#single phase inverter

[xindunpower]

What Is The Use Of Off Grid Three Phase Inverter？

Solar inverter is the core component of the solar system, and its main function is to convert direct current(DC) into alternating current(AC). In the number of phases output by the inverter, it can be divided into single-phase inverter and three-phase inverter. For factories, enterprises and other commercial use of electrical appliances are mostly three-phase high power loads, usually choose three-phase inverter. Let's learn more about the role of off-grid three phase inverters. The three-phase inverter converts the DC to three-phase AC. At this point, the three-phase power can carry three-phase loads. The three-phase inverter can not only support 100% imbalance loading, but also carry single-phase loads for home users. Each phase of the three-phase power supply and its neutral point can form a single-phase circuit to provide power for single-phase loads commonly used in the home, such as washing machines, televisions and other appliances.  Our HDSX three-phase inverter is providing stable and reliable solutions for home , industrial and commercial applications. It not only supports three-phase unbalanced load, 3 times peak power, pure sine wave output, but also supports setting different working modes based on variable usage requirements. With complete output protection, you can use it with peace of mind. This could be the three-phase inverter solution you’ve been looking for! Get in touch with Xindun now to learn more.

[midseo]

Industrial Voltage Controller, Industrial Voltage Stabilizer

Industrial Voltage Stabilizer : We are Industrial Voltage Controller manufacturer and supplier in Mumbai, India. Call Now.

High Capacity Voltage Regulating Devices. Avc - Automatic Voltage Controllers, Apfc Panel - Automatic Power Factor Control, Step Down Transformers, Isolation Transformers, Ahf - Active Harmonic Filter, Single Phase Stabilizer, Three Phase Stabiliser, Air Cooled Stabiliser, Single Phase Inverter, Three Phase Inverter, Lift Inverter, Power Transformer, Ups, Variacs, Solar Products, Solar Home Lighting Systems, Active Harmonic Filters, Air Cooled Stabilizer, Apfc Panels, Automatic Power Factor Control Panels, Automatic Voltage Controllers, Inverters, Inverters, Isolation Transformers, Power Transformers, Single Phase Stabilizers, Solar Home Lighting Systems, Solar Power Generator, Solar Products, Step Down Transformers, Three Phase Stabilizers, Transformers, Ups, Ups And Inverters, Ups Systems, Variacs, Apfc Panel - Automatic Power Factor Control, Automatic Voltage Stabilizer/Controller , Oil Cooled Automatic Voltage Stabilizer/ Controller, Air Cooled Automatic Voltage Stabilizer/ Controller, Automatic Servo Voltage Stabilizer/ Controller, Industrial Voltage Stabilizer/ Controller, Three Phase Automatic Voltage Stabilizer/ Controller, Single Phase Automatic Voltage Stabilizer/ Controller, Step Up Transformers, Step Down Transformers, Isolation Transformers, Inverters, Ups System, Active Harmonic Filter.

[solarau]

Harnessing Solar Power for Sustainable Living

In this comprehensive review, we look at the complexities of Sunways phase inverters, their role in the transition to renewable energy, and their impact on sustainable living.

[invertercoverm]

A custom designed inverter cover recommended for use on Sungrow Inverter Cover - Single Phase RS Series - FCC01-H (2 Colours) inverters. This high quality inverter cover looks great, fits the inverter perfectly and maintains access to the LCD screen.

[microtekenergy]

SINGLE PHASE SOLAR INVERTER

Microtek Single Phase Solar Inverter 3.6KW-8KW is suitable for small solar off-grid systems or various household loads.

Pure sine wave inverter has high conversion efficiency and stable performance; factory direct sales, welcome to inquire.

Types Of Single Phase Solar Inverter

SUNSHINE 3.6/5.6KW Off Grid Inverter

SUNSHINE is an off-grid inverter from Microtek with MPPT function, which can convert solar energy to the maximum extent; with RGB lighting, it has a gorgeous appearance and has three lighting modes. Its Rated Power is 3.6KW, suitable for small home, RV or outdoor.

SUNSHINE 8KW Off Grid Solar Inverter

SUNSHINE 8KW has two power models, which can meet the needs of most medium and large power equipment. Photovoltaic input, no need to connect to the grid, eliminating the trouble of power failure. Touchable LCD panel design for easy operation.

SUNRISE 4.2/6.2KW Off Grid Inverter

Touch Button and LCD; Wifi Monitor; USB On-the-go Function; Work with or without Battery; Communication port for BMS.

SUNBATH 3.5/5.5KW Off Grid Inverter

With 100A MPPT Solar Charge Controller Built-in; Efficiently Work With or Without Battery; WIFI Function Optional; With Touch Button on the LCD Display.

SUNNY 5KW Off Grid Inverter

The SUNNY series product is an off-grid solar inverter with parallel function. The stable and good parallel operation of the inverter will greatly improve the reliability and capacity of the micro grid system. This model can be connected in parallel with a maximum of 9 inverters.

SUNSEEKER 5KW Hybrid Solar Inverter

Built-in WIFI for Mobile Monitoring(Requires APP); 5KW Work as Off Grid and On Grid; Max. Can Be 9pcs in Parallel With Optional Kit; Compatible with Lithium Battery; High efficiency with or without battery.

SUNSEEKER 6KW Hybrid Solar Inverter

Dual AC&12Vdc Output; With RGB Light; Parallel up to 9pcs optional; Real Hybrid can Feed to Grid; Touch Button and LCD.

SUNSEEKER 8KW Hybrid Solar Inverter

Large Touch LCD Screen; Can Work with LiFPO4; Dual MPPT tracker inside; Parallel up to 6pcs optional; Optional WiFi function.

Single Phase Solar Inverter Manufacturer And Supplier

Microtek Single Phase Solar Inverter, Superior quality, High conversion efficiency

Microtek inverter manufacturers have long been focusing on the R&D, production and sales of solar energy, lithium batteries and UPS. We have developed eight series of products including household, single phase, hybrid, off-grid and MPPT solar inverters, with a power coverage of 3.6-8KW. Welcome to contact us!

How Does Single Phase Solar Inverter Work?

Working principle of Microtek solar inverter The process of converting DC power into AC power is called inverter, the circuit that completes the inverter function is called inverter circuit, and the device that realizes the inverter process is called inverter equipment or inverter device.

The direct function of the inverter is to convert DC power into AC power. The core of the inverter device is the inverter switch circuit, which is referred to as the inverter circuit for short. The circuit completes the inverter function by turning on and off the power electronic switch.he power electronic switch.

Single Phase Solar Inverter FAQs



How many types of solar inverters are there?



There are three types of solar inverters. Single-phase, three-phase and split-phase solar inverters.

What is a single-phase solar inverter?



What is the scope of application of single-phase solar inverters?

[veikongelectric]

A Guide to Solar Pump Inverters: Its Features and Why Are They Important - Veikong Electric

This ppt guides you why solar pump inverters are important. The 3 phase solar pump inverter consists of three main components; solar panels, a three-phase pump, and a solar pump inverter. A solar pump inverter gets direct current from a solar panel and converts it into alternating current which is used to drive all pumps. Check out this PPT, where we discussed Solar Pump Inverter features and why they are important.

