#roll pitch yaw

[cherryblossomshadow]

[Image 1 ID and source: Tweet from such nerve! (@/suchnerve) reading:

autistic people will "roll our eyes" like 🔄* instead of ↕️* because we interpreted the phrase literally

(*OP used the counterclockwise arrows button emoji and the up-down arrow emoji respectively) /end ID]

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[Image 2 ID: screenshot of tumblr tags from @a-sour-nectarine reading:

#WHAT #WHAT DO YOU MEAN

/end ID]

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[Image 3 ID: black text on a white background reading:

There really is no suitable reaction image for this and I have a fuckhuge reaction image folder.

/end ID]

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[Image 4 ID: a diagram of a red and blue plane headed toward us and to the left. There are three different axes extending from the plane

The axis extending out the nose of the plane is called the roll axis. This is when the plane front and plane back stay in the same position, but the left wing tilts up while the right wing tilts down (or vice versa)

The axis extending out the side of the plane is called the pitch axis. This is when the wings stay in the same approximate location, but the nose of the plane flips up while the tail dips down (or vice versa)

The axis extending down from the bottom of the plane is called the yaw axis. This is when the nose of the plane swings laterally toward either the left or right wing, keeping the plane level. Imagine skewering the plane through the center while it is upright and then spinning it around. There yaw go

/end ID]

[zhingmain]

hyperfixations are so stupid one moment you are deathly afraid of traveling by plane next thing you know you are learning 20th century geopolitics by way of airplane crashes

[davecline]

Bumblebot: rollin' along

How to make a spherical robot, with three degrees of freedom, tumble in a straight line due to center of gravity displacement? To continue are State Machine discussion… GOAL: Goal objective exists? (Move!) NAV: Navigation objective exists? (Forward!) SYS: System objective exists and is amenable to bot movement? (Plenty of battery!) OO: Orientation objective exists? Current OO? Roll X:Forward 1…

[legendary-pink-dot]

Airport Pickup

Pairing: Francisco "Catfish" Morales x female reader

Rating: Explicit

Warnings: Unprotected PiV, fingering, semi-public sex, established relationship, light dirty talk because I like to think Frankie is a Sex Talker, Tom has a cousin and he's an asshole too

Word Count: 2.4K

Summary: Frankie hates airports when he isn't there to fly or work. The crowds, the noise, endless passengers complaining to airport employees who were just trying to do their jobs and get through the day. But he’s sitting there waiting today for you.

Notes: No use of "Y/N". No mention of Frankie's child. Frankie starts off grumpy but gets a happy ending. Thank you @goodwithcheese for the prompt and prodding, and to my magic slut coven for cheerleading @arcanefox207 @magpiepills 💜

Fuck. Frankie hates airports when he isn't there to fly or work. The crowds, the noise, endless passengers complaining to airport employees who were just trying to do their jobs and get through the day. But he’s sitting there waiting today for you, through a lengthy delay of your flight arrival and then another one.

Six weeks was a long time to be apart. Way too long. It didn't help that you'd been halfway across the globe -- the time zones and your respective work schedules had made it almost impossible to stay in touch other than a couple quick calls and some texts. He missed your conversations, the shared dinners after work, the drawn-out nights of sex. Right now, especially the sex.

Frankie frowns as your text comes in: Just landed. Delayed b/c crew was late. Pilot is Cpt Davis 🙄

Captain Davis -- fuck. Tom's idiot cousin Chad. Frankie hated him. Not only was Chad an asshole, but a shitty pilot too. Frankie had had the misfortune of flying commercial on one of Chad's flights and knew within two minutes that the minor pitch, yaw and roll corrections -- or lack thereof, in this case -- during the particularly turbulent takeoff were an indication that this pilot didn't give a shit about his passengers. Sure, a captain's primary job is to get people safely to their destination, but what happened to having pride in your work? Fucking jerk.

Frankie shakes his head in disgust as he heads to the coffee shop for your favorite order, stopping at a convenience kiosk on the way to pick up an extra pack of Dramamine for you. Just in case.

~~ * ~~

You stare dumbly at ten identical black suitcases endlessly rounding the baggage carousel as people push past you. Why is baggage claim always a shitshow? You were exhausted from 18 hours of travelling and jetlag, and the turbulence during the flight had stirred up your motion sickness so badly that you’d run out of Dramamine. Bed sounded good right now. Just your cozy bed, 10 hours of sleep, and Frankie waking you up with kisses and hot licks of his tongue. Is that too much to ask for?

Frankie had texted to say he was in the waiting area, and you were so eager to see him. Six weeks was way too long to be apart, and everything ached to be reunited -- your heart, your fingers, your cunt. Anticipation had gotten too much on the last leg of your flight and you'd even tried getting yourself off in the tiny airplane bathroom, but no luck. It just wasn't happening and you'd given up in frustration, ending with no orgasm and also a nice bruise from banging your elbow against the sink.

Finally, your neon blue bag (chosen specifically to be unique and bright so you didn't have to think at times like these) comes into sight. You haul it off the carousel and head straight for the exit.

Frustration melts away as you spot Frankie waving, making his way through the waiting crowd. He's wearing a green sweater, the one he only puts on for special occasions as his version of "dressing up". It would be an awful color on most people but it perfectly brought out the golden tone of his skin, the richness of his brown eyes, the chocolate of his curls peeking out under his navy blue cap. It makes your heart skip a beat that he still makes an effort to look good for you.

"Come here." He envelops you in a bear hug and you bury your face into his neck, inhaling the smell of fresh coffee, his leather jacket, his freshly washed hair curling out under his cap. The scent of Frankie. You drink your fill of it, of him, cinching your arms around his broad back and letting your body sigh and melt into his. "I missed you so much."

~~ * ~~

Dim lighting in the parking garage makes it feel even colder despite the long welcoming hug, the hot coffee you’d downed in the elevator, the extra Dramamine, even the pre-warmed comfort of Frankie's leather jacket. You hadn't missed how his eyes had travelled up your bare legs as you put the jacket on, taking in and appreciating the sight of you. He did love when you wore sundresses. Which is why you had changed into one before getting off the plane.

