short program for two-time Olympic champion Yuzuru Hanyu is one of the piano piece by Raúl Di Blasio. Both of his programs this season go back to his origins and the starting point of Yuzuru’s career, to his childhood dreams. They are also an immense tribute to the skaters he’s considered his idols since his early days - Johnny Weir and Evgeni Plushenko.

According to Yuzuru’s own words Johnny Weir’s “Otoñal” is one of the programs that left the greatest impressions on him in his skating life.

“The arm positions during spins, the softness of expressions, the way to pick up nuances and move to music, landing positions and so on, it was the music of the programme that led me to perform with attention to each of these details.”

– Public practice in Toronto, 30.08.2018

Having seen Johnny’s performance as a child Yuzuru listened to this music while imitating his idol and dreamed of creating his own program.

“I was stunned by his neutral androgynous beauty that he as a man could present, that was his main charm. At that time, I couldn’t see and evaluate jumps by GOE right away, but the smoothness on the landings, beautiful positions on the exits, precision of jumps placement to the music – all that was made meticulously. First of all the landing. And that smoothness. Of course, all those things captured my attention. I clearly remember how I wanted to jump and skate just like that.”

– Public practice in Toronto, 30.08.2018

The choreographer for the new short program once again was Jeffrey Buttle. From Brian Orsers’ book “Team Brian”:

"Yuzuru has incredible creative chemistry with Jeffrey Buttle and Shae-Lynn Bourne. You may say that it eould be hard for him to work with anyone other than those two. Yuzuru has his own jump entries that fit the way he moves, and comfortable timing of choreography is very important for him. Even his quads flow out of steps, he keeps an image of the perfect form in terms if speed, that step and curve angle in his head. He needs a choreographer who could share his attention to details, so unique for the skater of his level.”

When Jeffrey learnt the name of the composition he first of all ask about Yuzuru’s associations with the music. He answered: “Something like reflection.” “Otoñal” means “autumnal” in Spanish. Autumn as a memory from the past and reflection on the passing time, dreams and origins. That was the chosen theme for the choreography of the program, from the starting to final poses.

“And for him, Autumn is sort of a time of the year for reflection and about looking back. Almost a time of nostalgia? And I think it was so appropriate given what he accomplished and everything that happened last year. Choreography itself begins with… for me when I think of nostalgia, I think of looking through an old family photo album, so the very first movement is him opening that album.”

– Jeffrey Buttle, interview after Public practice in Toronto 30.08.2018

The main idea of the composition lies in the travel in time and calling (обращении к ) to the personal story in figure skating. In the starting pose according to the Jeffrey’s idea Yuzuru opens the album with memories of the past. And so the skating choreography, musical and compositional structures of the program, distribution of the elements all go back to the origins and show great respect to the people that had influenced Yuzuru’s path.

The content of the program includes two quad jumps, one executed in the combinayion wioth the triple toe loop and a triple axel: 4S, 3A // 4T+3T, FCSp, CSSp, StSq, CCoSp.

The choreographic structure (composition) of the program was evolving during the first three competitions of the season.

1. The structure of the program has been changed that stood out as uncommon and unusuala and uncharacteristic for Yuzuru positioning of all the jumping passes back-to-back in the single block. That was a decision taken by Yuzuru and Jeffrey together because that distribution would allow to incorporate jumping and not-jumping elements (step sequence and spins) most harmonically in the musical structure. The jumps from the entry to the exit are executed one after another (bam-bam-bam ©), then comes a soft musical transition to two spins and the emotional explosion of the step sequence at the end of the program. “[...] Stillness versus the tempestuousness of the steps.” ©

In the first half of the program with gentle subtle music the jumps are done effortlessly softly and smoothly, when the emotions are expressed with the second half via the spins and sequence.

Originally the center element of the program – 4T+3T combination – was planned in the first half. But “it is all meaningless unless it allows to win.” © So after the very first competition of the season (ACI 2018) sports competitiveness and desire to win took over, and the combination was moved to the second half of the program.

This change brought corrections to the original choreography and composition: the entry to the 4S became more complex, the transition between two spins and sequence changed, and new skating transitions were added between the 3A and the 4T+3T entry. Before the Rostelecom Cup 2018 the entry to the triple axel also changed and new transitions between triple axel and combo were added once again.

Despite the move of the combo to the second half the jumping passes remained in one block that the most intricate skating choreography in between the elements and on the entries/exits mode possible. The notorious strategy of Yuzuru is based on the idea that the jumps are one of the performance parts. If they are done perfectly the program gains better fluidity and continuity of the movement from one element to another, and seems complete. More than that, Yuzuru is set to present the program in such a manner that the sound of the take-off and the landing themselves would enhance the выразительность of the quite musical intonations.

“Also, the sound — shu! —of the edge when taking off, the sound — pa! — of the landing. I want to make [this program] such that even these sounds can be felt, as a part of the expression.”

– interview for Figure Skating Life vol 15 (10.10.2018)

2. Positions of the jumps and spins changed in the pattern of the program, with the latter becoming more multidimentional. The quad salchow (together with the trajectory of the entry) have been moved to the right part of the rink. Compared to the previous short program (Chopin Ballade №1) the triple axel and the combination placement changed. Th eboloved axel now is executed on the trajectory along the long board of the judging panel with additional chic, the combo went from right to the left side from the judges’ perspective. The camel spin went to the left side, the sit spin with the change of foot – very close to the left short board, and the final spin – to the center of the ice rink.

3. Due to the placement changes after the ACI there also came the changes in the structure of the step sequence, it became shorted by 4s and the complicated steps and turns counting to the levels of difficulty became more “packed” together.

4. Some of the difficult variations of the basic positions in the sit spin and the combination spin counting to the levels of the corresponding spins were changed. With that the variations are not just executed to earn the levels but also to choreographically enhance the interpretation of the music with precise and flashy accents with hands movements. The distinguishing qualities of Yuzuru’s programs is the prevailing skating choreography as the principal mean of interpretation; the continuous flow with various connecting elements and steps contributes to the wholeness and creates multiple dimension to the composition. This is accompanied with the special choreography of diverse upper body and arm movements. And the unity of both the skating transitions and the space choreography throughout the program makes the unity of the music and the skater’s performance stand out. It expresses the intonations and reflects the changes oh the tempo and the nuances of the phrasing. .

With the changes of the composition after the first competition came the changes of the arrangement of the music.

Right after the ACI 2018 Yuzu contacted sound producer Keiji Yano asking him to make corrections to Otoñal for the purpose of moving the combo. It is a known story that Yano-san has rearranged the track for SEIMEI more than 30 times following Yuzuru’s requests. This time he also confessed: “His orders were precise as usual. This time too, [his instructions] were detailed, as always. It was a test of my skills.” At the beginning of October Yuzuru received the new arrangement and started to training according to it.

Musical structure of the program and its collaboration with the composition:

Intro

(from the starting pose to the beginning of the combo entry (transitions – entry – 4S - exit – transitions – entry – 3A – exit – transitions).

The program starts with some low piano harmonies turning into gentle and quite intonations at the beginning of the new phrase. This transition is choreographically translated with Ina Bauer and highlighted by the smooth lines and movements of the skater. This part is based upon two melodic phrases (like nostalgia and look back into the past).

Development

(transitions – entry – 4T+3T – exit – FCSp – transitions – CSSp)

Transition between two musical parts is highlighted with a series of twizzles. The combo entry coincides with separated abrupt low accords. Emotional tone and intensity grow stronger throughout the whole entry and reach the highest point at the moment of combination with both jumps landed on the beats. The transition from exit to the camel spin separates the two musical phrases. The new one has a contrast of intonations. And the momentary transition evokes images of the grim autumn sky with simmering clouds suddenly broken by a ray of sunshine, of nature coming alive under this warm light. But surely “everyone will see something different” ©. The phrase ends with another set of low accords at the transition to the sit spin with change of foot.

Culmination

(StSq - CCoSp)

This is the most passionate and emotional musical part with strings introduction at the beginning of the StSq. The dynamism of the music increases and results in more energy and expanded scope of the movements during the step sequence execution. At the end of the sequence the strings die out and the final combination spin is set to the piano part that has a smooth transition to the ending pose and concludes the program in a beautiful way. All three music parts are intricately tied with the choreographic structure and create an integral image of the program, in which the music is not born by the fingertips on the piano keys but comes to life with the blades touch on the ice. Each musical phrase is accompanied with amazingly arranged choreographic accents.

The elements and skating transitions connection to the musical phrases comes as follows:

The starting pose with elegant turn of head to the side of extended arm as the call to the past and reminiscence of the bygone days.

The begining of the program consists of melody in five low separeted harmonies with piano accords. There is a turn on the first accord and a movement of both arms on the second harmony in the posing.

A LFO waltz three turn with accentuated lobe of the exit and a crossed step RBI/LBO on the beat (third accord), direction change forward, running step, chasse LFI/RFO and direction change right on the note (forth accord), lingering and accentuated crossover and two more crossovers on the final fifth harmony. Delicate and slightly reversed choreography of this part is connected to the laconism of the musical phrase. Then Yuzuru softly stands in the Ina Bauer (with elegant arms movement) that unites the first part to the second and also marks the beginning the solo 4S entry: accentuated waltz three turn LFO at the start of the phrase – backward power three turn RBO – inside spread eagle – RBO backward power three turn – 4S.

The element in the while fit the music phrase and in its length: a difficult entry to the jump, an exit after the landing and skating transitions right after are all executed in three measures of the musical phrase. The first measure starts with the entry steps and ends with soft and almost silent landing; the exit into counter - Ina Bauer for the second measure; skating transitions after the exit of the jump fit the third and final measure. Holding closer to the notes ©

The difficult exit from the landing lobe to the RBO counter (such exit from the quadruple jump in the only one in the field of men singles) with smooth transition into the inside Ina Bauer. Then comes direction change forward, LFO three-turn, LBI/RBI broad step with both arms movement on accent at the end of the measure. Softness of the piano sounds during transition to the Bauer is choreographically enhanced with graceful turn of the head and arms going down smoothly.

The accentuated crossover (with prolonged exit lobe), crossover, RBI/LBO chasse and to the fading sounds of the music Yuzuru goes into the outside spread eagle. This long SE set is executed with emphasis on the soft movement up of the head and the right arm that highlight the laconism and gentleness of barely audible sound on the verge of two musical phrases.

“He can make the most pregnant pause nothing moment be so memorable [...]”

– David Wilson, Japan TImes 21.08.2018

The beginning of the new musical phrase is marked with elegant change of edge in the spread eagle with arms softly going up on the note. The following skating transitions, difficult entry to the triple axel, the jump itself and the difficult entry are all in harmony with the musical structure: LBI/RBO chasse and accentuated RBO choctaw, change of foot, RFO/RFI change of edge, RFI swing mohawk, accentuated LBI/RBO chasse with right arm soft moving as if touching the piano keys and a crossover at the end of the measure.

The entry to the 3A fits the second measure of the phrase: RBO choctaw – RBO/LBI crossed step – LBI/LBO change of edge – LBO/RBI crossed step – LBO counter at the end. The jump has a difficult exit on the lobe of exit – RBO twizzle – RFI three-turn – mini-Bauer – that fits the extension of the musical rhyme. Holding closer to the notes ©

His triple axel is not just a jump. It’s art. An element perfectly integrated in the choreographic pattern of the program and presented as organic ending of the skating on the entry and natural premise to the skating on the exit. It is remarkable that the skating transition after the landing is executed in two motions with inartificial pause (on the three-turn between a twizzle and a Bauer) at the end of the phrase to the fading music. Such an absolute harmony in movements is hard to put into words. It is complete fusion with the music, when the rhyme of the steps and turns on the entry/exit and the jump itself matche the music beats.