[genericpuff]

Hello! I’m just here bc I’m a little confused on what you meant by Smythe drawing out “each individual asset” when she was making comics? Now, granted, I can see that it made her file ginormous, but me personally as someone who knows nothing about making online comics but is really wanting to get into it (and also as someone who has a ‘too many layers’ problem myself), is there a way to avoid using too many layers?

My current way of making comics has been to draw the panels individually and then format them (which I know is terrible management wise and also messes with the quality) but I honestly have no other idea of how to do it properly, and seeing how stunning Lore Rekindled looks, I don’t know how you would manage to put all that lighting effects and little details on the same layers. (But also I may be thinking of it wrong so I’ll let you talk qwq)

Ah I can actually give you a visual breakdown of what I meant by that!

So in this you can see there are a TON of layers, and not even all of them are visible because some of them are stuffed into FOLDERS that have been left closed. BUT if you look REEEEALLY carefully-

^^^ These layers right here? That's specifically Minthe from this panel in Episode 61:

(the unique pose here makes it real easy to tell that this is the corresponding panel, you can see the matching body shape with the dark shading that's clipped to the base layer below it!)

So what this means is that Rachel didn't draw all her characters on one base layer, she drew every single character in every single panel separately. Now of course, she could merge all these layers together as working on separate layers helps make it easier to work on elements that collide separately (like one character being 'underneath' another character like Hades is here) but because she has all of those clipping layers with the shading already added in, she likely didn't merge them afterwards because that would actually create MORE problems (because if she merged the Minthe layer in with Hades, then the shading for Minthe that she painted outside of the lines would show up on Hades and then she'd have to erase it which is just a bunch of extra work).

You can also tell all these characters are on their own layer because the layer thumbnail EXCLUSIVELY shows those characters. A layer will show as much canvas length as it needs to cover what's in that layer, so if the thumbnail is only showing one character, that means there's NOTHING ELSE on that layer. If there were more elements on this layer than just Minthe, the layer thumbnail would look more like this:

Now let's compare it to Rekindled's layers! I'll use a completed page to make it fair as we use a lot of extra layers in the post-production phase where we add the texture effects and glow and all that fun stuff, plus I'll even make it a more complicated page like that big nymph explanation spread from Episode 51:

So I'll break it down to make this make more sense:

BG 2 Copy (technically this is supposed to be BG 1) - Basically the panel shapes, what I'll do is mark out the panels with flat blocks and through that we'll add background elements in a clipping layer (usually done by Banshriek). Often times they'll do multiple layers to make the process easier and then merge them all together in the end. With these shapes operating as panels, it means I can just auto select the whole layer, invert the selection, and easily erase whatever's outside of it (such as the lineart and base colors that I put down afterwards). I could just use masking layers like I did in [AFTERBIRTH] but I find this way works better for the process of making Rekindled.

BG 2 - This is where we add objects / foreground elements. So stuff like furniture, interactables, anything that needs to be kept separate from the larger background to make it easier to work with. This can also include "floating" panels that need to be above other panels, such as this:

All of the backgrounds are then nested in a folder for organization purposes (we also sometimes use clipping layers on top of those folders to apply extra effects over anything contained within that folder without affecting other folders, that's a common technique that Banshriek applies)

Then we get into our Characters folder:

BASE - This is where I do the majority of my work, all the characters in every panel on a page are flatted into this layer. Sometimes I do have to create separate layers to, again, make it easier to work with overlapping characters, but usually those layers will be merged before I go into the shading process. I simply shade on a single layer by using the lasso / magic wand tool to select my area for painting, the flat colors make it really easy to do that. Sometimes I need to create a secondary shading layer if I've put down dark colors that start to bleed into the lighter colors, but again, I merge when I'm done into a single shading layer. We also sometimes employ an Add (Glow) layer into the clipping set if we need a glow effect that's exclusive to the characters and doesn't travel outside of their base colors.

There's a (leaves) layer here that I used for the dryad because I needed the leaves to be above the base layer, after that I selected the leaves elements so that I could erase the lineart in the layer above it where needed.

LINEART - It's lineart, enough said haha That said, I do think Rachel actually uses clipping layers for her lineart in places, it seems to be visible in some of her process videos where you can see the lineart present in a clipping layer, and that would explain why there are panels where the lineart suddenly 'cuts off' and doesn't travel outside of the base layer, like so:

GLOW - This is where we do an Add (Glow) layer that isn't restricted to the base layer, it's where we add all the fun lil' glow and sparkle effects over the characters !

The CLOUDS layer is, like the leaves, a background element that needs to be above the base layers rather than constricted to the background.

Above the Characters folder you can see what I mentioned earlier where Banshriek has added more post-production effects that are exclusively clipped to the contents of the Characters folder. This means the effects / blend modes do NOT affect the background layers or anything above it.

The BLUR (Overlay) layer is something we just started doing over the past several episodes, it's a technique I actually picked up from 66 of City of Blank where I merge all the layers into a new visible layer which I then apply a Gaussian Blur to at around 60% and then set to Overlay (and then I adjust the layer opacity until it looks right, usually around 25-35%), it gives it a bit of a softer "dreamier" vibe in the final colors and really helps unify everything!

CANVAS - This is an Overlay layer which is also set to an opacity of 25-35% where I go over the panels with the Add Canvas brush from the Kyle Webster set, unlike the Canvas overlay texture in CSP I can actually choose the colors I want to use which means I can match the canvas texture color to the mood and environment of the scene (ex. I'll use a very light blue for scenes in the Underworld). Not only does it give it that signature texture from S1 of LO, but it also helps balance out the effects of the BLUR layer.

The SKETCH layer sits on top of everything and gets turned off once all the base layers and lineart are down, and ofc the SPEECH folder is just where all the text is kept.

I know everything I just laid out is a LOT but ultimately it's how we operate, it works for us! But it also begs the question of why Rachel operates the way she does because a lot of it seems extremely unnecessary and more likely to bite her in the ass (the more layers there are, the bigger your file size gets, the risk of drawing on the wrong layer increases as well as the risk of posting a panel that's missing elements because the layer was left turned off by mistake, etc.) And it's more so concerning with how she operates with her assistants because if she's still using this many layers when collaborating with other people, hooo boy. Though based on what I've observed of what her assistants contribute, I get a lot more of the sense that she circumvents this by having the artists do the flats separately and then importing them in as separate assets that she then just imports into the page and places them where they need to be. Still not a great workflow IMO because it's what's led to a lot of the issues of characters "floating" rather than feeling like they're actually in the environment-

-but that's still an issue that could be solved by Rachel just taking more time to actually flesh out the backgrounds and lighting to give more of an impression of the characters actually existing in the space. Like that Hestia panel could easily be fixed by just giving the background a bit more detail and putting actual shading underneath her (and lighting from whatever direction it's coming from).