Tucked into a dark corner space is his truck, looking lonely with few other vehicles around. Frankie tosses your suitcase into the bed of the truck and immediately pushes you up against the passenger door to kiss you hungrily, his hands firm on the back of your neck and around your waist to press you closer to him, giving you a proper welcome home. His mouth is warm and inviting, and you slip your tongue inside it to generate and seek out more heat.

"Tired?" he checks in after a couple minutes, breaking the kiss to rest his forehead against yours. "How's your motion sickness?"

"The Dramamine's kicking in now." You shiver involuntarily in your thin dress. "I'm cold though."

"A sundress, in this temperature? Didn't you check the weather here before your flight took off?"

"But I wore it just for you, Francisco," you whisper, nipping at his mouth. "I know it turns you on."

Frankie groans as he slides his hand along your bare thigh, a featherlight touch against the chill-textured flesh. "You're too good to me. Let me warm you up, cariño. Get in the back seat."

Last time you'd been in the back of his truck, you had been splayed across the bench seat, hands tied by and gripping the seatbelts on both sides as he ate you out, coaxing two strong and heady orgasms out of your body as the sun rose over the beach you had parked at. A good memory, one you had recalled several times during the long lonely nights in your hotel room on this trip.

He opens the door, and you eagerly climb in.

Frankie slides onto the seat, closing the door with a firm but quiet click. You climb into his lap and straddle his thighs, letting him pull you close again, his hands roving under the jacket and rubbing your back while yours snake underneath his sweater to borrow heat from his chest. The curve of his neck and shoulder is warm and you gratefully nuzzle your face into it, inhaling his scent again to imprint it in your memory, so happy to be back.

"Mmmm. Really missed you," you breathe into his skin, the cold tip of your nose rubbing circles over his throat and poking under the neck of his sweater to tease his collarbone. "Missed this."

"Me too. So much," he croons, sliding a hand through your long hair. He adjusts the angle of your head just perfectly to kiss you again, gentle at first and with increasing hunger until your tongue traces his plush lower lip, dipping in to slide in and out of its cleft, and he moans into your mouth.

"Fuck. Do that again."

You continue teasing his mouth with the tip of your tongue as his hands descend to grip your ass and grind his hardening cock against your core, rough denim snagging on thin cotton and lace. You're toasty warm now and you shed his leather jacket, also taking his hat off so you can weave your fingers through the curls in his hair, pulling gently as you rock against him, feeling his heat transfer to your center, the tip of his length in his jeans making contact with just the right spot to make you moan as you rut against him.

Frankie takes advantage of your open mouth and slides a finger in. "Suck. Get it wet for me." You comply and swirl your tongue around his finger, licking and sucking and slurping as if it were his cock, savoring the anticipation of knowing it would soon be inside you.

"Good girl." His finger drips with your saliva and he slides it through your folds, his other hand pulling the crotch of your lace panties aside and holding it there. Letting the cold air kiss your heated flesh. "Hmmm. So wet for me already though, aren't you? So hot," he rasps against your throat, feeling the vibration from the sound that travels up and out of it as he slides a second thick finger into your pussy. You clench around their sweet pressure, his fingers always able to reach places inside you that your own can't.

Within seconds you're shamelessly fucking his fingers, rocking back and forth and building more and more heat in your core, his thumb doing a better job against your clit than your own had in the airplane bathroom, when a bright light flashes through the windshield. Frankie grabs you and pulls you down to lie on the seat, covering your body with his as if shielding you from gunfire. Years retired from Delta Force but his combat instincts never fade, apparently.

"What's happening?"

"Security guard on patrol. I know most of them here and don't need 'em catching me fucking in my truck like a teenager," he whispers into your ear as the flashlight glare fades away. "I'd never hear the end of it."

You stare into his eyes, his face hovering just an inch from yours, those brown eyes you love so much looking darker than ever in the dim fluorescent filtering through the truck. You kiss him with hunger and want. "I need you inside me. Please. Can't wait until we get home."

"I got you, cariño. I'm gonna fuck you good. Get up and turn around."

He hauls you back up and turns you to face the front of the truck this time, straddling his thighs again, and you plant your feet on the floor as he pushes you forward, unzipping his jeans and pulling them down just enough to free his cock, hard and leaking precum, eager to sink home into you. His hands roam up the front of your dress and gently squeeze your tits. You feel the prickle of his mustache caressing the back of your neck as he presses kisses there, and you shiver from pleasure this time, not the cold.

"Patrol will be back soon. You're gonna be the lookout while I take care of you, okay?"

You hook your fingers around your panties and slide them all the way off.

"Fuck yes, Frankie. Show me how much you missed me."

Frankie groans and grabs your hips, lifting up the hem of your sundress, and you grab the back of the front seats for leverage and control as he slowly guides the thick tip of his cock through your folds and into the first few inches of your entrance, setting on fire every nerve ending along the way. It's a stretch, always a stretch with Frankie, but especially in this position, your thighs spread wide across his lap and toes just barely brushing the floor. Your back arches against his chest as he slides the rest of the way in, all the way to the hilt, your moan mixing with his grunted sigh to echo through the small enclosed space of the truck.

"You like that?" He gives an experimental thrust and you cry out, for another, for more. "Did you miss my cock?"

"Yes," you whimper, your voice shaking but not hesitant. "So much. Give it to me."

The leather of the seats in front of you is smooth on your fingers as you bend further forward, changing the angle, inviting him to fuck you in earnest and he does, his practiced hand finding your clit without you needing to ask. Frankie always wants to give you the world if he could.

You forget the security guards, the time on the clock until they come back, not caring and soon no longer cognizant of whether time is passing normally or whether you've been suspended in it. The only thing in your orbit is the feeling of Frankie's cock travelling deep into your heat and discovering every sensitive spot inside as if it was the first time he's explored it. Fire and tension build in your core as his fingers dig into your hip to hold you in place, his thumb working your clit in tandem with his thrusts, the rough texture adding an extra sensation that you've never managed to replicate alone.