“Hanyu’s triple axel is a jump of an outstanding beauty with natural and effortless timing.” © Elvis Stojko

The exit of the triple axel precedes a transition of steps and turns musically inserted in the additional measure: crossover, LBO choctaw, accentuated RFI bracket, RBO/RBI change of edge, RBI/LBI broad step going into posing, crossover. Smoothness of this transition execution set to the final musical phrase of the first part demonstrates excellent interplay of movements and blade and the music.

The second part starts with musical phrase of changing intonation that is choreographically expressed with a series of twizzles and skating transition: crossover with accentuates arm movements – LBO choctaw - crossover -Jackson (composition step). Musical tone changes with increase in intensity and accentuated piano accords coming in at the start of combination jump entry, the change marked with arms movement. Skating transitions on the entry are following the increasing dynamics and executed in accordance with such. The combination itself takes a special place in the composition of the program; it highlights the intonations of the phrase precisely. Holding closer to the notes. ©

Direction change forward – LFO three-turn with great flow and body and free leg move on the exit – inside besti squat – crossover with direction change forward – LFO counter - LBO/RBI crossed step – direction change forward – LFO three-turn – 4T+3T.

“He studied all the phases of the jumps in every detail and does them in one breath.” © Kurt Browning

This combination was executed [at Rostelecom Cup 2018] just ten meters away from me and was truly impressive, both light and powerful, fitting the general mood of the program. Yuzuru flied by the boards in a whirlwind and practically slammed a spread eagle on the exit in to the ice as if in a statement: “I’m Yuzuru Hanyu, I’m strong, I’m confident, and I crave for victory.”

A direction change forward and a FCSp entry are executed to the change of musical intonation at the start of the new phrase. This new musical theme is choreographically presented with a block of two spins and a skating transition in between. This is the most graceful and the airiest part of the program especially contrasting with the combination jump. Light and elegant touch of color in the music watercolors…

Features of difficulty of the spin:

Difficult entry (arabian)

Difficult camel variation (upper);

Difficult variation of the sideway camel spin (catchfoot) «ring»;

8 turns without a change of position («ring»)

The difficult variation of the basic position execution is perfect.

The spin is wonderfully fit the musical structure of the program: – the Arabian jump on the entry highlights the change of phrases and intonations; – the landing of the Arabian is placed right on the start of the beginning of the new phrase; – the change to the difficult variation of the camel spin “ring” at the start of the second mesure and the execution of the variation in two measures; – exit from the spin highlight the start of the next measure.

Intricate hands gestures in the difficult variation positions throughout the spin enhance the musical accents: – arms being raising and fists clenched at the end with subsequent arms movement down with palms unclenched to the accent at the end of the measure; – undulating soft up and down movement of the left arm in the “ring” position with hand reaching out at last right to the accent; – almost indistinguishable gentle movement of the left hand then elegantly going down that highlights the beginning of the next measure.

The end of this measure has very musical exit out of the spin with smooth and soft movements of both arms and head. Skating transition before the sit spin with change of foot fits in the next measure: exquisite bracket step going into lightest toe steps with direction change and half-dropped arms – as if running through the piano keys © This stunningly musical and delicate transition between the spins is one of my personal favorite moments of the program.

The sit spin with change of foot (CSSp) execution enhances the change of mood and highlights built-up of the emotional intensity as the culmination draws closer. Features of difficulty:

difficult entry - “windmill” (illusion spin);

jump in the spin without change of foot (flying sit spin);

change of foot (from right to left);

difficult variation of the sit spin (sit sideways);

difficult variation (sit behind).

The maximum number of features of difficulty the sit with change of foot can receive for spinning on one foot equals two. This condition is fulfilled: two positions are executed on the right foot and another two – on the left. Thus the spin receives level 4. The spin is excellently inserted in the musical canvas of the program, the execution growing more dynamic in accordance with the music changing: – difficult entry to the spin is executed right on the start of the piano passage accompanied with low piano accords at the end of the second part; – “spinning” into the basic sit position on the passage; – accentuated jump in the spin and the change of foot;

Melodic accents in the spin come with arms and hands movements in difficult variations of the basic positions and precise choreographic features: – touch of both hands to the face in the basic sit spin position on the note; – accentuated right hand touch to the cheek in the difficult body position of the “sit sideways” variation that influences the balance; – right hand movement on the resounding low accord during the difficult variation “sit backwards”.

Yuzuru completely controlled all the space of the Megasport Arena. And the audience seemed to feel that as one, and responded with thunderous applause on the last two positions of the spin. Yuzuru wasn’t skating the program, he was telling his story. It seemed that music was emerging from the blades meeting the ice and his hands moving softly, as Yuzuru dissolved in the performance. During the program mood changed from quiet melancholy of the first half to passions raging on the combination jumps and then to the overwhelming happiness of the step sequence. How proudly did Yuzuru toss his head bursting into the sequence with a radiant smile! He skated like there was no tomorrow, giving his all to this performance, and involuntary tears came streaming down my cheeks. Ow happy, inspired and free he was at that moment! I haven’t seen enough of that ©

The Step Sequence

Toe steps L/R/LFI, broad step LFI/RFI, twizzle RFI ccw (2 turns), three-turn RFI ccw, turning choreographic movement (steps) of 720 degrees ccw, chasse LBI/RBO, choctaw RBO ccw, choctaw LFI cw, half flip cw, mohawk LFI cw, twizzle RBI cw (2 turns), half flip RFI cw, mohawk LFI, twizzle RBI cw (2 turns) - rocker RBI cw - counter RFI cw - crossed step RBO/LBI, change of edge LBI/LBO, crossed step RBO/LBI, change of edge LBI/LBO, choctaw LBO cw, broad step RFI/LFI, mohawk LFI cw, hydroblade (right on the final of the musical phrase), one-foot axel (in which Yuzuru basically flies up at the beginning of the new musical phrase), chasse LBI/RBO, mohawk RBO, crossed step LFO/RFI, bracket RFI cw, cross roll RBO/LBO, lobe LBO with free leg swing, loop RBI cw, falling leaf cw, bracket LFI ccw, crossed step LBO/RBI, direction change forward, rocker LFO ccw – counter LBO ccw – loop LFO ccw.

Scheme of the Step Sequence

Table of difficult turns and steps of the StSq:

Features of difficulty of the StSq:

Following turns and steps are cunted towards the features: two clean choctaws (cw and ccw), two rockers (cw and ccw) two counters (cw and ccw), two brackets (cw and ccw), two twizzles (cw and ccw), two loops (cw and ccw). All in all 12 difficult steps and turns.

All 6 types of difficult steps and turns are executes in both directions (clock-wise and counter clock-wise), that satisfies complexity criteria, maximum level of the StSq is 4.

Rotations in either direction (left and right) with full body rotation covering at least 1/3 of the pattern in total for each rotational direction (see scheme). Feature counted.

Use of body movements for at least 1/3 of the pattern (arms, head, thighs and upper body work is definitely enough). Feature counted.

Two different combinations of 3 difficult turns on different feet (first on the right, second on the left). Both are executed with a clear rhyme within the sequence. Feature counted.

Thus all four features are counted towards 4 level of difficulty.

The element as a whole is wonderfully implemented in the musical canvas. The timing and scale of elements (e.g. hydroblade, one-foot axel, Ina Bauer) compliment the rhyme and beats. Every step and elements also enhance the precision of interpretation and highlight the phrasing. The same can be stated about the choreographic accents during the execution that fit the rhythmic pattern: steps and turns at the start and the combination of hydroblade and one-foot axel executed on the change of phrases, the second combination of three difficult turns that coincides with the end of the phrase, the change of foot right after the final loop at the end of the measure and distinguishing the end of the sequence. Movements suit the mood and style of the music and also become a mean of interpretation. The final combination spin CCoSp is entered through the “traveling came” at the beginning of the new musical phrase to highlight wave-like changing intonations of the final part. Features of difficulty of the spin: Camel spin

change of edge in the camel spin from inside to the outside;

difficult non-basic position;

Change of foot (from left to right)

difficult variation of the sit spin (sit forward “a-la Johnny”)

difficult variation of the upright spin (“scratch spin”).

In the combination spin all the three basic positions are executed: camel, sit and upright. Four difficulty features are used. For the combination spin with change of foot the maximum number of features attainable equals two for each foot. This requirement is fulfilled (two position on the left foot, two – on the right). Thus the spin is level 4.

Change of positions in the spin on the left foot by the measures: – change of edge in camel spin – transition to non-basic position – change of foot and transition to the difficult variation of the sit spin on the beat – difficult variation “scratch” of the upright spin on the fading of the melody at the end. Choreography is accompanied with the intricate hands and arms movements in the spin to even further express the musical accents:

– accentuated choreo during the camel spin: – undulating hands movements in the “pancake” position; – gentle left hand gesture in the upright spin.

Transition to the final pose that mirrors the starting one, symbolizes the flow of time. The only fascinating difference: in the starting pose Yuzuru turns his head in different direction. His eyes seem to be fixed on the future, on new hopes and dreams. Everything continues to…

Johnny Weir, interview for Number 966, 22.11.2018:

“Yuzuru used some elements of my program that looked very harmonic. At the same time the program became something personal for Yuzuru, he skated it in his own style, that touched me very much.Yuzuru did everything in order to fully express the music. And if I showed it as soft and gentle sadness, Yuzuru demonstrated his fierceness and the brilliance of the composition. Music just as people is versatile, and Yuzuru and I showed different interpretation sides of the same melody. His talent became obvious even in his childhood day, but he have grown up to be the athlete I couldn’t even imagine. Yuzuru became so unbelievably strong, and despite the injury conquered his second Olympic title. I never thought I would live to a skater so strong. To everyone who doesn’t know him personally I can say that after all this time his compassion for people and his humanity haven’t changed in the slightest. He’s famous all around the world, and yet his modesty and approach to people remain the same as they were on the day I’d met him for the first time.”

Translator’s notes:

* the original article was published in order to celebrate Yuzuru’s 24th birthday, as was this translation, belated as it is. Hope you’ll be just as happy as you deserve for inspiring so many people all over the world with your skating, your talent and your heart, Yuzuru!

** some quotes were unfortunatelly translated from Russian (credits to Аnna Zamotayeva and Evgenia Mitrofanova) where the original wasn’t available. Considering that some quotes went from English to Japanese to Russian to English, nuances may be lost in translation. If you have sources with original (either Japanese or English) quotes, I would be happy to improve the text. *** if you have any questions or suggestions concerning technical skating details, chances are I messed up in the translation, and it was not a problem of the original, so please, contact me first. Also, none of the photos belong to me, and if you would want your picture taken down, I would do so right away. Thank you!