Either way, regardless of whether or not Rachel's process is productive or not, I hope that breakdown helps explain how we do it in Rekindled! Learning how to manage layers is definitely a skill that can be tricky to harness, but once it "clicks" there's a lot you can get away with. Ultimately how you do it is up to you, but my best piece of advice to offer is to just be open to other types of workflows because you don't know how much you might be shooting yourself in the foot doing things the hard way when there are often way easier and more efficient ways to get the same job done. That's basically the vibe I get from observing Rachel's workflow, it seems like she's still using methods that she thinks are working for her (and probably did work just fine for her when it was JUST her) but could be vastly improved for her and her team if she'd just get over the initial hump of stepping outside of her comfort zone. Would probably make for a better comic too LOL

I hope that helps! Good luck! ( ´ ∀ `)ノ～ ♡

[makeste]

So before the next chapter translation/recap drops, I wanted to ask what you think of Bakugo very likely being AFO's final opponent? I didn't really see that coming. The rival is always there, but they usually team up with the MC for the final fight or aren't part of it (Vegeta during all the DBZ saga final villains, Sasuke at the end of Shipuuden). AFO isn't even Bakugo's personal villain, like Dabi is Todoroki's and Himiko is Uraraka's. I'm trying to wrap my head around it so it's more satisfying, but while it's REALLY AWESOME, I'm not feeling the *personal* stakes and ngl I spent half the time wondering if Deku would swoop in. I'm guessing he won't, final battle Shigaraki vs Deku, but yeah.

I think it's an interesting subversion of the usual final boss tropes. it's true that AFO and Bakugou don't have much in the way of personal history. they lack the tragic family ties of Dabi and Shouto, or the frequent homoerotic encounters of Toga and Ochako. Horikoshi clearly went a different route here.

that being said, there are a few things I do like about the setup. first, I really like that Bakugou chose Kid For One to be his final villain (and then inverted things on top of that -- you're not my final boss, I'm your final boss, lol). it's very much in line with his usual stubbornness and singlemindedness. everyone else -- Izuku, Shouto, and Ochako -- were sort of unwillingly dragged into their conflicts by fate. but Bakugou wanted a final boss so much that when life didn't conveniently hand him one, he went out and DEMANDED one. literally DIYed his own. that's the most Bakugou thing ever tbh.

second, I like the recurring theme of AFO creating his own demons. he's so powerful that the only thing that can bring him down is his own hubris. he accidentally created OFA by trying to dominate his baby brother. he tormented the OFA users for centuries only to be mutilated by a royally pissed-off All Might. and he has been snidely dismissive of Bakugou on multiple occasions throughout the manga, which is certainly looking like one hell of a mistake right now. not just because he missed the opportunity to kill him off on earlier occasions, but also because we all know that the more you ignore Kacchan, the more determined he is to prove you wrong.

third, I like that AFO is the one who apparently has personal trauma and not the other way around. even if the extent of his trauma is just, "you look like the guy I really hate!!", lol. it's unexpected and mildly amusing and I enjoy it.

and lastly, while I'm probably not super qualified to weigh in on this (seeing as there's a big chunk of the Deku vs. Tomura/AFO fight which I still haven't read yet, so I don't know how much ground has been covered already), I'm not so sure that this is the actual final battle. as you mentioned, those usually involve the rival teaming up with the MC against a single final villain. and neither Tomura nor Kid For One is giving me genuine final boss vibes tbh. I think AFO, and not Tomura, will be the final "final boss", but I'm guessing it will be a different version of AFO. either the AFO currently taking up residence in Tomura's head, or, potentially, the one possibly hanging out in Deku's.

either way though, that also means the final phase of this battle will likely take place not in the real world, but inside the OFA/AFO Mojo Dojo Casa Realm. and I think it will be Deku, Katsuki (since I'm convinced he also has OFA), and Tomura (plot twist) united against AFO. which I think would make for a much stronger final battle than the current setup. we were promised an ending which would surpass Heroes Rising in epicness, after all. a simple Deku vs. Tomura would hardly cut it, especially with Deku having already pushed himself to his limits and revealed all of his current OFA tricks that we know about. gotta be more to it.

so yeah, those are my thoughts. I'm enjoying the current antics, but I do think they are miniboss antics and not final boss ones. any finale that doesn't involve multiple OFA users teaming up against a single AFO wielder is going to feel a bit like it missed the point. it's literally in the name, lol. we need the "all" versus the "one", or else all that foreshadowing goes to waste. that's my hope at any rate.

[singlesablog]

The Imperial Phase

“Left to My Own Devices” (1988) Pet Shop Boys Parlophone / EMI Records (Written by Tennant / Lowe) Highest U.S. Billboard Chart Position – No. 84

I was faced with a choice at a difficult age Would I write a book?  Or should I take to the stage? But in the back of my head I heard distant feet Che Guevara and Debussy to a disco beat

- from “Left to My Own Devices”

“We had been so disciplined at making four-minute pop singles, with the exception of "It's a Sin", which is five minutes. The idea was to have an album where every track was a single

- Pet Shop Boys on the idea behind Introspective

I used to joke with a friend that the two albums in Pet Shop Boys catalog that sat next to one another could have swapped their titles: Introspective (1988) could have been titled Behaviour (1990), and vice versa.  Introspection is from the Latin (“to look within”), and I guess this kind of works; an album titled Self Referential would not be nearly as catchy, if more accurate. Oddly, I always thought of introspection as being related to looking backwards, like nostalgia; in the case of the Pet Shop Boys it is perhaps just a case of inverse-ness (gay people were once called inverts), or even a thoughtful kind of literal thinking.  But who knows, they could have just pulled the title out of a bag.  The duo was never averse to fashion.

The album (if you are unware) consists of six extended tracks, and unlike the quote above, only 4 of them were released as singles, “Domino Dancing”, “Devices”, “Always on My Mind” (which preceded the record and was presented in a much different version), and “It’s Alright”.  “It’s Alright” and “Always on My Mind” are covers, “I Want a Dog” and “I’m Not Scared” are recycled cuts, so the album only contained two original songs, “Domino Dancing” (a huge hit all over the world) and “Devices” (an even bigger hit in the UK, but not in the US).  Like the EP Disco, an earlier collection of 6 extended cuts, it treated the form with respect, but also expanded the idea of what a proper album could be.  To my mind it is easily one of their very best, most original, and certainly most popular (internationally it is their best seller ever).  I love every track (with a small mark off for “It’s Alright”, which does grow a little tedious), but none as much as “Left to My Own Devices”, which is formally audacious and endlessly, thrillingly queer from a gay male perspective.

I was faced with a choice at a difficult age Would I write a book?  Or should I take to the stage?