"Fuck." Half a whimper and half a plea, and Frankie answers it with a loud groan. Your fingers grip the seats so tight that you create marks in the leather. "More, Frankie, please, don't stop. "

"So fucking tight for me, cariño." Frankie sounds utterly wrecked behind you, voice rich and full, his free hand snaking up to clutch the back of your neck, holding you at the perfect angle for him to drive in and out relentlessly, deep and hard the way he knows you crave. "So sweet. Always so good to me when you come home."

Sounds reverberate off the windows: heavy breaths, flesh against flesh, your moans, Frankie's grunts and whimpers as his rhythm inside you starts to falter, both of you close.

A final few strokes of his fingers across your clit and the tight coil inside you snaps, his other hand slapping over your mouth just in time to contain your sounds as you cry out, feeling his cock twitch and pulse as he comes hard, spurting hot inside you. He buries his face in your hair to muffle his own loud groan and it vibrates loud across your scalp and down your spine as you grind your ass into his lap a few more times to draw out the pleasure for both of you, your walls fluttering around his softening cock, until the sensitivity becomes too much.

Collapsing back against his chest is all you can manage and his arms encircle you, holding you close and breathing heavy into your hair. You feel his heartbeat as it winds down, slowing its thumping against your back through the thin cotton of your sundress. Your surroundings take shape as you come down from your high: Frankie has got you. You're home again.

A sudden flash of light through the windshield blinds you both. "Morales? Hey man, I thought that was you! Have fun with your girl, see ya at the bar Friday night!"

You both groan. It wasn't even a security guard -- it was Chad Davis and his frat-boy smirk.

"Fuck me," Frankie sighs in disgust. "I hate airports."

[monkeyssalad-blog]

X-15 Launch from B-52 Mothership by NASA on The Commons Via Flickr: This photo illustrates how the X-15 rocket-powered aircraft was taken aloft under the wing of a B-52. Because of the large fuel consumption, the X-15 was air launched from a B-52 aircraft at 45,000 ft and a speed of about 500 mph. This was one of the early powered flights using a pair of XLR-11 engines (until the XLR-99 became available). The X-15 was a rocket-powered aircraft 50 ft long with a wingspan of 22 ft. It was a missile-shaped vehicle with an unusual wedge-shaped vertical tail, thin stubby wings, and unique fairings that extended along the side of the fuselage. The X-15 weighed about 14,000 lb empty and approximately 34,000 lb at launch. The XLR-99 rocket engine, manufactured by Thiokol Chemical Corp., was pilot controlled and was capable of developing 57,000 lb of rated thrust (actual thrust reportedly climbed to 60,000 lb). North American Aviation built three X-15 aircraft for the program. The X-15 research aircraft was developed to provide in-flight information and data on aerodynamics, structures, flight controls, and the physiological aspects of high-speed, high-altitude flight. A follow-on program used the aircraft as a testbed to carry various scientific experiments beyond the Earth's atmosphere on a repeated basis. For flight in the dense air of the usable atmosphere, the X-15 used conventional aerodynamic controls such as rudder surfaces on the vertical stabilizers to control yaw and canted horizontal surfaces on the tail to control pitch when moving in synchronization or roll when moved differentially. For flight in the thin air outside of the appreciable Earth's atmosphere, the X-15 used a reaction control system. Hydrogen peroxide thrust rockets located on the nose of the aircraft provided pitch and yaw control. Those on the wings provided roll control. Because of the large fuel consumption, the X-15 was air launched from a B-52 aircraft at 45,000 ft and a speed of about 500 mph. Depending on the mission, the rocket engine provided thrust for the first 80 to 120 sec of flight. The remainder of the normal 10 to 11 min. flight was powerless and ended with a 200-mph glide landing. Generally, one of two types of X-15 flight profiles was used: a high-altitude flight plan that called for the pilot to maintain a steep rate of climb, or a speed profile that called for the pilot to push over and maintain a level altitude. The X-15 was flown over a period of nearly 10 years--June 1959 to Oct. 1968--and set the world's unofficial speed and altitude records of 4,520 mph (Mach 6.7) and 354,200 ft (over 67 mi) in a program to investigate all aspects of piloted hypersonic flight. Information gained from the highly successful X-15 program contributed to the development of the Mercury, Gemini, and Apollo manned spaceflight programs, and also the Space Shuttle program. The X-15s made a total of 199 flights and were manufactured by North American Aviation. X-15-1, serial number 56-6670, is now located at the National Air and Space Museum, Washington DC. NASA Media Usage Guidelines Credit: NASA Image Number: E-4942 Date: 1959

[ips-northstar-official]

Atmospheric Re-entry Lancaster Pilot here,

Sorry it took a bit to get back to you, but I can confirm a Lancaster can survive re-entry. It took a lot of work to prevent the reactor from overheating, and controlling pitch, roll, and yaw was next to impossible, but the insulation kept the mech mostly safe from the fire it was engulfed in.

The landing I think was the worst for mech. I only had an EVA installed so the landing was hard, the Lancaster took some serious structural damage, but nothing that couldn't be fixed up in a jiffy.

I must say that I am glad I chose a Lancaster today.

We’re so glad the re-entry went well!

If you wouldn’t mind, could you send us the part of your blackbox recordings during which you made atmospheric re-entry? We’d like to use the data you collected to design systems and system improvements to ensure other Lancers piloting IPS-N frames have the same or better protection as you.

In exchange, we’d like to send you a “I Survived Atmospheric Re-Entry in an IPS-N Lancaster and All I Got Was This Stupid T-Shirt” shirt! Please include your shirt size or approximate dimensions along with the ROM data.