#yuzuru hanyu #translation #analysis #otonal #get well soon yuzu #2018/2019 season #SP

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opinionatedspectator-blog · 6 years

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Art, Feminism, & The Distribution of The Sensible

It has taken me quite a while to actually write anything on this blog, not really due to a lack of ideas or a lack of inspiring and transpiring events, but I guess mostly I wanted to take the time and be able to define the dimensions of what I aim for this blog to be. Define its boundaries and scope of focus. Perhaps its also because I did not want anything I post here to be of an academic nature, but where I can successfully export my perspectives without really sounding like I’m submitting a paper to a professor. However, in terms of defining the focus of this blog, which might simply be transmitting my perspective to you, the reader, this blog cannot be but an extension of myself. So here, I’m going to write from the first person perspective. I hope that to you this seems valid enough as reliable information, but the self as a vehicle of experience, for me at least, is anything but negligible.

Also, shoutout to Naeem Inayatullah of Ithica University for importing the narrative approach to political science.

As a precursor however, I would like you to take the time and look at a paper entitled “Neoliberalism As Creative Destruction” by David Harvey. This should really help you understand where I am coming from as an individual. But do keep in mind that despite me in the future or the past sounding like a left-wing marxist geographer, I am not. I am in fact neither a supporter of the capitalist way of life, nor the socio-economic, post-capitalistic arrangement that Marx has presented in his Manifesto. I am simply myself, perhaps in terms of background a Humanist... but aren’t we all?

A point to stress here is the current cultural phenomena of extremes. For some reason, the polarization of thought and ideology seems to be the status-quo of our times and generation. I am someone who would like to belong to the middle path.

Now to get to the point behind this post and why I have asked you to read Harvey’s paper. Neoliberal capitalism is best described as the shift from an industrial based economy, to one that is mostly characterized by the service sector industries. Therefor this calls for a shift in the nature and qualifications of the workforces required to run such economies, and ultimately to populate their cities. To make a long story short, major cities across the globe compete amongst each other to attract as many members of the “creative class” as possible to empower their industries. The creative class is the term used to describe the modern service sector workforce, mainly graphic designer, app developers, architects, writers, photographers, lawyers, gig industry execs, and overall modern service providers. This activity automatically changes the layout of a city. Gentrified neighborhoods, galleries, art spaces, installations, film exhibitions, speciality coffee shops, and artsy food concepts come in to fill the urban geography. This has previously been described by Sharon Zukin as “pacification by cappuccino”.

The point I try to make here however is not to describe this shift, nor the socio-economic gaps that are produced through the need of low-wage service sector cohorts and middle to upper class entrepreneurs. Basically baristas and CEO’s. I’m writing this to describe a slight crisis that arises with art and culture being owned or introduced into the realm of state-led enterprises. Some have described this to be the death of art with regards to the traditional function and definition of the role art has played in the social and cultural sphere.

Art, whether visual or theoretical, be it a book, a sculpture, a painting, a photograph, or a film, has always participated in shaping what is described generally as “The Distribution of The Sensible”. Lets just call it the realm of the ‘taken for granted’, or socially and culturally accepted notions and activities as, well as modes of thought of a certain society. Art has always navigated on the boundaries of this realm, challenging its norms and its taboos, presenting the internal unheard struggles of the unheard, and representing an outlet for the expression of their experiences. This was not simply limited to the excluded or the impoverished, but the right of each and every single individual. Art was a valid way to say what could not be said, to contest and to reconsider, to hold up a mirror and allow everyone to take a closer look at their blemishes and open pores. Yet with a state owning art, validating it, empowering, and ultimately, utilizing it as a capitalization opportunity, art is automatically stripped of all of its characteristics as well as its power. Art looses its voice and influence by simply gaining the recognition and normality from that which considered it novelty and abnormal.

Today we have art biennials curated by cities through their local authorities. They specify spaces for galleries, times and dates for events, as well as showcase certain artists to be celebrated and presented as the trend setters and pioneers. This applicable to all fields of artistic format; fashion, film, tangible and intangible. The problematic that arises from this dialectic is the control of the expression of art itself, and what is brought to light and left in the shadows is then decided by the hegemony. This could very easily be influenced by agendas, approval and disapproval bestowed by unknown committees. Yet art is not allowed to speak out upon it, resistance becomes illegitimate because art is recognized and now operates within the distribution of the sensible as to previously operating outside of it. You have been recognized, therefore you are not allowed to complain. We have heard your voice and provided you a platform. Thats basically what this procurement entails.

Another issue that comes to hand under this light is the over saturation of artistic expression on display everywhere, in every nook and cranny, in every alley and street.. all commissioned.. all artificial.. that really neutralizes the viewer to the impact and meaning of art. I find myself being less interested and less amazed... let alone less curious when I look at art these days. Have I always been this way? no.. not really.. I have noticed myself change however..it was exciting in 2011 up to 2014 when things were really gearing up towards the cultural turn.. but its 2019 now and not much has changed... and in 2019 I find myself incapable and indifferent.

If you wish to understand this better, the work of professor Jenny Edkins on protests and governmental expansion could be of aid. I have personally had the pleasure and honor to be taught by her under a few modules. What Edkins basically states is the following; if a certain faction of the population who feels oppressed or excluded decided to demonstrate or protest their struggles to the state, the state itself, by recognizing their protests and answering their requests automatically expands its control over the different cohorts of a said population. This faction now can no longer use its voice to demand a certain right, but another representative may do so, yet only once. I have theorized something close to this which I call The Morbid Loop of Misconduct that I might discuss in the following posts.

This ownership and capitalization of such fields to be utilized as bait for branding cities and determining their respective levels of ‘coolness’ has reached its limits with testing my tolerance when feminist initiatives got introduced into the mix. We have recently celebrated the International Women’s Day... congratulations by the way... yet many businesses have gone to utilize this day as an opportunity to brand themselves as understanding and co-operative, as good listeners.. as celebrators of feminism.. in order to increase sales and foster public attention. I can pull out so many examples from my instagram feed but there is one photo that I deem appropriate in explaining what I try to describe, a post entitled: Man Visibly Upset After International Women’s Day Post Doesn’t Get The Likes He Banked On. (https://www.instagram.com/p/BuwFxPEFmBQ/) It was intended for a meme.. yet to me it described anything but a laughing matter.... perhaps memes might be art’s last frontier.. who knows.. we’ll let neoliberalism decide. The ownership of feminism by the socio-economic hegemony, and currently in the pipeline LGBT discourse, is going to bring about a new frontier of markets. The market of civil right attraction.

On a second thought though, this is nothing new. The ownership of the state of feminist discourse has been used throughout history for not so human-centered nor humane reasons. If for instance we take Marx’s following statement, “the executive of the modern state is but a committee for managing the common affairs of the bourgeoisie” .. the truth of which I will deal with in a later post, we come to understand that feminism has been used to further service the machine of capitalism and lubricate its gears and cogs for more efficient outcomes since its ownership by state policy. Take for instance the insane push for women in the workforce. Now I am in no way against women having jobs or earning their own living, running businesses, or running countries even, however what we need to address is the socio-economic frameworks within which these ideas were introduced and the outcome that results from this push. The popularization of careerist orientations has many negative impacts on the social fabric itself. This is not simply in the sense of conservatism and maintaining tradition, but disabling cultures when resisting epistemological occupation. Sadly, women have been utilized by this new mode of radical feminism and made to think that they are the patrons of such movements when they are indeed the victims.

Another example is Edward Bernays’ 1929 “Torches of Freedom” movement. The man was a PR freak and put the natural instinct of social impact and cultural roles that all humans have to service a monstrosity of an industry. You know the story, it was culturally frowned upon, and considered a taboo, for women to smoke in public spaces. It was this whole discourse on a cigarette being another phallic symbol and a symbol of men’s power... but basically as far as tobacco companies were concerned, half of the population were a potential market they weren’t tapping into. Along comes Freud’s grandson, and rebrands cigarettes as the torches of freedom, asking women who were posing as suffragettes to march in a protest with lit cigarettes as a move to display the power of the feminine.

Everything that the state has done after obtaining ownership of feminism towards this “cause” has been of the same nature. But what needs to be kept in mind here is that the state in this sense is the collective of corporate. After all what is the purpose of a city? What is the current modern purpose of having an economy? It is to circulate capital through it as efficiently as possible with the largest market share that a state can muster. Read Saskia Sassen’s The Global City for a better perspective.

Anyways... im tired of writing this.. I hope you get the point.

Neoliberal capitalism never fails to surprise me with its creative capacity for destruction.

This post might seem to be of no use.. but it was just me letting off some steam. This is what this is all about... letting off some steam.

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megatentious · 6 years

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Majin Tensei 2 and Shin Megami Tensei If… let’s talk about them

This past year saw the fan translation release of two 16-bit Megaten games, Shin Megami Tensei If… (lord help me if I need to type this ellipsis every time) and Majin Tensei 2. I am maybe the only person who decided to play through both of these games for the first time in English in one year, and so maybe it will be instructive to see how these two series black sheep (can you call a game a black sheep if no one has actually played it?) fit together in the context of the larger franchise. Or maybe this is just an ungainly excuse to cobble together months-old observations into blog content. Let’s find out!!

Both of these games come from a period when Atlus was still trying to figure things out from a game design perspective, testing how much they could push their console audience with PC dungeon crawler inspirations. There were no compunctions at this point about making unforgiving design choices, even in their crowning achievement mainline series games. Sometimes this worked, like the lack of guidance in Shin Megami Tensei 1 leading to perfectly tuned feelings of lonely exploration. Sometimes this didn’t quite work, like the tedious backtracking and brutally untelegraphed stat skill check requirements of Shin Megami Tensei 2. “Getting Megaten’d” is a message board expression meant to describe the sudden game overs that can occur in this series after hours of play, so it’s not as if unforgiving punishment is something that has been eradicated from the more modern games. But there’s a reason even many Megafans (yes i just said megafans, please deal with that) refuse to play anything in this franchise that released before the Playstation 2, and it’s because of choices that are perceived as promoting tedium and time-wasting. We’ve seen how this can affect their big marquis mainline successes, but what happens when you apply these principles to dicier spinoffs? Well…

Majin Tensei 2 is at least, quite conceptually ambitious. Spanning numerous worlds and time periods, showcasing political intrigue and explicitly defined characters with varying motivations, five distinct endings across light-dark and law-chaos axes, hidden events that depend on how many turns you take and which demons you have in your party, there is a lot (too much!) to keep track of. There are ideas in Majin Tensei that pre-sage much of what makes up Devil Survivor, from demon races with differing map skills to introducing demon fusion to a strategy RPG space that was mainly just Shining Force and Front Mission. In practice though, what you do repeatedly in Majin Tensei 2 is slowly s l o w l y clear fifty plus maps, maps that will occasionally provide fun challenges, but more often that not will repeat large not particularly memorable landmasses with simply hellish amounts of monsters. Seriously look at this screenshot I took, this is less than one third of the map!

There’s a reason that so many volunteer debuggers dropped out during playtesting, and there is a reason that 100% of the ones who persevered used fast forwarding emulation features to finish. This is because Majin Tensei 2’s sluggishness can be linked to the infamous Code Name: S.T.E.A.M. problem, S.T.E.A.M. being a largely unloved Intelligent Systems strategy game on 3DS that was raked over the coals in reviews for allowing enemy phases to go on for inordinate amounts of time. Majin Tensei 2 does that game one better by allowing literal minutes and minutes to pass as each enemy decides its action one by one. Do you remember that map in the screenshot above? Imagine twice as many enemies as that taking 10 seconds each to complete their own turn. Majin Tensei 2 makes it clear that you are absolutely not supposed to kill every enemy, through turn limit bonuses and appeals to your general sanity. But that still doesn’t stop the game from dumping demons haphazardly across each map in the manner of someone pounding the bottom of a trashcan to make sure every piece of refuse has tumbled out. So even if you are trying to be efficient, with each passing turn you’re going to be dealing with plenty of downtime.