Back to the idea of introspection, most young gay men have an intense inner life, and we of a certain generation (coming of age in the 1970s and 1980s) were forced to find our culture on our own.  “Left to My Own Devices” is a catalogue of the thoughts and ideas that might roam around in a bachelor’s world.  One of the slyer things about the song is that most of it is spoken word.  Here we find Neil rapping (again!) but instead of trying to create the beat the effect is more like reportage than singing.  The lyrics, as usual, are a collage of ideas carefully cut and pasted to create an atmosphere of bourgeois dandyism (“I phone up a friend who’s a party animal”, “we’ll do some shopping”)—I mean, there is a lot of tea drinking in these lyrics, and I can never be sure that this is either very gay, very British, or both.  I think the Pet Shop Boys, song to song, are generally more in search of a tone where content is concerned, and I also think that tone is always meant to elude you a bit.  As long as you are dancing I don’t think they care what you think, and one sure thing about Introspective is that this certainly is a dance record, and not well understood as one of the most purchased and successful House records ever made, and if you are ever in any doubt of that, please focus on the opening of “Left to My Own Devices”, where they employed an actual opera singer (Sally Bradshaw) to sing the word “house” over and over again as if it were an aria.

All of this can be seen as sardonic (their infamous “irony”) but I always prefer to think of it as sophistication; at the very least, Pet Shop Boys take their ideas and music seriously.  If you read my blog post on Chic’s “Good Times” you can easily understand the courage of performing this style of music in earnest in a world of the backlash that “Disco Sucks” created, which effectively took the bubbles out the late 70s, forced an entire world of music underground, and ironically exploded the genre into many different forms, some of which this record preserves.  There is a level of irony abounding in “Left to My Own Devices”; aside from the gay thing, perhaps that subversiveness is built into the genre of disco music itself.  The track did not really chart in the US outside of the clubs, but that hardly mattered: one could really enjoy Introspective as a gestalt, one long thought, or even one long track.  Whenever I find that I have an itch to listen to the album it is inevitably for the opening of “Devices”, where amidst a full symphony Neil opens with “I get out of bed at half past ten” and then proceeds to take you on a long ride describing a mundane day conducted by the best producers and mixers in the world.  It is the transformation of the mundane into the extraordinary, and also the testament of an inner life revealed.  In contrast to the general success of the album, perhaps “Left to My Own Devices” is the real innovation of the 6 tracks; it may not be the most American, or the most well-known, but being an invert myself, I must say: I rather like it that way.  Is it an irony that a disco record can make one feel seen?  Maybe not.  To some of us, hiding in plain sight just comes naturally.

---

Behaviour (1990).

Tennant later regretted the release of Introspective so soon after the previous album, Actually, feeling that it pigeon-holed them as a dance act.  The melancholy follow-up, Behaviour, generally considered to be their finest achievement, was a relative failure.

I was surprised to learn that “The imperial phase” was actually put into the vernacular by Neil Tennant. The imperial phase is the period in which a musical artist is regarded to be at their commercial and creative peak simultaneously, and was coined to describe the group's feelings on their career circa "Domino Dancing" (1988). Critic Tom Ewing described three criteria for defining an artist's imperial phase as "command, permission, and self-definition".

It was genius producer Trevor Horn who came up with the line “Debussy to a disco beat” tossing it off while laying down a track.  Tennant, ever the historian, collaged it into the song, and gave Horn a writing credit on the b-side “The Sound of the Atom Splitting” as compensation.

Apparently, Neil Tennant’s mother was upset at hearing him sing “I was a lonely boy, no strength, no joy, in a world of my own” but it seems that this is just a character he was play acting: he apparently had a happy childhood.

"In a secret life I was a Roundhead general" – [In British history] the "Roundheads" were the pro-Parliamentary forces during the English Civil War of the mid-1600s. The name "Roundheads" came from the fact that they generally wore their hair trimmed short, unlike their opponents, the long-haired "Cavaliers" who supported King Charles I. (And in case you're not up on your British history, Charles I was ultimately defeated, deposed, and beheaded.) Again, Neil has pointed out that, as a child, he himself would actually have been far more sympathetic to the Cavaliers (in contrast to his more anti-royalist sympathies as an adult). 

- (Directly quoted from geowayne.com)

Pet Shop Boys are still recording. Nonetheless, the Boys 15th studio album, was released April 26th, 2024 to near universal praise.

-----

This post was written using analog techniques to collate facts.  After deciding on a topic, one Wikipedia entry will naturally suggest another, and then I let those concepts create an environment of creative association rather than mere fact finding. I do cross reference sources to find what is most interesting.  While some small details may be disputable, none is used for any other reason than to open up the idea at hand, and to support the belief that most pop songs are indeed works of art, with the great ones renewing themselves endlessly.

[myrawjcsmicasereports]

 Inhibition of EIF4E Downregulates VEGFA and CCND1 Expression to Suppress Ovarian Cancer Tumor Progression by Jing Wang in Journal of Clinical Case Reports Medical Images and Health Sciences

Abstract

This study investigates the role of EIF4E in ovarian cancer and its influence on the expression of VEGFA and CCND1. Differential expression analysis of VEGFA, CCND1, and EIF4E was conducted using SKOV3 cells in ovarian cancer patients and controls. Correlations between EIF4E and VEGFA/CCND1 were assessed, and three-dimensional cell culture experiments were performed. Comparisons of EIF4E, VEGFA, and CCND1 mRNA and protein expression between the EIF4E inhibitor 4EGI-1-treated group and controls were carried out through RT-PCR and Western blot. Our findings demonstrate elevated expression of EIF4E, VEGFA, and CCND1 in ovarian cancer patients, with positive correlations. The inhibition of EIF4E by 4EGI-1 led to decreased SKOV3 cell clustering and reduced mRNA and protein levels of VEGFA and CCND1. These results suggest that EIF4E plays a crucial role in ovarian cancer and its inhibition may modulate VEGFA and CCND1 expression, underscoring EIF4E as a potential therapeutic target for ovarian cancer treatment.

Keywords: Ovarian cancer; Eukaryotic translation initiation factor 4E; Vascular endothelial growth factor A; Cyclin D1

Introduction

Ovarian cancer ranks high among gynecological malignancies in terms of mortality, necessitating innovative therapeutic strategies [1]. Vascular endothelial growth factor (VEGF) plays a pivotal role in angiogenesis, influencing endothelial cell proliferation, migration, vascular permeability, and apoptosis regulation [2, 3]. While anti-VEGF therapies are prominent in malignancy treatment [4], the significance of cyclin D1 (CCND1) amplification in cancers, including ovarian, cannot be overlooked, as it disrupts the cell cycle, fostering tumorigenesis [5, 6]. Eukaryotic translation initiation factor 4E (EIF4E), central to translation initiation, correlates with poor prognoses in various cancers due to its dysregulated expression and activation, particularly in driving translation of growth-promoting genes like VEGF [7, 8]. Remarkably, elevated EIF4E protein levels have been observed in ovarian cancer tissue, suggesting a potential role in enhancing CCND1 translation, thereby facilitating cell cycle progression and proliferation [9]. Hence, a novel conjecture emerges: by modulating EIF4E expression, a dual impact on VEGF and CCND1 expression might be achieved. This approach introduces an innovative perspective to impede the onset and progression of ovarian cancer, distinct from existing literature, and potentially offering a unique therapeutic avenue.