[moose-mousse]

It works!*

So I (FINALLY) put the final touches on the software for my robot PROTO! (Listen, I am a software person, not a coming-up-with-names person)

Basically, it is a ESP32 running him. He takes HTTP messages. Either GET odometry, or PUT twist. Both just being a string containing comma separated numbers

Odometry is the robots best guess based on internal sensors where it is (Since PROTO uses stepper motors, which rotates in tiny tiny steps... it is basically counting the steps each motor takes)

Twist is speed, both in x,y and z directions, and speed in angular directions (pitch, roll and yaw). This is used to tell the robot how to move

Now, since PROTO is a robot on two wheels, with a third free-running ball ahead of him, he cannot slide to the side, or go straight up in the air. You can TRY telling him to do that, but he will not understand what you mean. Same with angular movement. PROTO can turn left or right, but he have no clue what you mean if you tell him to bend forward, or roll over.

The software is layered (Which I use a BDD diagram to plan. I love diagrams!)

Basically PROTO gets a twist command and hands that over to the Differential_Movement_Model layer.

The Differential_Movement_Model layer translate that to linear momentum (how much to move forward and backwards) and angular momentum (how much to turn left or right). combines them, and orders each wheel to move so and so fast via the Stepper_Motors layer.

The Stepper_Motors turns the wanted speed, into how many steps each stepper motor will have to do per second, and makes sure that the wanted speed can be achieved by the motors. It also makes sure that the wheels turn the right way, no matter how they are mounted (In PROTO's case, if both wheels turn clockwise, the right wheel is going forward, and the left backwards.). It then sends this steps per second request down to the Peripheral_Hub layer.

The Peripheral_Hub layer is just a hub... as the name implies, it calls the needed driver functions to turn off/on pins, have timers count steps and run a PWM (Pulse-width modulation. It sends pulses of a particular size at a specific frequency) signal to the driver boards.

Layering it, also means it is a lot easer to test a layer. Basically, if I want to test, I change 1 variable in the build files and a mock layer is build underneath whatever layer I want to test.

So if I want to test the Stepper_Motors layer, I have a mock Peripheral_Hub layer, so if there are errors in the Peripheral_Hub layer, these do not show up when I am testing the stepper motor layer.

The HTTP server part is basically a standard ESP32 example server, where I have removed all the HTTP call handlers, and made my own 2 instead. Done done.

So since the software works... of course I am immediately having hardware problems. The stepper motors are not NEARLY as strong as they need to be... have to figure something out... maybe they are not getting the power they need... or I need smaller wheels... or I will have to buy a gearbox to make them slower but stronger... in which case I should proberbly also fix the freaking cannot-change-the-micro-stepping problem with the driver boards, since otherwise PROTO will go from a max speed of 0.3 meters per second, to most likely 0.06 meters per second which... is... a bit slow...

But software works! And PROTO can happily move his wheels and pretend he is driving somewhere when on his maintenance stand (Yes. it LOOKS like 2 empty cardboard boxes, but I am telling you it is a maintenance stand... since it sounds a lot better :p )

I have gone over everything really quickly in this post... if someone wants me to cover a part of PROTO, just comment which one, and I will most likely do it (I have lost all sense of which parts of this project is interesting to people who are not doing the project)

[leohtttbriar]

a sequence of flying and piloting and manually working the engines and calling out yaw and pitch and roll while the brass is playing and the ship is slowly moving---like that scene in titanic when the ship pulls away and the engines are increased to full power and you see the pistons speeding up and all the people yelling and shovelling and ringing bells---or like that scene in apollo 13 when mission control is getting ready and the movie's main theme finally starts playing in full and the camera "pans" over the entire rocket and---i'm just saying this whole sequence captures so much of mostly implied spirit of adventure in this series.

like they didn't have to make this scene what it was. or maybe they did. with jadzia at the helm, piloting the ship, the character most associated with fun and adventure, a stand in for sally-ride-in-a-space-suit-"the stars don't look bigger [in space], but they do look brighter"-astronaut, flying the spaceship, it just screams "we're in space!" "we're flying a space ship in space because we're space explorers in space!" even while the plot isn't explicitly about that. but also the episode is called "for the uniform," because sisko is largely insulted by eddington's betrayal of starfleet and they had to show what exactly it was that eddington was insulting, even just for one thrilling moment.

[greatwyrmgold]

Wow. Lots of roll fans out there.

*reachable by making an even number of 90 degree rotations

[andmaybegayer]

star wars squadrons feels extremely weird because it's not a flight simulator, it's a star wars starfighter simulator, which means it makes perfect sense to put yaw and pitch together instead of roll and pitch, because these are vehicles that don't need to roll to turn.

I keep on trying to do Ace Combat manouvers. Ace Combat manouvers do not work when you could just yaw on 'em.

The main gimmick is the power management system, where you can divert power to weapons/drive/shields, which also eats up a ton of control space.

I am interested to see how the VR handles but I have other things to do. It's very very visually busy, and I'm taking on the additional challenge of flying instruments-only for now. Might change that.

[lonestarflight]

"AS-500-D configuration I testing ended with a special test to verify the flight control system. The test program included roll, pitch, yaw and longitudinal testing, completed earlier in 1967. AS-500D was a dynamic test article of the Saturn V space vehicle. Seen here on June 20, 1967, the Apollo spacecraft leaves the Manned Spacecraft Operations Building at NASA’s Kennedy Space Center on its way to the Vehicle Assembly Building where it will be mated with the Saturn launch vehicle. The Saturn V was designed at NASA's Marshall Space Flight Center."

Date: March 11, 1967

NASA Marshall Space Flight Center/Flickr: link

[giriduck]

Because boats float, even very large ships can have a movement to them, and an ever-changing (often very subtle) angle of the deck. Like an aircraft, roll, pitch, and yaw exist. In some conditions (like ocean crossing, where 15 ft swells are typically the norm outside of the Doldrums), one grows accustomed to a surfing motion, both above and below deck. Sailing downwind can cause ships to roll side to side a bit. Sailing upwind, a ship heels over to one side. In ocean crossing, a single tack can last a couple of weeks.

With all of this motion, one instinctively learns how to stow things. Don’t stack things, tie things down, set brakes on wheels, etc.