So yes, the game is cruel. Just to take one example, Majin Tensei 2 spends the whole game teaching you that you need to keep someone tough at your home base even if you think you are safe, since at any moment some sort of aerial demon can sweep in from 12 spaces across the map to occupy it and end your game. And then in one level 40 chapters or so in, the game will punish you for keeping anyone behind at your home base by spawning multiple inaccessible dragon type demons who will one shot anyone who was trying to hold down the fort no matter what (did I mention that this game has instant permadeath for all demons and instant game over for any of your five human characters, five humans whom you cannot possibly level up sufficiently to all be able to survive multiple demon attacks?). Majin Tensei 2 is willing to mess with you to the extent that it absolutely wants you to cheat. After all, this is a game that in 1995, allowed you to save after every turn, which is another way of the designers telling you that savestate abuse (or in my case, copious use of the rewind button) is built into the design.

So why put up with this sort of nonsense? Well, for one, you’re dealing with the atmosphere of a 16-bit Atlus game, a combination of visuals, sound design, music and tone that is simply unlike anything else in the industry. And there is absolutely satisfaction to be found in slowly conquering the game’s maps. But those who scoff at something like, say, Soul Hackers, will find this game absolutely impenetrable, which likely means it will only ever be played through by advance Megatenists (okay i changed it to this, are you happy). Majin Tensei 2 tries to do quite a bit, switching up much even from its direct predecessor, and the play experience ends up suffering despite the ambition.

SMT If in comparion, well … If is by far the least ambitious game in the series to date. While Majin Tensei 2 lavishes you with cool unique digitized photo backgrounds, an extraordinary soundtrack with lengthy moody electronica from the late great Hidehito Aoki, and spectacular boss sprites, SMT if reuses all the most drab and uninspired wall textures from its predecessors, and offers absolutely nothing in terms of new music. Worse yet, many of the reused tracks have somehow depreciated in the conversion. Listen to the offkey shrillness of the iconic Ginza music here , seriously what did they do to it!?. If does feature some lovely new boss sprites, showcasing demons from rarer mythologies that were never again revisited (where are all my Persians at ATLUS???), but even some of the best of these are hidden in new game plus routes the average player will likely never see. The general fugliness of the overall game and relentless asset reuse gives the whole experience a very unfortunate rom-hack feel, and though it’s not hard to figure out why the game ended up this way (it was cranked out less than 9 months after SMT2) it doesn’t make things better.

I should note one important item here, however, and that is that the PSX version renders almost all of these complaints obsolete. It’s the version I first played actually, stumbling through the first few hours untranslated during a Japanese PS+ trial period. The PSX version not only offers very dramatic visual upgrades and some excellent needed remixes, there is a small measure of kindness built in for the player through the game’s Easy Mode. It’s only in this mode for whatever reason that Atlus offers a design “solution” for the most infamous portion of the game, a dungeon in which you are required to wait for hours of lunar cycles in order for students to dig your path forward. In Easy Mode the time requirement is halved for you. Behold the design advancements of the 32-bit era!

If is generally an odd game in the context of the series. There is a type of person out there who likes to call this game Persona Zero, and for people who have played the Snow Queen route of Persona One I can see why the comparison is made. But despite the initial high school setting and pseudo-selectable party members, it still feels strange and off-putting to play a Shin Megami Tensei game with almost no meaningful narrative choices (routes here are essentially locked in at the start). Guardians are seen as proto-Personas, but in this game they are earned only through dying and are associated with combinations of stat augments and skill lists that are frequently at odds with each other. What you end up with is a system that is interesting conceptually (should I die to gain useful spells at the cost of my current stats?) but unworkable in practice (it is almost never worth the steep steep battle count cost to experiment). The seven deadly sins theming is sometimes used to inform the map design and dungeon concept, but again more often than not these concepts simply lead to unfortunate tedium for the player (shout out to the final dungeon of Reiko’s route though, which very brilliantly mashes together traditional SMT dungeon design and a thematically cool map floor I won’t spoil for you).

If we look at SMT If through the prism of 16-bit Atlus design principles, having the foundation of SMT1 and 2 to work from should in theory have led the developers to refine their decisions in ways that ought to have helped the player experience. Instead, the game makes bold choices that result in remarkably less fun. For example, If understands that guns were ludicrously over-powered in 1 and 2, and tries to course correct by … making it much more tedious for the player to use guns? Bullets now cost money and can only be bought by slowly ticking up the counter to 99 one click at a time, with each bundle purchase of 99 filling up a limited inventory slot. The encounter rate is as insane as usual, Estoma takes a little bit more time to get than usual, and the game’s economy does not afford you that many useful things to spend money on in terms of equipment. Combine these three aspects of the game and every player invariable ends up large quantities of makka on hand to spend on bullets to your hearts content, and given that bullets are still far and away the best way to dispatch groups of enemies, you’ll find yourself engaging in this tedium in order to play the game efficiently.

I’ve spent a lot of time repeating the word tedium in these observations, and it’s unfortunate that this is the main takeaway most players will get from playing these two games. Both SMT If and Majin Tensei 2 devise interesting systems and then execute them as grimly as possible from a playability standpoint. There are aspects of true unique accomplishment in both games (Majin Tensei 2 has the funniest demon negotiation dialogue in the entire franchise! SMT If’s final dungeon really is super cool!) but the kind of player who is willing to experience them is essentially a rounding error. I don’t have any regret at all that I played through each of them in their entirety (FYI Majin Tensei 2 is longer than Dragon Quest 7 or Persona 5 and SMT If has a new game plus with all new dungeons that increase difficulty and dullness), but I might understand if you have regret. Then again who knows, you made it to the end of this aimless and dull writeup so maybe these games will be right up your alley! Be sure to let me know!!!

#majin tensei #majin tensei 2 #Shin Megami Tensei #shin megami tensei if #games no one has finished

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jbohn · 6 years

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Illustrating in 360°

When I decided that a 360° illustration was going to be my first project of 2019, I never would have guessed, how much knowledge I would gain and how much enthusiasm I would develop for this topic. In the course of just a few tutorials I was able to learn everything to make it work properly. Therefore I decided to share those tutorials and links with you.

3D illustration is generally a topic that evolves these days, with VR technologies becoming more and more common. Especially if you have a look at Artstation or the portfolios of concept artists, you find a lot of really cool worlds that you can experience by moving around inside of them. We are used to see 360° photos but it’s breathtaking to see fantastic worlds and imagined stories coming to life when you explore a spherical illustration little by little.

Terminology

Before starting, I want to make sure we’re all talking about the same subject. It’s not about flat images with a perspective grid (1/2/3-point-perspective), nor about an image with a parallax effect. We mean a drawing on the inside of a sphere, where you have a fixed standpoint but can change your view by turning and also looking up and down.

Software & setup

I started by buying and testing the app Panopainter on the iPad, ending up firstly fascinated and soon frustrated because of bugs and constraints that made it hard to establish a constant workflow. For example, I searched forever for a way to deselect a selection, turned around and found half of a picture deleted that I didn’t even work on at that part of the process or I did not manage to import a png without a transparent background.

So I watched this wonderful tutorial and decided to use the good old photoshop: Pano painting tutorial by Jama Jurabaev In it, he explains the basic setup for using a spherical map in photoshop and he created a 3dimensional grid for downloading that helps so much to navigate.

Summarized, the workflow goes like this:

create a big canvas with an aspect ratio of 2:1 (e.g. 6000x3000 px)

load a grid (like the one in the tutorial) or another picture that works like a 360 photo and make sure this layer is selected

(in the current Adobe CC:) click on „3D“ – „spherical panorama“ – „new panorama layer from selected layer“

you now only see a part of the picture and can move around already and draw directly on the sphere

you can also double-click on the spherical map that works like a smart object, and work directly on the map

Workflow

For the drawing process, this tutorial was very helpful: Edit spherical panoramas by Photoshop Training Channel Although it shows and explains everything based on a photo, it contains the best tips about a non-destructive way of working.

The problem is this: when you sketch something on a new layer in the normal mode and move around, the new layer moves with you. If you want to fixate the drawing to the spherical map, the steps are:

open the spherical map and create a new (empty) layer, make sure the layer is selected

save and close the spherical map

in the normal view, draw on a layer directly above the spherical one

when ready, right-click on the drawing layer and choose „merge down“ (if you are not sure you’re ready, keep a copy of the layer)

the drawing is now part of your spherical map, but it is on the layer you created before

Preliminary 3D model

For my personal workflow in the future, the next tutorial on how to build and export a scene as a 360° panorama in Cinema 4D might come in handy as well: Panorama Rendering by Konstantin Magnus I’ve successfully tested it already. The scene that is described is random but the export of it is quite tricky. The program doesn’t offer a direct way yet so there’s a little workaround:

in render settings, choose the format „Quicktime VR panorama“

the default resolution and the output size should be the same (aspect ratio 2:1)

unclick „save“ in the render settings

render and then save the image as a picture manually. Tadaa!

I hope these tips help you getting started. Are you as excited as I am?

#jbohn #digitalpainting #digitaldrawing #drawingtutorial #howtodraw #learntodraw #360tutorial #360degrees #360drawing #360project #3ddrawing #vrart #vrartist #conceptart

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karingudino · 4 years

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A “Bridge” to Sustainability or Simply Unethical?

The shift away from fossil fuels like oil in the direction of reliance on renewables like photo voltaic will likely be decisive in many countries through the 2020s. By the top of this decade, the power sources in use internationally will likely be far greener than they’re immediately. There’s no controversy about this competition. The place frequent settlement turns into arduous to search out surrounds how quickly such a shift ought to occur, and what number of nations could have made a decisive shift by the top of 2030.

It’s understood on this decade many countries and their power suppliers will likely be in a “transitional” mode. To the minds of many eco-advocates, transition entails the scaling up of power sources which are 100% renewable whereas cutting down fossil gasoline sources. To others, they argue using renewable power to energy fossil fuels may also help within the transition—even when critics contend such a transfer is deeply unethical and problematic. Discovering frequent floor in such a debate could also be elusive, but it surely’s important within the early days of this essential decade for inexperienced power that each one stakeholders are conscious of its key views.

Chevron Utilizing Renewables to Generate Fossil Gas

In April 2020 Chevron introduced on-line a brand new power mission in California that has gained the ire of environmentalists close to and much. Within the southern reaches of the Golden State, the American multinational’s Misplaced Hills location generates round 8,000 barrels of oil a day. Though true probably the most passionate renewable fans would contend in 2021 that quantity is 8,000 barrels too many, it isn’t merely the amount being produced, however how, that has triggered such consternation.

Due to a 29-megawatt photo voltaic set up, 80% of the oil area is now powered by renewable energy. To supporters, such tasks can function an vital facet of the gradual transition from reliance on fossil fuels to renewable sources. It’s additionally true Chevron shouldn’t be alone in pursuing installations like Misplaced Fields, with at the very least two different tasks authorised for California alone in latest instances.

There’s additionally the politics of those issues. In a global group that’s extra turbulent in 2021 than in any time throughout this century, power safety is changing into a extra essential situation. Simply as renewable advocates will argue that is but one more reason to shift to renewable sources situated at dwelling even sooner, for a lot of main oil-producing nations the fast wind-down of their reliance on fossil gasoline whereas different nations proceed the established order—and certainly sign they intend to take action for a few years, if not many years to come back—is a difficult space to win widespread help on.