Materials and Methods

Cell Culture

Human ovarian serous carcinoma cell line SKOV3 (obtained from the Cell Resource Center, Shanghai Institutes for Biological Sciences, Chinese Academy of Sciences) was cultured in DMEM medium containing 10% fetal bovine serum. Cells were maintained at 37°C with 5% CO2 in a cell culture incubator and subcultured every 2-3 days.

Three-Dimensional Spheroid Culture

SKOV3 cells were prepared as single-cell suspensions and adjusted to a concentration of 5×10^5 cells/mL. A volume of 0.5 mL of single-cell suspension was added to Corning Ultra-Low Attachment 24-well microplates and cultured at 37°C with 5% CO2 for 24 hours. Subsequently, 0.5 mL of culture medium or 0.5 mL of EIF4E inhibitor 4EGI-1 (Selleck, 40 μM) was added. After 48 hours, images were captured randomly from five different fields—upper, lower, left, right, and center—using an inverted phase-contrast microscope. The experiment was repeated three times.

GEPIA Online Analysis

The GEPIA online analysis tool (http://gepia.cancer-pku.cn/index.html) was utilized to assess the expression of VEGFA, CCND1, and EIF4E in ovarian cancer tumor samples from TCGA and normal samples from GTEx. Additionally, Pearson correlation coefficient analysis was employed to determine the correlation between VEGF and CCND1 with EIF4E.

RT-PCR

RT-PCR was employed to assess the mRNA expression levels of EIF4E, VEGF, and CCND1 in treatment and control group samples. Total RNA was extracted using the RNA extraction kit from Vazyme, followed by reverse transcription to obtain cDNA using their reverse transcription kit. Amplification was carried out using SYBR qPCR Master Mix as per the recommended conditions from Vazyme. GAPDH was used as an internal reference, and the primer sequences for PCR are shown in Table 1.

Amplification was carried out under the following conditions: an initial denaturation step at 95°C for 60 seconds, followed by cycling conditions of denaturation at 95°C for 10 seconds, annealing at 60°C for 30 seconds, repeated for a total of 40 cycles. Melting curves were determined under the corresponding conditions. Each sample was subjected to triplicate experiments. The reference gene GAPDH was used for normalization. The relative expression levels of the target genes were calculated using the 2-ΔΔCt method.

Western Blot

Western Blot technique was employed to assess the protein expression levels of EIF4E, VEGF, and CCND1 in the treatment and control groups. Initially, cell samples collected using RIPA lysis buffer were lysed, and the total protein concentration was determined using the BCA assay kit (Shanghai Biyuntian Biotechnology, Product No.: P0012S). Based on the detected concentration, 20 μg of total protein was loaded per well. Electrophoresis was carried out using 5% stacking gel and 10% separating gel. Subsequently, the following primary antibodies were used for immune reactions: rabbit anti-human polyclonal antibody against phospho-EIF4E (Beijing Boao Sen Biotechnology, Product No.: bs-2446R, dilution 1:1000), mouse anti-human monoclonal antibody against EIF4E (Wuhan Sanying Biotechnology, Product No.: 66655-1-Ig, dilution 1:5000), mouse anti-human monoclonal antibody against VEGFA (Wuhan Sanying Biotechnology, Product No.: 66828-1-Ig, dilution 1:1000), mouse anti-human monoclonal antibody against CCND1 (Wuhan Sanying Biotechnology, Product No.: 60186-1-Ig, dilution 1:5000), and mouse anti-human monoclonal antibody against GAPDH (Shanghai Biyuntian Biotechnology, Product No.: AF0006, dilution 1:1000). Subsequently, secondary antibodies conjugated with horseradish peroxidase (Shanghai Biyuntian Biotechnology, Product No.: A0216, dilution 1:1000) were used for immune reactions. Finally, super-sensitive ECL chemiluminescence reagent (Shanghai Biyuntian Biotechnology, Product No.: P0018S) was employed for visualization, and the ChemiDocTM Imaging System (Bio-Rad Laboratories, USA) was used for image analysis.

Statistical Analysis

GraphPad software was used for statistical analysis. Data were presented as (x ± s) and analyzed using the t-test for quantitative data. Pearson correlation analysis was performed for assessing correlations. A significance level of P < 0.05 was considered statistically significant.

Results

3D Cell Culture of SKOV3 Cells and Inhibitory Effect of 4EGI-1 on Aggregation

In this experiment, SKOV3 cells were subjected to 3D cell culture, and the impact of the EIF4E inhibitor 4EGI-1 on ovarian cancer cell aggregation was investigated. As depicted in Figure 1, compared to the control group (Figure 1A), the diameter of the SKOV3 cell spheres significantly decreased in the treatment group (Figure 1B) when exposed to 4EGI-1 under identical culture conditions. This observation indicates that inhibiting EIF4E expression effectively suppresses tumor aggregation.

Expression and Correlation Analysis of VEGFA, CCND1, and EIF4E in Ovarian Cancer Samples

To investigate the expression of VEGFA, CCND1, and EIF4E in ovarian cancer, we utilized the GEPIA online analysis tool and employed the Pearson correlation analysis method to compare expression differences between tumor and normal groups. As depicted in Figures 2A-C, the results indicate significantly elevated expression levels of VEGFA, CCND1, and EIF4E in the tumor group compared to the normal control group. Notably, the expression differences of VEGFA and CCND1 were statistically significant (p < 0.05). Furthermore, the correlation analysis revealed a positive correlation between VEGFA and CCND1 with EIF4E (Figures 2D-E), and this correlation exhibited significant statistical differences (p < 0.001). These findings suggest a potential pivotal role of VEGFA, CCND1, and EIF4E in the initiation and progression of ovarian cancer, indicating the presence of intricate interrelationships among them.

EIF4E, VEGFA, and CCND1 mRNA Expression in SKOV3 Cells

To investigate the function of EIF4E in SKOV3 cells, we conducted RT-PCR experiments comparing EIF4E inhibition group with the control group. As illustrated in Figure 3, treatment with 4EGI-1 significantly reduced EIF4E expression (0.58±0.09 vs. control, p < 0.01). Concurrently, mRNA expression of VEGFA (0.76±0.15 vs. control, p < 0.05) and CCND1 (0.81±0.11 vs. control, p < 0.05) also displayed a substantial decrease. These findings underscore the significant impact of EIF4E inhibition on the expression of VEGFA and CCND1, indicating statistically significant differences.

Protein Expression Profiles in SKOV3 Cells with EIF4E Inhibition and Control Group

Protein expression of EIF4E, VEGFA, and CCND1 was assessed using Western Blot in the 4EGI-1 treatment group and the control group. As presented in Figure 4, the expression of p-EIF4E was significantly lower in the 4EGI-1 treatment group compared to the control group (0.33±0.14 vs. control, p < 0.001). Simultaneously, the expression of VEGFA (0.53±0.18 vs. control, p < 0.01) and CCND1 (0.44±0.16 vs. control, p < 0.001) in the 4EGI-1 treatment group exhibited a marked reduction compared to the control group.