But when a ship is hauled out of the water onto land (less so with dry docks), it’s like solid ground on the ship. The lack of motion is eerie—things can be safely stacked, etc.

Also, because the weight of the ship is resting on her keel, door frames will shift a bit, and doors will not close, drawers will not close, etc. It’s weird.

All this is to say that WW Ganondorf lived in a section of old boat that was effectively hauled out into an enormous old tree, but probably didn’t notice nor care how weird that would feel to a person to spends a lot of time on boats in water (and Tetra didn’t have enough time to notice). 😂

[no-manpress]

Foil - Yaw Pitch Roll - https://rodgerbinyone.bigcartel.com/

[azures-bazar]

Tutorial - Pose and Animations for greater pictures

Hello everyone and welcome to another tutorial !

Today, I’ll explain you a few basic tricks for you to create some good screenshots by using Rampagne Trainer’s Scenario and Animation sections as well as Object Spawner ! I kinda taught myself to use them, allow me to share the little I know with you !

For this tutorial, allow me to create a very sweet scenario : some Kierthur (don’t blame me, I ship Kieran with both Arthur and my OC lmao).

Our boys are having some good time somewhere near Strawberry ! ❤️ - Final results (no Photoshop) by the end of the tutorial

Prequisites

Rampage Trainer by RampageDev

ScripthookRDR2 by Alexander Blade

Red Dead Redemption 2 Animation List by fegma

Installation

Just like a said in the Your Own Character in Story Mode Tutorial, place your unzipped Rampage folder in the game root file :

ex: C:/Azuresbazar/Programs/Rockstar Games/Red Dead Redemption 2

I recommend you to create a mod folder on your desktop, giving you a possibility to check which mods you have and how to delete them if you want, for example, to play Read Dead Online (you can be banned if you use mods on RDO).

Location Selection

The very first obvious task you will give yourself will be to select a desired location for your screenshots. If you're planning to add some objects on the ground, my advice is to select an area where there little to no grass at all.

STEP 1 - Create your setup by using Object Spawner

First of, I recommend you to stop in-game time. Open Rampage Trainer by using the keyboard key and select World, then select Time. Click on Stop Time, so you won't have to build your setup by night. You may also check the Weather section, you will be able to choose your favourite weather type. For the setup, however, I recommend you to keep a rather "sunny" weather.

In order to create your setup, head back to the main menu and click on Spawner. Then, click on Objects. This section will allow you to get all objects located in the Rampage's database.

When setting your setup, I recommend you to use the Creator Cam feature. It might look tricky to use at first sight, but using this camera will allow you to position your objects more precisely... and to basically see what you're doing. Without it, your objects will end up out of sight, which is obviously not something you want !

STEP 2 - Positioning tricks

Unless you want something to float above the ground, going by the positioning section is nearly mandatory.

Here are some details which might help you when positioning objects (and peds) :

Precision will increase/decrease how much your objects will move when you will position them.

X axis and Y axis will adjust the place where your want your object to be on an horizontal axis.

Z axis will allow you to move your object up or down.

Pitch and Roll will adjust your object’s position depending on where you placed them (rolling it a little when you’re on a slope, for example).  

Yaw will turn your object around (max 360°).

Texture will, just like it's called, change your object's texture depending of your choice, some objects might not have another colour.

Dynamic Entity is a feature which somewhat activates gravity if some of your spawned object is floating in the air.

I haven’t quite used the rest of these tools yet. If you know them, feel free to tell me more about it !

As you can see, as of today, I haven’t found a way to hide vegetation under a spawned object. If you have any idea, please let me know !

Now that we created or little setup, it’s time to have fun with peds and poses !

Adding Characters

STEP 3 - Spawn your desired ped

For this set of pictures, I decided I would be using a Chapter 3/4 version of Kieran along with a generic version of Arthur. In order to spawn the two of them, head over to Spawner, then to Peds, and then go to Search Peds.

Kieran Duffy’s ped model : CS_KIERAN, variation 7

Arthur Morgan’s ped model : PLAYER_ZERO, initial variation

Note that Arthur will spawn without a beard. If you want to edit this, you will need to head over to his ped wardrobe. A few beard options will be available, including player John's beards.

Another advice of mine is to freeze the peds you are about to spawn. It will block them from fleeing and move too much during a scenario or an animation. To do such, head over to Spawner Settings and select Spawn Frozen. You may also select Spawn Interactable if you want your peds to respond to you whenever you will want to interact with them.

I decided to allow Arthur to interact with Kieran and himself lmao

STEP 4 - Position your peds

You have two options to position your peds.

Option 1 – Use the creator cam feature :

I’m not very familiar with his one for now. Huge thanks to @adalidposts who made me discover it ! You just need to drag and drop your ped model wherever you want them to be. When you see this little green cross, it means that you can select your ped and move it where you want. The biggest advantage of this positioning trick is that your character wont stop his scenario/animation whenever you will move them.

As of today, I don’t know how to use this feature yet ! I’ll work on it !

Option 2 – Use the positioning feature :

(took me a while to realise but the two horses decided to despawn……….)

This is the feature I’ve been using so far. The menu is almost the same as the one you had for the objects, you just don’t have access to features like Pitch and Roll. This way has its ups and downs, the biggest coin it has it that your character leaves their loop as soon as you use the X, Y or Z axis.

However, as what I have noticed, not all scenarios will be available depending on your character. For example, Arthur won't be able to sit down and sketch when you’ll select the right scenario, or won’t play female-typed scenarios. You won’t be able to play animal scenarios either.

For this tutorial, I’ll use the positioning feature as I’m more familiar to it !

STEP 5 : Make your characters move

Option 1 : Scenarios

We will first start by using a scenario. All of them can be found in the Scenario section when you select your ped ! When you play a scenario with your character, some related objects will spawn. Want to smoke ? A cigarette, a cigar or a pipe will spawn you’re your character’s hand. Want to read something ? Either a journal, a notebook or an actual book will spawn ! Want a drink ? Just pick an option, a bottle or a glass will spawn too !