These components however, though extra photo voltaic wherever, anytime is unquestionably welcome when their set up is used to assist the continued manufacturing of fossil fuels, many really feel such a dynamic misses the mark on up to date attitudes. Additionally, that it does a complete disservice to pursuing future objectives on renewable targets, and combating local weather change.

The Justification for Oil Manufacturing a Slippery Slope

Eco-advocates will bristle on the arguments in use to justify utilizing renewables to provide fossil gasoline. For anybody holding such a perspective, the notion that renewables aren’t a primary choice—after which discover use as a help for the manufacturing of extra fossil fuels—absolutely leaves a nasty style within the mouth. That is evident within the perspective of David Turnbull

, Strategic Communications Director for Oil Change Worldwide.

Utilizing renewable power within the era of fossil fuels is at finest placing lipstick on a really harmful pig. There’s already sufficient carbon embedded in current fossil gasoline tasks to take us past the 1.5ºC international warming restrict, so utilizing know-how to justify extra mining and drilling is totally out of line with our local weather imperatives.

—Mr. Turnbull advised Photo voltaic Journal.

“Massive oil and gasoline firms already use photo voltaic power to squeeze much more oil out of current fields, via a course of referred to as ‘photo voltaic thermal enhanced oil restoration’. There might be no justification for utilizing solar energy to squeeze each final drop out of current fields”.

Mr. Turnbull additionally held there stays a disconnect between what fossil gasoline firms put ahead within the public relations campaigns, and the fact of their power manufacturing.

Provided that the fossil gasoline business was totally dedicated and accountable to a sustainable ramp down of manufacturing consistent with what’s wanted to handle the local weather disaster may its use of renewable power be vital. However, the fact is that the overwhelming majority of oil and gasoline producers’ emissions are derived from their merchandise being burnt. That’s the place the main target must be.

“Whereas the fossil gasoline business continues to aggressively pursue manufacturing at a scale that can utterly cook dinner our local weather, we will solely view the usage of renewable power of their operations as both shameless public relations or sadly ironic enterprise sense to make use of know-how that grows cheaper by the day. Utilizing renewables for unsustainable manufacturing merely can’t be seen as altruistic or sustainable.”

Will the Biden Administration Provide a Reset?

This week President-elect Joe Biden was sworn into workplace. Amongst his first acts was issuing govt orders that noticed the usmove to rejoin the Paris local weather settlement, and likewise block the contentious Keystone XL pipeline. For eco-advocates and renewable power fans, these two strikes alone signify a pointy break with the earlier Trump administration, and the 4 years of Donald Trump’s presidential time period that critics held significantly hampered inexperienced motion.

No matter any partisan politics, if the Biden administration can provide something resembling a “reset” to the U.S.’s eco-policies pre-2016—or make inroads past it as President Biden aspires to do in enacting a $2 trillion policy that’d assist create 500 million new photo voltaic panels inside 5 years—then domestically far higher stress will likely be positioned upon fossil gasoline companies to vary course. That is additionally relevant internationally, as if in no way has the remainder of the worldwide group been sitting idly by within the 4 years prior whereas the White Home pulled again from motion on local weather change, but the return to the White Home of an administration intent on taking part in a management function on this house will see an enormous resurgence of momentum on this space.

Whereas few may doubt the Biden administration’s intent on this space with $2 trillion {dollars} and 500 million photo voltaic panels earmarked for dispatch, observers additionally be aware President Biden may but go additional by transferring rapidly to finish fossil gasoline subsidies domestically, and public finance for fossil fuels overseas. To such observers, these strikes would create a extra uniform power coverage and speed up momentum for the Biden administration’s objective of seeing the U.S. use solely 100% carbon-free electrical energy by 2035. To critics, such strikes could be “an excessive amount of, too quickly” and lead to unacceptable penalties in different areas reminiscent of quickly rising ranges of unemployment.

There’s little doubt—particularly in an period the place the fragile act of balancing the swift shift to inexperienced power adoption with avoiding the adverse byproduct of job losses is made all of the tougher by the coronavirus pandemic—that the Biden administration has many challenges in its path. However unquestionably the excellence between its perspective and the earlier administration means far higher progress on this space can actually be anticipated. Simply as that gives new promise for the expansion of photo voltaic and renewables typically, it does place new stress upon fossil gasoline firms to maneuver away from “transitional” methods to renewables-only installations—and simply make the precise transition.

A New Course in 2021

It stays early days within the new decade, however there’s little doubt of the potential for decisive progress to be pursued in 2021 in a method that it hasn’t lately. That’s one thing all photo voltaic fans might be optimistic about. On the similar time, in many countries, the fossil gasoline business continues to get pleasure from a capability to by and huge set its personal timetable for any swap to whole manufacturing of renewable power—if certainly there may be any timetable set for such a shift.

For renewable advocates anguished about the usage of renewable sources in tasks reminiscent of Chevron’s Misplaced Fields, there’s absolutely some measure of consolation within the data such tasks have certainly been controversial, and generated appreciable media critique and dialogue. That is absolutely not enough to those that would want a extra fast and all-encompassing shift to reliance upon renewables, but it surely does counsel public leaders and widespread opinion is more and more trending in the direction of enduring motion on inexperienced power and combating local weather change.

Even when particular person nations discover themselves behind the tempo of worldwide sentiment in sure intervals, the optimistic progress is seen elsewhere—such because the European Union’s 2020 Local weather & Power Package deal—affirm ongoing momentum on this space. For many who really feel utilizing renewables to generate fossil gasoline is not any bridge to sustainability, it’s absolutely welcome to know many countries have already crossed to the opposite facet and don’t have any want to show again in driving a decisive shift to renewable-only power grids.

Chevron was contacted for remark on this story however didn’t reply earlier than deadline.

Source link

source https://fikiss.net/a-bridge-to-sustainability-or-simply-unethical/ A “Bridge” to Sustainability or Simply Unethical? published first on https://fikiss.net/ from Karin Gudino https://karingudino.blogspot.com/2021/01/a-bridge-to-sustainability-or-simply.html

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laceyspencer · 4 years

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Impact of Social Media on Public Health-Juniper Publishers

Introduction

Social media are becoming increasingly important during the past decade, since different social media applications provide new communication channels for the general public. The establishment of the Usenet and the Open Diary initiated the emergence of social media. Compared with other Internet-based applications, social media are unique in both technology and functionality: (1) social media applications are founded on basis of the Web 2.0 technology; (2) social media applications allow the general public to create content and communicate spontaneously [1-2].

As the Internet technology keeps developing, new social media applications with specific characteristics are emerging. The big umbrella of social media currently covers a variety of Internet-based applications, such as YouTube, Twitter, Instagram, Wikipedia, and so forth. Some researchers have studied the nature, characteristics, and functionalities of these applications. Kaplan and Haenlein [1] proposed two dimensions of features for classifying the applications: (1) “the degree of self-disclosure” and “the type of self-presentation”; and (2) “the richness of the medium” and “the degree of social presence” [1]. Xie and Stevenson classified the social media applications into eight categories in terms of their functionalities [2]. The eight categories were blogs, micro blogs, photo sharing sites, pod casts, RSS feeds, social network sites, video sharing sites, and Wikis.

The number of social media users and the use of social media have grown rapidly. According to Social Media Usage: 2005-2015, American adults who used social network sites rose from 7% to 65% during 2005 to 2015 [3]. Smith and Anderson’s report illustrated that American adults who used Facebook, Instagram, Pinterest, Snapchat, LinkedIn, Twitter, and WhatsApp kept growing from 2015 to 2018 [4].

Among the large number of social media users, some groups of users give special attention to the health-related information and use these applications for health issues. They are health professionals, health consumers, health stakeholders, and health decision makers. The health-related information on social media covers a wide range of topics, including diseases and treatments, nutrition, health care and insurance, healthy lifestyle, and so forth. Furthermore, social media allow users to develop their own health stories, interact with each other, and search for health topics online. According to Heidelberger’s survey, about 45% of the hospitals in Norway and Sweden used LinkedIn and 22% of the hospitals in Norway used Facebook [5].

The purposes that health professionals use social media include facilitating communication, increasing skills, and increasing knowledge [6]. The information sources used by patients for seeking health information are diverse but less authoritative than those used by health professionals. Dawson reported that Facebook was ranked the fourth health information source, and YouTube and Twitter were also prevalent sources [7]. Additionally, 81% of European consumers and 63% of US consumers trust the health information on social media applications [7]. These facts reveal that social media are playing an important role in public health.

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Discussion

The growth of social media provides an open, convenient, and effective way for health professionals, health consumers, health stakeholders, and health decision makers to generate, share, and seek health-related information, to communicate with each other, and to build social connections. Compared with the traditional online information systems, the information on social media is open to the general public and easier for them to access, and most of the user-generated content is free. It is helpful for the health consumers, especially the poor, to gain general health knowledge. In addition, every kind of social media has its unique features and functions for solving specific problems. For instance, Wikipedia aims to create knowledge collaboration, public social Q&A sites are platforms for raising and solving questions, while social network sites are mainly utilized for building and maintaining social network. Therefore, selecting an appropriate social media application can largely promote the efficiency and effectiveness of health information seeking. However, a shortcoming is that the users without enough knowledge of the social media applications might easily get lost when utilizing the content on these applications.

The diversified social media applications can fulfill the health consumers’ information needs by offering different types of health information (e.g. videos, audios, images and text) and information seeking channels. The users can choose their favorite types of information to read, which will improve the user experience, as well as the effectiveness and efficiency of information seeking and use. Regarding the information seeking channels, the health consumers can not only seek information by the search functions embedded in the applications or browsing, but also directly contact the health professionals or patients who are users of the applications and participate in group discussion to obtain useful information. Furthermore, the health consumers can post questions on social Q&A sites when they cannot acquire useful information via the previous means, or when they want to hear different voices. In this case, the health consumers are not only information receivers, but also information senders.

From the health professionals’ perspective, the social media applications enable them to know the health consumers better, to educate and train them online, and to keep in touch with them by different means. For instance, with the consumers’ consent, the health professionals can review their Facebook posts and tweets to know their health status and habits. For the education and training purposes, the health professionals can post a series of health-related lectures on video sharing sites (e.g. YouTube); they can also share health knowledge by publishing articles on their own blogs or Wikipedia. In addition to texts, phone calls, emails and web portal communication, the health professionals and consumers can contact each other by new means on social media, such as online one-on-one chat, group discussion, channel subscription (e.g. YouTube), and so on. Those various services enable the two groups to choose the most convenient and comfortable way for communication and interaction.

Like the health professionals, health organizations (e.g. the World Health Organization) can educate and train the general public on social media. The health organizations are also able to organize and present popular health topics and monitor and investigate disease breakouts based on the health information on social media. Social media also have negative impacts on public health. A serious problem is that the quality of the user-generated content on social media varies. According to the previous studies, the quality of the health information in online discussion forums and Wikipedia is relatively high, while the user-generated content on social network sites is not always credible [8]. The health information of a low quality or the false health information might hurt the health consumers.