Discussion

EIF4E is a post-transcriptional modification factor that plays a pivotal role in protein synthesis. Recent studies have underscored its critical involvement in various cancers [10]. In the context of ovarian cancer research, elevated EIF4E expression has been observed in late-stage ovarian cancer tissues, with low EIF4E expression correlating to higher survival rates [9]. Suppression of EIF4E expression or function has been shown to inhibit ovarian cancer cell proliferation, invasion, and promote apoptosis. Various compounds and drugs that inhibit EIF4E have been identified, rendering them potential candidates for ovarian cancer treatment [11]. Based on the progressing understanding of EIF4E's role in ovarian cancer, inhibiting EIF4E has emerged as a novel therapeutic avenue for the disease. 4EGI-1, a cap-dependent translation small molecule inhibitor, has been suggested to disrupt the formation of the eIF4E complex [12]. In this study, our analysis of public databases revealed elevated EIF4E expression in ovarian cancer patients compared to normal controls. Furthermore, through treatment with 4EGI-1 in the SKOV3 ovarian cancer cell line, we observed a capacity for 4EGI-1 to inhibit SKOV3 cell spheroid formation. Concurrently, results from PCR and Western Blot analyses demonstrated effective EIF4E inhibition by 4EGI-1. Collectively, 4EGI-1 effectively suppresses EIF4E expression and may exert its effects on ovarian cancer therapy by modulating EIF4E.

Vascular Endothelial Growth Factor (VEGF) is a protein that stimulates angiogenesis and increases vascular permeability, playing a crucial role in tumor growth and metastasis [13]. In ovarian cancer, excessive release of VEGF by tumor cells leads to increased angiogenesis, forming a new vascular network to provide nutrients and oxygen to tumor cells. The formation of new blood vessels enables tumor growth, proliferation, and facilitates tumor cell dissemination into the bloodstream, contributing to distant metastasis [14]. As a significant member of the VEGF family, VEGFA has been extensively studied, and it has been reported that VEGFA expression is notably higher in ovarian cancer tumors [15], consistent with our public database analysis. Furthermore, elevated EIF4E levels have been associated with increased malignant tumor VEGF mRNA translation [16]. Through the use of the EIF4E inhibitor 4EGI-1 in ovarian cancer cell lines, we observed a downregulation in both mRNA and protein expression levels of VEGFA. This suggests that EIF4E inhibition might affect ovarian cancer cell angiogenesis capability through downregulation of VEGF expression.

Cyclin D1 (CCND1) is a cell cycle regulatory protein that participates in controlling cell entry into the S phase and the cell division process. In ovarian cancer, overexpression of CCND1 is associated with increased tumor proliferation activity and poor prognosis [17]. Elevated CCND1 levels promote cell cycle progression, leading to uncontrolled cell proliferation [18]. Additionally, CCND1 can activate cell cycle-related signaling pathways, promoting cancer cell growth and invasion capabilities [19]. Studies have shown that CCND1 gene expression is significantly higher in ovarian cancer tissues compared to normal ovarian tissues [20], potentially promoting proliferation and cell cycle progression through enhanced cyclin D1 translation [9]. Our public database analysis results confirm these observations. Furthermore, treatment with the EIF4E inhibitor 4EGI-1 in ovarian cancer cell lines resulted in varying degrees of downregulation in CCND1 mRNA and protein levels. This indicates that EIF4E inhibition might affect ovarian cancer cell proliferation and cell cycle progression through regulation of CCND1 expression.

In conclusion, overexpression of EIF4E appears to be closely associated with the clinical and pathological characteristics of ovarian cancer patients. In various tumors, EIF4E is significantly correlated with VEGF and cyclin D1, suggesting its role in the regulation of protein translation related to angiogenesis and growth [9, 21]. The correlation analysis results in our study further confirmed the positive correlation among EIF4E, VEGFA, and CCND1 in ovarian cancer. Simultaneous inhibition of EIF4E also led to downregulation of VEGFA and CCND1 expression, validating their interconnectedness. Thus, targeted therapy against EIF4E may prove to be an effective strategy for treating ovarian cancer. However, further research and clinical trials are necessary to assess the safety and efficacy of targeted EIF4E therapy, offering more effective treatment options for ovarian cancer patients.

Acknowledgments:

Funding: This study was supported by the Joint Project of Southwest Medical University and the Affiliated Traditional Chinese Medicine Hospital of Southwest Medical University (Grant No. 2020XYLH-043).

Conflict of Interest: The authors declare no conflicts of interest.

[xindunpower]

What’s the Difference Between Single Phase, Split Phase, and Three Phase Inverters?

Hello everyone, when we buy inverters, we will hear about single-phase inverters, split-phase inverters, and three-phase inverters. Today, we will share the differences among these three.

First of all, we need to know that the engineering of inverter refers to the process of converting DC into AC. The circuit that completes the inverter function is called an inverter circuit. The machine that realizes the inverter process is our inverter.

Secondly, let's talk about what is "phase"? "Phase" refers to the three-phase live wire (A/B/C). The transformer generally outputs three live wires and a neutral wire (N wire), and usually has a ground wire (PE).

However, we will tell you about their principles as follow:

Single phase inverter consists of a live wire and a neutral wire. The standard voltage between A-N, B-N, C-N is 220V.

Split-phase inverter consists of any two-phase live wire (A-B, B-C, A-C) in the three-phase, the voltage is 380V. For example, the voltage in the United States is split-phase voltage 110v and 220v.

The three-phase inverter is the three live wires, represented by ABC. For example, the three-phase inverter voltage is only 380V. If there is a neutral wire in addition to the three live wires, the voltage will be 220V and 380V. Three-phase voltage is mainly used in industrial areas.

[midseo]

High Capacity Voltage Regulating Devices Manufacturer in India.

We are manufacturer and supplier of High Capacity Voltage Regulating Devices in Mumbai, India. Call Now.

High Capacity Voltage Regulating Devices. Avc - Automatic Voltage Controllers, Apfc Panel - Automatic Power Factor Control, Step Down Transformers, Isolation Transformers, Ahf - Active Harmonic Filter, Single Phase Stabilizer, Three Phase Stabiliser, Air Cooled Stabiliser, Single Phase Inverter, Three Phase Inverter, Lift Inverter, Power Transformer, Ups, Variacs, Solar Products, Solar Home Lighting Systems, Active Harmonic Filters, Air Cooled Stabilizer, Apfc Panels, Automatic Power Factor Control Panels, Automatic Voltage Controllers, Inverters, Inverters, Isolation Transformers, Power Transformers, Single Phase Stabilizers, Solar Home Lighting Systems, Solar Power Generator, Solar Products, Step Down Transformers, Three Phase Stabilizers, Transformers, Ups, Ups And Inverters, Ups Systems, Variacs, Apfc Panel - Automatic Power Factor Control, Automatic Voltage Stabilizer/Controller , Oil Cooled Automatic Voltage Stabilizer/ Controller, Air Cooled Automatic Voltage Stabilizer/ Controller, Automatic Servo Voltage Stabilizer/ Controller, Industrial Voltage Stabilizer/ Controller, Three Phase Automatic Voltage Stabilizer/ Controller, Single Phase Automatic Voltage Stabilizer/ Controller, Step Up Transformers, Step Down Transformers, Isolation Transformers, Inverters, Ups System, Active Harmonic Filter

[solarau]

Pioneering Sustainable Energy Conversion

In this comprehensive review, we delve deep into the world of Sunways phase inverters, investigating their key features, benefits, and critical role in accelerating the transition to a greener, more sustainable energy future.