For this example, I’ll select two scenarios for Arthur and Kieran after positioning them, and this is the result I looked for (almost).

Kieran scenario : WORLD_HUMAN_SLEEP_GROUND_PILLOW

Arthur scenario : WORLD_CAMP_FIRE_LAY_GROUND_SIDE

Kieran scenario : WORLD_HUMAN_SLEEP_GROUND_ARM

Arthur scenario : WORLD_CAMP_FIRE_LAY_GROUND_SIDE + “Thank You” Upper-Body Loop Emote

Option 2 : Animations

Animations are... a very big thing, let’s be honest. It took me a while to realise how they worked, and I have still many things to learn since I have barely tried ten or eleven dictionaries so far.

Animations work exactly like scenarios. However, props won’t spawn when your character will get into one. The main advantage is that you’re actually free to use whatever animation you want, scenarios which were locked for your character can be unlocked by selecting the right animation. You want Arthur to act like Abigail with Charles ? Feel free to pick up an animation and use it as you wish !

A full list of animations can be found of GitHub with the like I provided above. Don’t worry if you feel lost or something, I was really scared when I first glanced at them ! I advise you to copy them into an xml file and keep them around you might want to use some of them someday.

Rampage provides you a set of animations. In order to access them, go to animation dictionaries and click on reload list. All animations pre-registered in Rampage will be found there, feel free to try them ! Don’t worry if your animation dictionaries list doesn’t look like mine, I already added a few animations inside !

How to play an animation :

Animations can come across as being quite tricky to use. Here is what you will find if you select one of the animations already provided in Rampage.

If you want to use a custom animation from your XML file, head to Play Custom. You will be met with two fields to fill. Select your animation as such :

Set the Anim Flags to 1 so your characters will enter a loop and won’t stop playing the animation you set for them.

Here is our final result by using the frozen couple animation, with the upper body loop of the “thank you” emote (I wanted to make them smile !)

There are plenty animations out there to use ! I still haven’t figured how you can make two peds perform an animation together at the same time (like a dancing animation, I actually look for the right moment and manually click on play to trigger it). Feel free to tell me if you found another way !

Now that you finished preparing your setup and made your peds pose correctly, you might want to change time to get a better lightning. Head back to Rampage’s main menu and select World, then select Time. You will be able to play with the game's clock and get a better lightening. My favourite is either Sunset or Sunrise.

Final Results (without Photoshop, I was being lazy)

NOTA BENE :

Some animations and scenarios can be very glitchy, since many characters were not designed to perform some of them.

If you use the positioning feature of rampage instead of creator cam, your character will stop playing your scenario.

If you want to play Jack's animations/scenarios (some of them are cute), your hat will literally fly above your head.

Some object will get some texture issues depending on your location, or might vanish somewhere depending on your positioning details.

You can add custom animation to Rampage by going inside your Rampage files : Rampage/Lists/PedAnimList.txt

Here's a short list of some cool animations I found so far (mostly couples) :

Hug animation (used in the three last shots) :

script_re@kidnap_victim

thank_you_a_plr thank_you_b_plr thank_you_b_victim thank_you_a_victim

________

Another hug animation :

script_re@proposal@accept

action_male action_female

________

Bed hug animation

cnv_camp@rcbch@slp@bcabi_slp_cnv2

action_abigail action_john

________

Sean and Karen on knees animation (return party)

cnv_camp@rchso@mus@ccunsnkns_sng1

karen_action sean_action karen_intro_base sean_intro_base karen_intro sean_intro

________

Arthur and Karen dance loop (can be used for Mary-Beth)

cnv_camp@rchso@cnv@ccdtc33@player_karen

karen_dance_loop arthur_dance_loop

****

Making this tutorial was tacky since I'm still not really skilled with animations. If you have any questions or corrections to provide, feel free to tell me ! ❤️

[oohnotvery]

Throwing Good After Bad (Chapter 17)

Scully

The deck of the yacht is pitching violently in the storm and only Scully’s childhood training from her naval captain father is keeping her standing. Her injured ankle screams at her but she ignores it, shoving aside thoughts of physical discomfort; she will deal with that later. The boat rears and bucks and she braces herself, clawing with bound hands at Mulder’s shoulder, but he goes down, his shins slapping the planking.

Unsteadily, she hauls him to his feet and they brace against each other and the railing as the boat moves. Ahead of them, Evan stands easily, one hand clamped to a rail and the other hand pointing the gun.

Deep in her gut, Scully knows Mulder is going to do something crazy. She can feel it in his energy, in the way his eyes scan the boat wildly, in the way his body presses her protectively behind him. But he’s weaker than normal, spent from all that throwing up on the boat ride over, and he never has been any good on the ocean.  

“Mulder,” she warns over the roar of the storm, “stay with me.”

He nods like he’s heard her, but she doesn’t quite believe him, so she grabs onto the belt buckle of his jeans, the best she can do with her hands bound as they are.

Evan takes a few steps closer and Mulder’s hands try to reach around to shake her off.

“Let go of me, Scully,” he warns.

“What are you doing, Mulder?” she asks, gripping him tighter. Just three feet away, Evan has the gun aimed directly at Mulder’s chest.

“Down the stairs, into the cabin,” Evan directs, jerking his head towards a set of stairs leading below deck.

But Mulder crouches and lunges, slamming into Evan’s knees, knocking him off balance and sending his gun flying into the air. Dragged forward by her hold on his jeans, Scully collapses to the deck with a painful crack to her knees. Mulder raises both hands to smack Evan across the face but Evan is quick to block the punch, ducking and rolling before kicking Mulder in the chest.

But Scully isn’t focused on their fight. As the boat lurches to the side, she sees Evan’s gun start a slow slide down the deck. She dives for the weapon, clambering over Mulder and Evan’s brawling bodies. Her fingertips brush the butt of the weapon and she surges forward, kicking someone in the face as she does. Out of the corner of her eye, she notices a lifeboat that appears to have been lifted and strung up, as if it’s ready to go at any moment. She stores that information away for later. As the boat yaws to the other side, the gun slips from her fingers and rattles away from her.