The maintenance of professional standards on social media is a challenge for doctors [9]. The professional standards require the doctors to maintain patients’ confidentiality and maintain clear doctor-patient boundaries. However, in the context of social media, it is hard for the doctors to tell whether the friend requests are sent by their patients or not. Neither can they avoid being followed or contacted by their patients on social media. In this case, the boundary between doctors and patients is vague. Moreover, although a doctor can avoid mentioning her/his patients’ personal information on social media, if s/he posts information related to work, it is possible to identify the patients by analyzing the sum of information posted. Therefore, more confidentiality protection measures are needed in the social media context.

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Conclusion

With the emergence of social media and the increase of social media users, the importance of social media in public health keeps increasing. The new applications provide users with various types of health information, change the health information seeking behavior from unidirectional to bidirectional, and extend the traditional one-to-many information distribution mode to the many-to-many mode. In this way, the social media applications build the open, convenient, efficient, and effective channels for health information seeking and communication between the health professionals and the health consumers. However, social media have shortcomings as well: (1) the quality of a part of the health information on social media is relatively low; (2) the measures for protecting patients’ confidentiality on social media are lacking. The two shortcomings will hurt the health consumers,the health professionals, the health stakeholders, and the health decision makers. More research is needed to overcome these two shortcomings in the future.

https://juniperpublishers.com/asm/ASM.MS.ID.555608.php

For More Articles in Annals of Social Sciences & Management studies

Please Click on: https://juniperpublishers.com/asm/index.php For More Open Access Journals In Juniper Publishers

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#Juniper Publishers #open access journals #Social Sciences #Social media #Public health #Health information

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jackkorsey · 4 years

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Create Great Photographs With These Excellent Ideas

At this point, you probably know the basics of how to take a picture and also, how your camera works. What you are looking for is a little bit more information, as far as how to use the advanced modes on your camera and what the terms mean. Follow the advice in this photography-related article and you should find what you are looking for.

Make sure you have the right lighting before taking a photograph. Lighting is perhaps the most important factor in producing a good black and white photograph, because it affects the texture, contrast and shape of the image. Side lighting can produce some dramatic photographs as it creates shadows and highlights the edges of shapes.

If you are thinking about becoming a photographer, it is important that you go to college. Most companies will not hire a photographer unless they have some sort of education in photography. There are many websites that will provide you with the best collgees throughout the whole world for photography.

If you are planning to take photos in a new country go straight to the postcard rack. Postcards can help you gain new ideas of the scenery that is unique to the country that you are in. Use these photos as ideas for the spots that you want to visit.

Once you have spotted the subject of your picture, make sure to take your shot right away. This is especially true if your subject is a living being, such as a child or animal. Since staying in one position for a long time is hard for animals and children, you want to make sure you get the pose you want.

An important photography tip to keep in mind is to always make sure there's a clear focal point in your photograph. Without a focal point, there won't be much there to keep the viewer's interest. Their eyes will just wander and they'll quickly move on to the next photograph.

Pay attention to your background. Your main focus should be on your object, but you should use the background to support it. Avoid any unnecessary distractions and clean your background to report the attention on your object. Play with lines and perspective in your background to compliment the shape of your object.

A good photography tip is to always trust your instincts. If you suddenly have the urge to get a shot of something, go for it! Don't let doubt get in your way. You might look back at your work and decide that spontaneous shot you took represents you.

A good photography tip is to remind yourself that less is more. Don't think that by adding more stuff to your shot that you'll make it more interesting. If anything, more stuff will only confuse your viewer. Simplicity is something you should keep in mind when composing photographs.

In conclusion, you are looking for a little bit more information than what the beginner might know because you are tired of getting mediocre results from using the automatic mode on your camera. Hopefully, the tips provided in this article apply to your situation and you will be able to use them to further your interest in photography.

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lumionblog-blog · 7 years

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5 new Lumion 8 features for elevating render beauty to new heights

Visualize creativity like never before. Communicate architecture while captivating your audiences. See how you can capture your vision in the best possible light by applying these new Lumion 8 features to your designs.

For an in-depth look at how you can create jaw-dropping images or animations in Lumion 8 with these 5 features, continue reading below.

Simulate daylight with Sky Light

In spaces where the sun doesn’t reach, the Sky Light daylight simulator fills in the gaps. It’s one of the most advanced technologies new in Lumion 8, as applying the Sky Light effect instantly softens and diffuses the design’s environmental lighting.

Using the sky as a light source, Sky Light helps the color of foliage or the texture of your building’s exterior jump from the screen. Interiors suddenly gain an accurate sense of depth, massing and scale.

Truly, Sky Light’s impact on visual quality and realism is uncanny.

In the image above, we’ve toned down the colors and saturated the pale blue light. This is Sky Light in action, showing where the daylight simulator affects your scene.

In many ways, Sky Light is like coffee—turn it on and it “wakes up” your render —and you may find you can’t render without it.

Like the name suggests, however, Sky Light has the most significant visual impact when applied to exterior scenes or interior renders with abundant sunlight.

Sky Light’s impact on exteriors

No Sky Light applied.

Sky Light brightness and contrast set to 1 (standard).

Sky Light brightness and contrast set to max.

Sky Light’s impact on interiors

No Sky Light applied.

Sky Light brightness and contrast set to 1 (standard).

Sky Light brightness and contrast set to max.

Highlight every detail with Soft and Fine Detail Shadows

The Soft Shadows and the Fine Detail Shadow functions, found as part of the Shadow Effect in photo or video mode, have an enormous impact on visual quality and realism for both interior and exterior renders.

Like Sky Light, you’d be hard-pressed to find a situation where the Soft and Fine Detail Shadows don’t apply.

The above render includes the Soft Shadows feature. Instead of hard, dark shadows common in CGI, the Soft Shadows feature determines shadow density through a series of advanced calculations regarding light, objects and distance.

When it comes to the smaller, micro-objects, such as blades of grass or the leaves on trees, the Fine Detail Shadow technology steps in and sharpens these shadows, enhancing the sensory impact of materials and objects.

By turning on the Fine Detail Shadows, it’s suddenly easier to imagine what it feels like to walk barefoot across the grass in the above render.

Activate both features—the Soft and Fine Detail Shadows—and the resulting render is better suited to accurately communicate space, depth and distance.

More importantly, for many projects, these shadow technologies can infuse a “wow factor” into your design.

Concept rendering with the hand-drawn Outlines effect

Located within the Sketch effects in photo or video mode, the Outlines effect transforms buildings and spaces into conceptual, artistic renders by highlighting outlines, structural details and building facades.

Whether you’re in the early stages of design development or showing a client an interesting perspective, this artistic effect makes it easier to clearly communicate the form of your design and to draw a focus to your building’s general shape.

Adding the Outlines effect not only helps with communicating the three-dimensionality of the building, but it also guides the viewer's imagination for the finished result.

The Outlines effect plays really well with many other photo or video effects. As a result, there are virtually endless possibilities when modifying the render’s style.

For instance, if you have a concept to show to your boss or client, but you don’t have time to enhance the render for a striking level realism, you can instantly access two Outlines-based presets from the Styles button, including:

Color Sketch Style

Watercolor Style

After adding textures, a couple of people and some context, we simply applied the Sketch and Watercolor Style for this instant, attractive result.

Have a little more time to create the perfect concept render?

As mentioned before, the Outlines effect works well with other effects and rendering styles. To give you an idea of the broad range of possibilities, here are three concept renders created using Outlines.

Concept render #1 - realistic with Outlines

Concept render #2 - painting effect with Outlines

Concept render #3 - Desaturation with bold outlines

Instant smooth edges with the edges slider

In real life, the edges of any surfaces generally appear slightly rounded or worn. They are never perfectly sharp.

With the new Edges slider in Lumion 8, you can control how rounded and soft you want the edges to look. This is a major factor for driving realism into your renders; your model will take on a more natural and weathered look, one better representing the real qualities of physical homes and buildings.

Just compare this render with sharp, virtually “perfect” 90-degree edges…

...to this one with smoother, rounded edges.

You can find the Edges slider as part of a material’s weathering setting, which is quite convenient as these two features complement each other. Dial up the Edges slider and add a little weathering for an effect that imparts age, general wear and environmental corrosion.

Pay attention to the edge closest to the screen. By dialing up the Edges slider, the angle becomes softer and rounded, enhancing the material’s realistic look in an instant.

Transform a render’s look with color correction

Through several new improvements to the Color Correction effect in Lumion 8, you can easily dress your model in its best light and achieve virtually any look you want.

Whether that’s a colder, dramatic look or something a little warm and romantic, getting the color just right can have a major impact on both realism and style.

For instance, when looking at the following render, it’s clear that there are a few issues with the color. The scene is a touch too blue, the light is overexposed and several important details are washed out.

Fortunately, due to the Color Correction effect’s ease-of-use and multiple sliders, achieving a stunning color profile can be easy.

To fix the above render, we simply dialed up the temperature, added a little vibrancy and saturation and touched up the contrast.

Much nicer! With a little color correction, you can produce a beautiful render that’s sure to captivate your audiences.

The Color Correction sliders in Lumion 8 and their impact on your render are shown below:

Warm to cold with Temperature

From green to red with Tint

From dull to saturated with Vibrance

The other color correction sliders include:

Brightness

Contrast

Saturation

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Find inspiration for amazing renders on our Showcase

By employing the various image quality effects in Lumion 8, you can elevate your renders to new heights in terms of realism, beauty and style.

Looking for a little inspiration on how to make the best render you can? Make sure to check out our updated Showcase for a slew of new images and videos produced in Lumion 8.

We’ve also been producing a “Featured Five” series on our Facebook page, showing off incredible renders from Lumion 8 users around the world. More images and videos are also available on Twitter and Instagram.

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liveindiatimes · 4 years

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Art for survival’s sake: This is how various artists across India are staying relevant during lockdown - art and culture

https://www.liveindiatimes.com/art-for-survivals-sake-this-is-how-various-artists-across-india-are-staying-relevant-during-lockdown-art-and-culture/

The backdrop is a soulful shade of blue. A man sits on his haunches on a railway track and the caption reads, “Mujhe ghar jana hai”. Another illustration titled as The Perfect Omelette Flip shows a man working his way around a poached egg. Graphic artist Prince Lunawara’s Instagram account puts our lockdown experiences into perspective. He says, “the universality of our current mental states is amusing.”

New tasks such as trying out a haircut Credit Prince Lunawara ( photo: instagram/princelunawara )

Perhaps, as Pablo Picasso had once said, everything we can imagine is indeed real. Only recently, Amplifier — a non-profit design lab in the United States (US) — that builds art and media experiments to strengthen “some of the most important movements of our times”, announced a global campaign on social media inviting artwork relevant to the Covid-19 situation. The lab also declared cash prizes worth USD 1,000 for creations that got selected. The 41-day lockdown has led to several impactful initiatives across fields. With more and more independent freelance workers, losing their target groups due to the pandemic, city-based artists tell us about their curfew diaries, re-adjusted modes of expression and if campaigns promising money actually make art powerful.

Daily struggles, mental health, sketches on awareness

Prince’s work is a representation of tiredness, confinement, freedom and novel tasks amidst a combination of enforced feelings. “The visual medium is very effective for expression. If power means enhanced reach, global campaigns can extend a hand. It builds a platform for artists to reach a wider audience, gain popularity and unite over a single agenda,” he says.