[singular-yike]

Any thoughts on melon-chama? (What the hell is that nickname my brain just vomited Tenkai's not even young)

Ahh, Tenkai, known by many titles: The "Melon of Terror", the "Terrifying Flying Death Melon", the "Flying Melon of Terror"... "Melon-chama", apparently (It's fine Tenkai can get a little baby talk, as a treat for babysitting Sukune and Sese)

I'll admit I tend to overlook Tenkai themself as a character, treating them more as a lore expositor, but that's absolutely not all they are. Let's dig into One of the Old Dictators—Tenkai Zuifeng

Behind the Melon

Tenkai (天堺 heaven border) is based on the 14th-century Japanese Buddhist monk "Tenkai" (天海 same pronunciation, different kanji).

Tenkai's (the monk) first Buddhist name was actually Zuifuu (随風), which is again similar in pronunciation to Tenkai's surname, Zuifeng (瑞風 lit. fresh, vibrant wind, taken to mean "auspicious wind"). Although Zuifeng takes a Chinese pronunciation of 風 rather than a Japanese one, a reference to the association between the concept of barriers (結界) and the Chinese philosophy of the Five Phases (五行 wǔxíng).

In addition to being a high-ranking Buddhist priest, Tenkai also served as the advisor to the shogun at the time, the great unifier of Japan, Tokugawa Ieyasu (on whom Tsurubami is themself based). This is the basis upon which Tsurubami's relationship with Tenkai comes from.

While the monk's later life is well documented, his early life actually remains an overall mystery. Perhaps similar to how Tenkai's own backstory is unclear, other than that they're related to a famous barrier builder and came from the outside world.

Tenkai's Designs

I'm not usually all that good at talking about the visual side of things, but Tenkai does have some unique points that I'd like to touch on

Tenkai's outfits are often compared to melons, specifically the Yubari King melon, which is hilariously enough Tenkai's favorite food. They are the only character so far to have actually received three distinct designs, aside from Sese Kitsugai:

There's their work outfit, which they wore in RMI and as a boss in BPoHC (the latter, funnily enough, has the words yuubari (夕張) on a sleeve)

Their casual outfit, which they wore as a playable in BPoHC

Their melon outfit, which they showed up in as Tenki [Melon] in BotC

In addition, Tenkai's headband is a part of a running gag from JynX, where they insist that they do not remember what they based it on. (Even though I myself confirmed with them what it was once lol)

Pixiv FANBOX 29 April 2022 — Donors-Only Article "By the way, I still haven't recalled what that stick on Tenkai's head was supposed to be. I'm sure it was based on something related to their character basis, but what was it...? Eh, let's just say that it's a melon's vines, alright?" — JynX

It is, in fact, based on nokimarugawara (軒丸瓦), a style of roof tiling in Japanese architecture. (As a bit of a side note, Len'en seems to view barrier building as they do any other type of normal building, making Tenkai somewhat of an architect themself)

Spell Cards

And we come to my absolute FAVOUITE part about analyzing Tenkai: their spell cards. There's honestly something to say about every single one of them, but here I'll focus on a particular set with a common theme: The Nikkō Tōshō-gū Shrine.

The shrine is a marvel of Japanese shrine and temple architecture, and is where Tokugawa Ieyasu was buried and enshrined, who, if you'd recall, is who Tsurubami themself is based on.

Here I'll go over a few notable locations and features of the Nikkō Tōshō-gū Shrine, and point out how they influenced Tenkai's spell cards:

The Shrine's Main Gate — Youmeimon Gate (陽明門)

It's directly named in the spell Youmei "Higurashi-no-mon", where Higurashi-no-mon (日暮ノ門 gate of the sunset) is another name for the gate, as it is so beautiful that one could spend the whole day staring at it.

The spells Inverted Pillar "Guri Carving" and "Reversed Second Pillar Among the Twelve" also reference the gate, "guri carving" refers to the swirling pattern on the white pillars that support the gate. (One may note that this pattern is also what Tenkai's shot options are like!)

While the "inverted/reversed pillar" refers to a particular pillar that's erected inversely to all the other ones, which can be distinguished by the very guri pattern on them. (Leftmost in the first image) This was done to counteract a superstition at the time that since completed buildings will one day break down, an imperfection should be left to leave it "incomplete".

The spell "Dragon Head Tiles" likely references the dragon head carvings on the gate as well.

The corridors on the two sides of the gate feature extensive and ornate carvings of birds and flowers, referenced in the spell Calm "Sparrow in the East-West Corridor".

Shrine Carvings — Nemuri-neko, Three Monkeys, and More

The card Closed Eyes "Nemuri-Neko" references the carving of the same name, which simply means "sleeping cat". Said to represent the peace that Tokugawa's reign brought to Japan.

Behind Nemuri-neko is a carving of several sparrows, to remind us that even in times of peace, we mustn't lose vigilance. This was referenced again in Calm "Sparrow in the East-West Corridor", the hard/unreal version of Closed Eyes "Nemuri-Neko".

Three Monkeys "The World is Impure; Shut Everything Out" references this carving of the three wise monkeys.

It always seemed, at least to me, that by basing so many spells on the shrine, that Tenkai is simultaneously paying homage to other architects of the past and thematically mourning the (seemingly permanent) departure of Tsurubami. A most beautiful collection of references.

And I think, that makes for a fairly nice stopping point this time, I know I haven't gone much into the in-universe side of Tenkai this time, but maybe that can be the topic of yet another deep dive :)

[starset21]

Sincerely, Yours

Standard disclaimer: I only own my original characters, I've done some research but there will likely be Navy/military inaccuracies, and I do not consent to the posting, translating, or publishing of my work to any 3rd party site, the only place it may be found is on tumblr and Wattpad under @.itswildflower Summary: Training gets serious

Looking for previous chapters? Sincerely, Yours Masterlist  

Chapter 6:

“Morning��” Warlock addresses the class. “The uranium enrichment plant that is your target will be operational earlier than expected. Raw uranium will be delivered to the plant in ten days' time. To avoid contaminating the target valley with radiation, your mission has been moved up one week.” Elliot and Ria share a look, the latter biting her lip. “Sir, no one here has successfully flown the low-level course,” Coyote spoke up from his seat beside Hangman. “Nevertheless, you have been ordered to move on. Captain.” As the class absorbs this, Warlock nods to Maverick to take over. “We have one week left to focus on phase two - the most difficult stage of the mission: a pop-up strike with a steep dive requiring nothing less than two consecutive miracles. Two pairs of F-18s will fly in a welded wing formation. Teamwork - the precise coordination of these aircraft - is essential to both the mission’s success and your survival,” Maverick said looking them all in the eyes before a simulation of the mission begins to play out in slow, deliberate motion.