“Sculla-a-y!” Mulder yells and she glances behind her to see a large wave crash over the edge of the boat, sending streams of seawater running onto the deck. Still on hands and knees, she scrambles to grab anything she can hold—a rope—as water sloshes brutally around her.

The deck is so slick from the storm that she slips and falls trying to get her feet out from under her. With her hands bound, she can barely push up to kneeling again, and by the time she is on her feet, she sees that Evan has Mulder in a chokehold.

“Let him go!” she screams, running unsteadily towards the pair. Without his hands free, Mulder has lost this fight.

She’s grabbing desperately for Evan’s shoulders but the man is quicker than she; he slams Mulder’s head into the wooden deck before shoving her partner towards the stairs. She screams as Mulder tumbles down into the main cabin.

For a split second, she lunges towards Mulder, who she can hear moaning below. But then she spots it, shiny and slick with rain and seawater—Evan’s gun.

She’s only got one chance.

Ignoring the pitch and roll of the deck, she runs towards the gun, grabbing handholds where she can and dragging herself forward. She’s stretching out with both hands when she feels it—strong hands grabbing her shoulders and yanking her backwards. She screams in frustration as Evan pitches her down the hatch with Mulder. Her head slams against the wall as she tumbles down and she lands with a grunt on top of her partner.

Inside the well-lit main cabin, it takes her a few seconds to get her bearings—the rolling motion of the ship doesn’t help—before she’s crawling off of Mulder with an anguished apology. She helps turn him onto his back before feeling around his forehead and skull for wounds. Finding none, but noticing that Mulder’s expression is dazed and his complexion pale, she helps him scramble to standing. She has just enough time to take a breath before Mulder starts shoving her towards the back of the cabin, his hands gripping deathly tight to her shoulders.

“Don’t argue with me, Scully,” he warns darkly, sweat and rainwater rolling down his neck and into the collar of his shirt. And with one final shove, he’s pushing her into an open door and slamming it shut, locking her into some sort of dark, cramped closet.

Scully wails in anger and pounds at the door, banging and screaming for him to open it back up, to let her inside the cabin. She has no doubt that Evan has recovered his gun and will be just furious enough to use it if Mulder does anything else reckless.

“Mulder, let me out!” she shouts, slapping her palm against the door. She jiggles the handle and finds it won’t budge.

There’s a scuffling noise on the other side of the door and she starts banging her fist again. She needs to get to Mulder.

“Mulder, I swear to God—”

A gunshot goes off. Someone screams in agony. She freezes, her hand poised to knock again.

She knows that scream.

All the blood rushes from her face as the door wiggles and swings open, revealing Evan, sweaty, flustered, soaking wet, and holding the pistol in his right hand.

Scully shoves past him in terror and finds Mulder collapsed to the floor, his eyes closed, his mouth hanging open in agony. She dives to her knees and starts scanning him for the wound, checking first his head and then his chest. Finally, she sees blood bloom across the top of his shoulder—a non-critical location— and she breathes out a low, relieved sigh.

Behind them, she distantly hears Evan dragging something around the cabin, but she ignores it in favor of Mulder.

It’s awkward tearing at his shirt with both hands bound, but she manages to pull back the collar enough to study the wound closely. She presses down hard on the area and Mulder’s eyes wince open in pain.

“I’m so sorry,” he exhales raggedly, and she shushes him, shaking her head.

“It’s just a graze,” she says honestly, but he looks like he’s in more pain than he should be. “Mulder?” she asks nervously when his face starts to grow paler. “Mulder?” She tears anxiously at his shirt, searching for a hidden wound, something she hadn’t caught on her first examination. She’s about to beg him for an answer when he sits up and pushes her away so hard that she falls to the side.

And then he turns over and starts to vomit.

“Oh,” she murmurs, army crawling across the floor to touch his back soothingly.

He coughs violently and turns his head slightly to look at her.

“I’m not done,” he rasps, and she’s about to tell him that the sick feeling will pass, but he cuts her off with a low voice. “I’m not done with him. You’re getting off this boat alive, Scully.”

“Mulder—”

Behind them, Evan’s voice calls out. “If you’re done throwing up the contents of your last meal, would you two like a moment to say goodbye?”

Scully glances back at him and sees what he’s created: a set of heavy gray cinderblocks, to which he has attached two thick ropes of metal chains. It’s so simple that it surprises her.  She swallows, lifting her eyes to Evan’s. She recalls the lifeboat, ready to go, ready to plunge into the sea at any moment. She suddenly knows his plan.  

“You’re going to drown us,” she whispers. “You’re going to chain us to those blocks and sink this ship while you get out scot-free on that lifeboat.”

Evan swallows hard but doesn’t respond. His fingers twitch nervously. At her side, Mulder retches again and instinctively, she reaches out to pet his hair.  

Evan gestures towards Mulder. “Say your goodbyes.” His voice is clipped, strained. Scully studies the cinderblocks again, imagines dying slowly underneath the slip of the sea. She doesn’t want to die. She doesn’t want Mulder to die.

Her eyes fill with tears and she meets Evan’s gaze, watches the way he avoids looking at the cinderblocks. There is something human there, right beneath the surface.

“I know they were yours,” she whispers.

Evan’s entire body freezes.

She twists her body to face him more fully. “I know they were your children,” she tells him. “The two who drowned. You were their father. You’re not some tourist guide down from Vancouver; what’s more likely is you’re next-in-line for leader of the Black Sands.” Her heart beats rapidly. At her side, Mulder starts to push himself to sitting. “Isn’t that right? Isn’t that right, Evan?”  

He studies her for a long, hard moment, the only movement in the room the unnerving swaying of the boat around them.

His eyes flicker towards the darkened windows. “They died right on that beach,” he says quietly, tears glistening in his eyes. “Right in front of me. Before I even knew what was happening, they stopped breathing.”

“And you think that killing me and Scully is going to make it better?” Mulder interjects, his voice raw and hoarse. “That it’s going to end your grief?”