Pearl D’souza is fighting janta curfew with her family in Goa. She believes, the lockdown is making us face life like never before, it is making us feel and notice every second. “Everything you ever brushed aside has now come to the forefront,” she mentions. Pearl has been journaling to navigate through her realisations. She says, “My art allows me to talk. I draw my family in times of joy and pain. I draw more fantastical ideas when I want to distance myself from reality.” Ask her about paid global art drives and Pearl explains that although they are a great opportunity to tap talent and encourage effort with money, they also hint at accessibility. “It is important to ask who can access such campaigns… which voices and from where get amplified,” she concludes.

Pearl D’Souza’s Around The Dinner Table

This doodler goes by the name of toontwister on the gram. Her profile has simple, flowchart-like sketchnotes on trending topics. Nitasha Nambiar, who has lived in Mumbai for as long as she can remember says, “Being someone who can’t find the right words, sketching or doodling comes to my rescue. My cartoons make light of a situation”. She further says, “My sketchnotes are often about significant information on the pandemic. Something the masses can access and make sense of. I think campaigns with or without money help independent creators to arouse awareness about public interest issues. They also help communities collaborate,” the doodler signs off.

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daveywankenobie · 5 years

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Who knows where inspiration and motivation come from? I certainly don’t because oddly when I’ve looked for it (and by this I mean the true change inspiring kind that lasts) I’ve rarely found it.

I remain convinced that (like the chicken and egg paradox) you can’t have inspiration without some element of forcing yourself into the mindset to begin with.

Once you’re on the cusp of belief, and the ball starts rolling then it becomes a self generating phenomenon, and quite out of the blue you start to look in the mirror, feel upbeat, have a spring in your step and realise that you’re making progress.

Since Saturday this is what I’ve been doing – and it might be because there’s a phrase that’s been ringing in my ears. It was something (almost throwaway) that my consultant Angie said to me in Slimming World that’s been playing over and over in my head.

I popped into another meeting yesterday, not to weigh in but to keep my head in the game.

Angie said to me in passing that I’m in a new phase of my life now, I’m happy and I’m settled, but that I haven’t yet found out what my new motivation is to stay at target – and that I just need to find something that works for me.

After the session ended I found myself walking and thinking about what she’d said.

My initial motivation to give up drinking in January 2016 (way before I joined Slimming World) was to be as unlike my mother as it was humanly possible to be. If I managed that then then the next thing on my list was to be was to still be alive afterwards.

The fact is I realised both objectives and more. I’m still here and I’m healthy (an emphatic tick in one box) and I’m also not a bitter, vindictive, manipulative or an isolated man (a tick in the other.)

The truth is though that whilst we may all arrive somewhere the journey is really only part of the experience. Settlers in a new land (after plonking down the contents of their wagons and pitching their tents) know instinctively that the process of remaining alive starts once they get to where they were going.

I would argue that it’s maybe the ability to survive upon reaching a destination that defines success rather than the difficulty of travelling from A to B – nomatter how epic the voyage was along the way.

Although I’ve always felt uneasy about the use of the ‘I’ word in the past to describe my path toward my target weight (link) I’ve also been very uneasy about people mentioning how incredible it was to lose 21st.

To be honest while I was doing it the numbers really didn’t mean much after a while. All I really cared about was that they were going in the right direction.

Although I visualised them at the start by comparing them to physical objects in the real world (my favourite at the 7 stone mark was a fridge freezer – link) the truth was that although it was initially helpful to visualise my lossed as time went on it became more and more nonsensical.

I tried to use things like a boat trailer and a huge gold ring that weighed 10 stone for their shock value (link) but objects I found online to provide these material representations of my milestone losses became so far removed from my everyday reality that (impressive as they were) they quickly ceased to be much of a personal motivator.

By February 2018 I’d lost the weight of three fridge freezers or (rather mind bogglingly) two cement mixers (link) – but even now when I look at it knowing that it’s true such a thing doesn’t seem to be possible.

After a while it’s all just numbers, and nothing more.

Then all of a sudden (around the time of the cement mixer) the unexpected happened. For the very first time in my life I had people telling me that I looked too thin and making me promise not to lose any more weight.

Instead of people being worried I’d eat myself to death they actually appeared to be voicing concern that I may diet myself to an early grave instead.

What does someone who’s struggled with weight all his life do with being told he should relax and that he needs to put weight on?

Well – obviously he relaxes and takes his foot off the gas – which brings me back to my original point.

How do make sense of all this mental spaghetti, deal with a weight gain and find the inspiration to turn it around so that you are motivated again?

Where do the inspirational go when they need to be inspired?

Many many people have asked me (and I think this often comes from the perspective of someone that’s never been seriously obese) ‘what was the moment that you decided to change?’ or ‘what was the straw that broke the camel’s back?’

Whilst I can understand the reason people ask things like this (they want a simple answer about to how to kick start their own route to success most of the time – or they simply want to have a concise and easy to understand soundbite to help grasp the enormity of it all) the simple truth is that almost none of the physical issues I suffered prompted me to change.

It was not wanting to be like my mother that started the ball rolling.

This for me has always been an issue – because I began a very positive journey from a place of emotional pain, and instead of moving toward the light I was instead moving away from the darkness.

This is an important distinction – because I didn’t start out in 2016 with the positive ‘can do’ worldview I have (more often than not) these days. I wan’t someone that could. I was someone that hated the alternative so much he slowly began to change.

If you want to see how bad my life got without me doing anything to reverse course then have a look at my nonscale victories (link) and you’ll see how much I was capable of putting up with at 35 stone.

The fact is that when people ask why I didn’t do anything sooner (and as MOTY they did – a lot) they imagine themselves, already well and mobile. Then in their mind’s eye overnight they become the moribund lump that I was and they can’t conceive of how they (I) wouldn’t suddenly say ‘that’s enough – no more – I’m changing!’

Often people who ask me this question fail to recognise that cumulatively we can bear a lot and soldier on because ‘the straw that broke the camel’s back‘ often never breaks it.

The camel (in this case me) just got slower and slower and suffered more and more each day, never truly realising how bad things had become. It just accepted that is its life was normal because its memories didn’t stretch back far enough to remember a time of comfort or happiness. Pain has become all it knew.

It couldn’t believe things were ever otherwise and because of this change seemed impossible and the status quo inevitable.

I guess what I’m saying is that I’ve always been worried that my motivation wasn’t ‘to be the best me I could ever be’ or to ‘awaken my giant within’ (I hate Anthony Robbins and his square jawed face that so readily invites a rapidly moving clenched fist).

I’ve always moved at light speed away from people like him.

You know…

The inspirational ones.

Maybe I’ve hit on another approach though – because in the absence of a stocky American in businesslike braces I think that the paradox of the chicken and egg is an important one for me to keep at the forefront of my mind.

Maybe there doesn’t have to be an answer or a motivator.

Maybe you just have to learn and accept that there are cycles.

Sometimes you’re up and sometimes you’re down. Sometimes you’re sad and at others you’re happy. Occasionally you’re rich and at other times you’re poor.

Life happens.

The trick is to remember that to recover from all such phases it takes is a starting point and a recognition that such periods are temporary. If you don’t start trying to be better or positive it’s highly likely that nothing on earth will make you that way. Even if people offer to help ultimately you have to be the one that wants it and chooses to accept it. In order for there to be happiness you have to create it or the conditions for it to arrive and then thrive.

Who knows where the first smile came from? They only seem to arrive when others smile at you first or do something to amuse you. I make a point of smiling at people to generate smiles in return because it makes me feel good – but I learned that behaviour from other people who did the same.

The first smile had to be created by someone somewhere – but where and how?

We’ll never know – and I will never know truly where inspiration (if there is such a thing rather then just a bunch of abstract moments and reactions) comes from – but I know that when I hit the swimming pool this morning I turned into a man on a mission.

Currently as I type (it’s almost 9pm) my Apple Watch reports that I’ve also walked 11.16 miles and burned almost 3800 active calories today. Crazily that puts my overall expendature for the day at almost 6000!!!

Honestly the last time I did something like that was when I climbed Mt Snowdon (link).

You might be worried that I’ve decided to go into austerity mode and starve or exercise myself to death in order to eradicate a gain – but nothing could be further from the truth. I really did’t intend to swim as far as I did until… well… I did.

I’m also cooking large, hearty meals for myself full of speed and free foods for me and my other half. I’m just making sure that they’re all on plan and that they stop us craving the wrong things.

The point is I’m trying again and that alone makes me feel great.

Success is something else entirely and I just have to trust that this will eventually come if I keep working at it.

I can sense the self sustaining positivity starting to build and it’s a familiar and warm feeling that doesn’t involve me condemning myself or my inner monologue berating me for being a failure.

It’s almost positive enough to tell me that I look just fine in this photo taken before the ball last week with Alan Carr and Margaret Miles-Bramwell (which arrived today).

It doesn’t really matter that in the photo I’m above my target weight – or that I felt awful and had a burst blood vessel in my eye. Weight is all just a number really. As long as I’m healthy who cares what it is – and I’m also not stupid enough to think that anyone could tell any of that just by looking at this picture.

They just think it looks like a great photo.

I suppose I do too.

So – here’s to not tying myself in knots, trying hard to be better and getting a respectable loss to start the ball rolling in group next Saturday.

Davey

Starting somewhere leads to sudden inspiration Who knows where inspiration and motivation come from? I certainly don't because oddly when I've looked for it (and by this I mean the

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thomaskittleblog · 5 years

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How do I shoot like a professional Photographer

It appears you are willing to shoot like a professional photographer. But it is not as easy as it sounds. One needs to put a decent effort to do this. There is no hidden secrets that will make you an expert at photography overnight. But in this post I am going to reveal some hidden trick that can improve your photography skills in real quick time.

Let’s make a dive forward.

1. Capture in Golden Hour

Some people consider the perfect time for photo-shoot when the sun is shining fully. But that’s not the real case at all. The greatest photos are taken in Golden Hour. Do you know when the golden time is? It’s one hour after sunset and one hour before sunset. If you capture photos at this time there will be no unwanted shadow. You will be able to get warm color. Everything gets a magical touch at this moment. This is a great time for capturing portrait.

02. Learn the exposure trio

Most of the beginner Photographer made a mistake by taking photo in Auto Mode. But this is not the right things to follow at all. To capture the photo professionally you have learn three facts related with exposure, Aperture Shutter speed and ISO.

By mastering these three you will be able to make the exposure right. Capture the photos by changing the value of Aperture, Shutter Speed and ISO in different types of light.

Inspect how the camera response in low light and high light. Once you can make the exposure right, you can claim yourself as a pro.

03. Pick the Right Lenses

Lenses are one of the primary factors to be a professional photo shooter. Don’t use a specific lens for every sort of photo-shoot. For example, when you are willing to take close shot you can use Zoom lens. For landscape photography you can use wide angle lens.

I am trying to say don’t make the mistake of using a specific lens for every type of photo-shoot.

04. Use Creative Perspective

People always love to see something new. So, try to capture from an exceptional perspective. In this way, you will be able to bring an interesting look from an ordinary object too. If you inspect professional Photography of portrait and landscape, often they are taken from a creative perspective.

Perspective is such a thing that can make an ordinary photo appealing, it can make an interesting object boring. So, capture from such an angle that shows things from a different object makes a photo much more interesting.

05. Use Shadow and Reflection

Shadow and Reflection are two important elements of a photo that many beginner photographers overlook. By proper using Shadow and Reflection you can make an object extremely interesting.

You can use external light source from different angles to create shadow. Or you can add shadow by applying Shadow Creation.

You also read more clipping path service

06. Apply Rule of Third

To shoot like a professional photographer, you must have to know the Rule of thirds. Consider the frame in three lines from both horizontal and vertical and central divided in three different parts.

That means you have nine different parts in your photo. Place your objects according to those sections. Your focus should be placing the imagery from a specific perspective.

It doesn’t mean that you should always place it in the center. You can also present your image from the left or from the right. But maintain the intersection.

Also read more background remove service

07. Don’t Shake the Camera

Perhaps this is the most important rule in this list. Cause, if you make a mistake at this point rest of your efforts will be ruined. Shaking will provide you a blurry photo. You cannot capture great photos if you don’t control the art of avoid shaking. Holding the camera in a proper way is important. Keep your hand close to the body to gain stability.

08. Image Editing

This is another key thing you should include in you photography. It doesn’t matter how hard you try but the reality is there will be some lacking in the picture. With the help of Image Editing You will be able to fill those lacking and gap that camera failed to capture. All professional photo editors in the world edit their photos. You should also take the advantage. I know that as a photographer, it's really tough to manage time for photo editing. In this scenario, photo editing service from Clipping USA can be the best solution.

That’s it for today. Hope it was massively helpful for you. By applying these 8 key feature described above you will be able to shoot like a professional photographer.

Reference: Medium

https://issuu.com/sajjadcusa/docs/how_do_i_shoot_like_a_professional_photographer https://www.academia.edu/40398512/How_do_I_shoot_like_a_professional_Photographer_Photography_Tips_Clipping_USA https://www.docdroid.net/Imy3D7F/how-do-i-shoot-like-a-professional-photographer.pdf https://www.slideserve.com/leighnichols/how-do-i-shoot-like-a-professional-photographer-powerpoint-ppt-presentation https://www85.zippyshare.com/v/TyNCIqXA/file.html https://www.edocr.com/v/1d7mnzzy/leighnichols/How-do-I-shoot-like-a-professional-Photographer https://www.slideshare.net/leighnicholss/how-do-i-shoot-like-a-professional-photographer https://www.sendspace.com/file/3aysll https://visual.ly/community/Others/how/how-do-i-shoot-professional-photographer https://www.pearltrees.com/berniceratliff/item268881982 https://www.scribd.com/document/426647574/How-Do-I-Shoot-Like-a-Professional-Photographer http://www.authorstream.com/Presentation/jeanfitzpatrick-4004907-shoot-professional-photographer/ https://www.4shared.com/office/06kMUnMDda/How_do_I_shoot_like_a_professi.html http://www.filefactory.com/file/7gv00hm0w1fp/How%20do%20I%20shoot%20like%20a%20professional%20Photographer.pdf http://www.mediafire.com/file/p80n7x760264680/How_do_I_shoot_like_a_professional_Photographer.pdf/file http://uploaded.net/file/04uwbnyz https://www.datafilehost.com/d/28068378 http://www.wikiupload.com/3ZVT7BUGGCX2NZW http://depositfiles.com/files/jejgjs3sr https://spaces.hightail.com/space/vJK0Ymikjb/files/fi-9a11fe34-dcca-4c16-b8c8-a14bd6a0430c/fv-70e17a15-beca-41fa-8fe4-a2cbccb0ce18/How%20do%20I%20shoot%20like%20a%20professional%20Photographer.pdf http://ge.tt/1prGFCy2 https://1drv.ms/b/s!ArOcP_0At0bLaqcyHs09A7hfDwE?e=wGlLaw

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awkwardlyamusing-blog · 5 years

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Tips For Playing Astral Chain

New Post has been published on http://doggietrainingclasses.com/tips-for-playing-astral-chain/

Tips For Playing Astral Chain

Protecting the last vestiges of humanity from an invasion of otherworldly beings is no cakewalk for the anime police persons of Switch exclusive Astral Chain. The protagonist has to juggle detective work, exploration, and an obsessive photography habit while managing a menagerie of leashed beasts, and the game doesn’t explain much about how to do it. A collection of helpful tips is definitely in order.

Fiddle With The Control Scheme

With the player controlling both their character and their tethered companion, Astral Chain has to allow them to do a whole hell of a lot of things with the Switch controller. Attacking, dodging, activating link attacks, using items, summoning Legions, activating a Legion’s special ability, taking selfies, performing chain jumps—it’s a lot. If you find yourself hitting the wrong buttons over and over again, as I did during my playthrough, wade into the game’s menu and change it up.

The default configuration had summoning a Legion mapped to the left trigger and activating their special ability with the left bumper. I can’t tell you how many times I mixed up those two. It ruined the flow of battle for me time and time again. Once I switched to control preset C, moving the Legion ability to the X button, it was smooth sailing.

The IRIS Is Your Friend

Hitting the plus button on your Switch controller brings up the IRIS, an augmented reality computer that covers the beautiful world of Astral Chain with a wealth of useful information. In the field it’s an invaluable tool for uncovering items and persons of interest. It’ll display side cases, which are optional missions that aren’t required to complete the game but are required if you want to S+ rank the game’s files. I also use the IRIS to poke about headquarters, seeing where everyone is without having to move around too much.

Use the IRIS during battle and it will display enemy health and type, making it essential for lengthier “when’s this thing gonna die?” boss fights. It’s the *counts Legions* sixth most important weapon in a player’s arsenal.

Manage Your Legions Well

The first five most important weapons in a player’s arsenal are their Legions, the beasts on the other end of the titular Astral Chain. By the end of the game, the player has access to five different Legions, each with its own unique powers. Knowing when to slash electronic connections with the Sword Legion’s special skill or activate remote switches with the Arrow Legion’s bow is easy, as is knowing when to move platforms with the Arm Legion, or when to ride the Beast Legion (all the damn time). But if you’re not spending gene codes to unlock your Legions’ talent trees and assigning special abilities, you aren’t getting the most out of your pets.

Along with enhancing their basic stats, the Legions’ talent trees unlock ability slots. As players progress through the game they collect ability codes, which can be fitted into a Legion’s ability slots. For example, the Self Destruct +600% ability triggers a shockwave when a Legion’s energy runs out, causing a massive amount of damage. Equipping the ability requires two free ability slots. The Attack Up 25% ability code increases damage done by both the Legion and the player. That powerful ability requires three slots to equip. The right ability code loadout can completely change how battles play out.

Keep Your Legions Clean

You can pet the Legion dog in Astral Chain. In fact, you can pet all of your Legions at the Legion maintenance station in headquarters, rubbing their head and limbs to clean off any red crystal corruption they’ve accumulated while out in the field.

What’s the benefit of Legion maintenance? There doesn’t seem to be one. As far as I can tell, it’s just a weird little mini-game with no real purpose. Still, I hate a dirty Legion.

You’re A Team, Fight As One

Fighting in Astral Chain is a cooperative affair. A player will not last long if they ignore the benefits of having an otherworldly beast at the other end of their astral tether. Get used to taking control of your Legions in the middle of battle. Circle tough enemies to tangle them in the chain, temporarily binding them. Position yourself and your Legion on either side of the path of a charging enemy to stop it in its tracks and then send it flying. Position your Legion in the path of several enemies and then zip towards it, damaging every baddie you pass along the way. And watch for the flash at the end of a combo that indicates an opportunity to perform a powerful sync attack.

It’s easy to lose track of advanced co-op techniques during the game, especially during missions where battles are few and far between. Don’t be afraid to take a trip down to the training center in headquarters to brush up on fighting mechanics if you feel like you’re losing your edge.

Talk To Everyone in Headquarters, Every Time

Almost every file (chapter) in Astral Chain gives your character a little free time to wander about the Neuron headquarters. Take that time to talk to the people. Every named character in the game has at least one unique thing to say during each file. Some have their own little storyline that plays out over the course of the game. Relationships between non-player characters can blossom in these in-between spaces. The more insight we gain into the people of Neuron, the more fleshed-out the game world feels.

Making the rounds also helps uncover side missions, which can be found just as often in HQ as out in the field. Plus, every new file scatters random helpful items about the four floors of the fortress, just waiting for an eager agent to snatch them up.

Don’t Forget To Upgrade Your Gear

While you’re making your way around HQ, don’t forget to stop by the tech room on the third floor to have Tabitha gussy up your equipment. Tabs can enhance the damage and stats of your character’s transforming X-Baton weapon as well as the Legatus, the device on your arm that helps control your Legions. Upgraded X-Batons do more damage. Upgraded Legatus … Legati? Legatuses? Those let you keep your Legions active longer without overheating.

Upgrading does cost credits and material codes, so be sure to rifle through every box and pick up every item you find on missions, and sell any scrap to Tabitha’s colleague, Ted. It’s what he’s there for.

Never Stop Searching For Stuff

The sprawling sectors of The Ark, the world’s last bastion of humanity, are filled with stuff to see, do, and collect. There are cats to adopt. There is toilet paper to collect. There are mini-game side missions involving carrying teetering towers of boxes or eating gigantic food items. Platinum Games packed this game to the brim with cool and bizarre things, and it’s up to you to find them.

Talk to civilians, even if you’re sure they have nothing to do with your main mission. Climb ladders. Wander into tunnels. Poke at dumpsters. Eavesdrop on conversations. Turn on the IRIS and see what you can see. I am not saying you should obsessively comb every inch of every area before moving on to your main mission objectives, but you totally should.

Take Pictures Of Everything

Astral Chain’s in-game camera isn’t just for cute selfies. It’s how players fill the in-game database with information on co-workers, significant civilians, and enemy creatures. It might seem counterintuitive to whip out a digital camera during battle, but you only have to do it once for every creature in the game, and there are only a whole lot of them.

Don’t forget to take pictures of each of your Legions. Then let your Legions take pictures of you. There’s a camera mode that snaps shots from your Legions’ point of view. I particularly enjoy taking photos from the perspective of the low-to-the-ground Beast Legion. Good boy.

Review Your Orders

The “orders” portion of the in-game menu is essentially an extensive achievement system that rewards players for accomplishing various goals. Doing a certain amount of damage with different weapons, completing side missions, upgrading each Legion, and many other activities will complete orders. Completed orders grant players rewards like rare codes, used for upgrades, as well as fun stuff like photo filters for the in-game camera, cosmetic gear, and color sets for customizing your character’s outfits.

I did not notice the orders menu until I was in the middle of the game’s fourth file, maybe a third of the way through the game. On one hand, I felt like an idiot for ignoring the obvious red exclamation point in the menu for so long. On the other hand, I suddenly had all the rewards to unwrap, all at once. As fun as that was, don’t be a Fahey. Look over the orders menu. Make note of what needs to be accomplished. Especially the orders that require you to take pictures of certain people or events, as I missed a few and had to replay files after I finished the game to catch up.

Don’t Worry About Missing Anything

Did the orders bit make you worry about missing things? Don’t worry too much. At any time during the game, you can go to the computer and select a previously completed file to revisit. You can then take care of any side missions you may have missed, snap photos of characters who might not be available in later files, and harvest any lingering collectibles.

Replaying also gives players aiming for an S+ rank for completing file objectives another chance to make the grade. It’s also a great way to fiddle about with the game’s higher (or lower) difficulty settings.

Have A Damn Good Time

Between its fast action, outstanding world-building, and killer style, Astral Chain has quickly become one of my favorite games on the Switch. Dive deep into it. Roll around in it. Let it work its way into your pores. Mmm, that’s the stuff.

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