Evan shakes his head sadly. “That’s what you outsiders can’t possibly understand. This life requires sacrifice. The people I loved most in this world were taken from me. Violently. Horrifically. It was a clear, direct message straight from Heaven, that what we were doing was wrong. That the sacrifices we were making were wrong.” His voice hitches. “For years, we’ve been murdering our own people, thinking this was what we were called to do.”

“And you think murdering outsiders is any better?” Scully asks in disbelief. “Do you not see the mental gymnastics you have to perform to make that leap?”

Evan shakes his head. “I actually like you both. I genuinely do. I don’t want to see either of you die, especially not in the way we have planned.”

Her stomach tumbles and briefly, she thinks she might also throw up.

“But this is what is required.” Evan pauses for a beat. “I got a radio message about your bathing ceremony. I heard it was especially moving for many.”

“That was private,” Mulder snarls.

Evan raises his hands defensively. “Not the bath itself, you’re right. That was just between the two of you, as you requested. But the revelation of your relationship; of the love you have for each other; of the way you, Mulder, intended to sacrifice yourself for her.” He pauses, then laughs. “I will say, we never could’ve dreamed of a better gift than the two of you. The love you share, the bond you have. Nothing is more sacred—and thus more costly—to us in the Black Sands than the bond of love.”

“Are you kidding me?” Scully asks. “You sacrifice people unwillingly, in apparently quite violent ways—”

“Never,” Evan interrupts with a growl. His head shakes back and forth vehemently. “All of our sacrifices have been willing participants. And they all die in the same, relatively peaceful way—blood loss from a cut to a major artery.”

Scully gapes. “And yet you’re planning on tying us to a sinking ship, so we can slowly drown?”

Evan’s eyebrows crease. “I never said that was how you were going to die.” His eyes flicker over the cinderblocks and back to them. “You will die, and it will be bolder and brighter than how the others have died, that is true. But we must demand Heaven’s attention. The sacrifice of your bond of love will save our community. It will restore us to equilibrium. Because the love I have as a father—the love I have for my children—must be atoned.”     

“You’re right,” Mulder speaks up. “Nothing is more sacred than love.” Scully glances back at him, suddenly nervous again. Her partner is a ticking time bomb. He meets her eyes briefly before shifting onto his knees, a supplicant’s position. “Nothing could be more sacred, more special than a man choosing to sacrifice his life for the woman he loves.” His eyebrows crease plaintively. “Please spare her. Take me and only me. You said the past sacrifices went willingly. I will go willingly. I have more than enough love for her to make Heaven happy. Nowhere on this goddamned planet is there a love bigger than what you’ll find here in my heart for this woman.” Scully’s hands start to tremble. “Please. Let her live.”

Evan’s expression falters. The air around them seems to go still; even the boat seems to rock more gently as Evan—and Heaven—appear to consider Mulder’s request. Scully holds her breath. If Evan does let her go, she still has a chance to save Mulder.

And then Evan shakes his head. “Say your goodbyes.”

Mulder slams his hands into the floor, swearing violently. Scully turns to him and sees the hopelessness, terror, guilt, and anger there—that was his last chance. She swallows past the lump building in her throat. She will not let their last minutes be spent in agony. She raises her bound hands to his face and strokes her fingertips along his jaw. He opens his mouth to speak but neither of them has words. In disbelief and despair, he shakes his head. And she leans forward and kisses him, opening her mouth to his even as he mumbles an apology about getting sick earlier.

But she doesn’t care about that. She kisses him until her eyes start to brim with tears, and then she moves her lips to his forehead, then his cheeks.

“Was that a goodbye kiss?” he asks weakly, his complexion pale and lifeless.

Biting her lip to keep from sobbing, she shakes her head. “I promised you that this is not the last time we’re together. In this life, or in any other life. My soul will always find your soul, Mulder.” She believes it. She has to believe it.

“Oh, Scully,” he whispers weakly, tipping his head to her shoulder.

Evan gently extracts them from each other and Scully lets the tears run freely down her cheeks as he secures metal bindings around her handcuffs, attaching her to the cinderblocks. Evan attempts to move Mulder next, but her partner makes one final attempt at a getaway; Evan pistol whips him across the back of the head, looking slightly regretful at the violence. Mulder drops to his seat at Scully’s side.

She leans into him, tears and snot soaking his shirt, and presses a kiss to his shoulder, which is still bleeding. She tastes copper on her tongue.

“Together,” she tells him, and means it.

He meets her eyes hopelessly, looking sad and lost. “It wasn’t meant to end like this. You were supposed to live.”

“Not without you.”  

Evan comes to stand over them and Scully presses herself into Mulder’s side. She wonders what will happen next; how painful it will be; how much they will suffer; who will succumb first.

He looks between them for a long moment, seeming to consider something. Mulder presses a kiss to her cheek, and a whispered I love you ghosts across her skin.

Unable to form words anymore, she tips her forehead to his shoulder. And then Evan disappears. When he returns a moment later, he has a Zippo lighter in his hand, which she notices is shaking.  

Her brain starts to blur as she makes the realization. At her side, Mulder’s body tenses up, a terrible phobia-driven fear rising and cresting through his muscles.

And that’s when she notices the cannisters. Dozens of them. Up on the deck; down here in the cabin too. She suddenly remembers the rowboat’s trips out to sea over the past few days. How did she not realize? How did she not make the connection?

Evan pours out thick cans of gasoline all over the cabin floor. She assumes he will do the same thing above board before dropping the lifeboat into the ocean and paddling away. If that fails, he can always catch a ride with Jules and Harlan, who are supposedly still waiting for him.

The stench of gasoline fills her lungs. Beside her, Mulder quakes.

Evan stares at them one last time, the lighter in his hand. It flickers, a flame dancing before his eyes. And then he drops it to the floor.

The cabin springs up in flames.

So, this is how they’re going to die, Scully realizes as smoke starts to fill the cabin. Not by water, but by fire. She can’t decide which is worse.

Evan sends them one last regretful look, then disappears through the cabin door.