 “As you know, the plant rests between two mountains. To maintain the lowest possible altitude, you’ll invert directly into a steep dive. Your target is an impact point less than three meters wide.” The aircraft in the simulation climb a mountain and roll onto their backs at the peak before diving, upside down. They roll upright and dive steeply. “The two-seat aircraft will paint the target with a laser bullseye. The lead single seat will breach the reactor by dropping a laser-guided bomb through an exposed ventilation shaft on the surface. That’s miracle number one.” In the simulation, the first team’s bomb hits and the planes pull out. “Second team delivers the kill shot.” The second team’s bomb hits and the target is destroyed. “Miracle number two. If you can’t hold your dive, if you lose your laser lock, you’ll miss. If either team misses... You fail. Egress is a steep, high G climb out. And this is where you’ll be at your most vulnerable,” Maverick says. “This... is coffin corner,” he continues pointing to the point at which they’d have to start climbing again. The class of aviators shares looks. This is bad. “Should you manage to avoid this mountain, you’ll climb straight up, into enemy radar, losing all your airspeed. Within seconds, you’ll be fired upon by enemy SAMs.” Animated planes climb into a hailstorm of SAMs. They take evasive action and dive immediately. “How fast you can dive back down into the canyon, will mean the difference between life and death.”

“A climb like that, at that speed, we’ll be pulling at least eight Gs,” Jake spoke up. “Nine. Minimum,” Maverick corrected. “The stress limit of the F-18s airframe is 7.5,” Bradley said staring at Maverick. Neither man blinks. “That’s the accepted limit. To survive this mission you’ll have to pull beyond that, even if it means bending your airframe.” He points to the animation of lethal-looking SAMs firing on climbing F-18s on the screen. “Climbing out of that canyon, you’ll be a sitting duck, with SAMs coming at you from all directions. You’ll weigh close to two thousand pounds, fighting with everything you have just to keep from blacking out, your lungs imploding like an elephant is sitting on your chest - your skull crushing your spine.” The reality of this hits home in all of the aviators. There’s a high likelihood that one of them would not be coming back. Maverick points to the canyon map on the screen. “Your only chance of survival will be to get what’s left of your aircraft below radar again. Then follow this canyon back to the carrier. That’s if you strike the target on time. If you don’t, you may have an even bigger problem to contend with.” Maverick clicks the remote and on the screen, the enemy’s vaunted fifth-generation fighter appears. “You’ll be flying in a damaged F-18 against one of the most lethal fighter planes ever produced.” A heavy silence settles in the room. “Sir... is this even achievable?” Natasha asks after a moment. “In the end, the answer to your question will come down to the pilot in the box,” Maverick tells them, looking each of them in the eyes again. 

First up was Rooster with Pheonix and Bob. The rest of the aviators watched on the screens in the main room as they headed toward a U-shaped cluster of rusted-out shipping containers that were being used to simulate the target. Hangman with Payback and Fanboy followed them, flying at the same target, a small steel target drum behind the containers. Both teams’ aircraft fly in tandem mimicking the maneuver Maverick had shown them. They climb the fake mountain, rolling onto their backs at the imaginary peak. The teams dive toward the shipping containers that guard the target. Hangman and Payback miss the target and begin the flight back to base. Rooster curses to himself when he sees his missile miss the target by almost a hundred feet. “That’s a miss. That’s a miss.” Rooster sighs and flips off his mask. “Sorry, Bob. That’s on me,” he says as the pair begins the journey back to base. After that Maverick decides to try only one pair at a time.  “Tempest, Denver, Coyote, you’re up,” Maverick called out and the three aviators looked at each other before nodding and moving to get their flight gear on.

 “We’re twelve seconds late on target. We gotta move, we gotta move,” Denver called out. “I’m going as fast as I can,” Coyote replied. “Blue team, you are spotted,” Maverick calls out as the radar beeps. “Bandit, Bandit. Radar contact. 20 miles left, ten o’clock. He’s coming fast. 700 knots closure,” Denver relayed. “Shit, it’s Maverick,” Coyote cursed. “Stay focused,” Ria reminded them. “He’s swinging around to the north,” Denver informs her. “What do you want to do?” Coyote asked. “Continue. We’re close. Stay on target. Be ready on that laser, Denver,” Ria ordered. “On it…” Denver responded, reaching for a knob, constantly working. “Popping in 3-2-1,” Coyote and Tempest say together. They arc into the sky, rolling over to begin their 45-degree dive down the invisible mountain. “Talk to me, Denver. Where is Maverick?” Coyote grunts out. “I’m a little busy right now,” Denver replies, focused on readying the laser. “We got this Coyote,” Tempest encourages. “Captured!” Denver exclaims. “Got it. Bombs away,” Coyote replied but as he hits his payload trigger a warning light flashed. “Malfunction,” he informs them and tries again. And again. “Damnit! Hung bomb. Hung bomb.” Coyote curses under his breath before pulling out of the steep dive and starting the dangerous climb to coffin corner. Tempest and Denver were close behind him, straining under the intense Gs. Suddenly, alarms blare in their cockpit. “Maverick’s got tone on us!” Denver informs her. “Shit, we’re dead,” Ria sighed pulling out of the climb. She levels out waiting for Coyote but see’s he's continued the climb. “That’s a fail, return to base, Coyote,” Maverick orders. He however keeps pulling, harder still. And they realize something is wrong. “Coyote, do you copy?” Maverick asks. They get no response but then watch as Coyote’s near-vertical jet begins to nose over. “Coyote! Level wings!” Maverick ordered. Back in the classroom, the others watch as Coyote’s jet starts to roll. Cyclone steps closer, knowing something is wrong. Coyote’s jet fully inverts and begins heading for the ground. “Oh, god, He’s in G-loc! He’s going in,” Ria warns. Maverick curses, “I’m going after him.” Maverick dives left after Coyote, targeting his jet. “Come on, come on... gimme tone, you sonofabitch,” Maverick mutters. “Snap out of it, Coyote. Come on! Come on!” Ria sent up a small prayer to whoever was listening. Coyote is half in, half out of consciousness as alarms blare in his cockpit. “Damn it! Coyote! Coyote!” Maverick yells. Coyote yanks back hard on his stick, pulling up as hard as he could and breathing heavily. “Coyote, you okay? You okay?” Maverick asks as Skywalker and Maverick move into formation beside him. “I’m okay, I’m okay. I’m good…” Coyote manages to say and Ria lets out a deep sigh of relief. Back in the classroom, Jake slumped in his seat a little, relief flowing through him at his best friend's words. 

“Good. Good. That’s enough for today, let’s head back to base,” Maverick said. “That was close,” Ria says. “Too close,” Maverick echoed. There was a loud bang. “Bird strike! Bird strike!” Maverick calls out as another loud bang sounds and feathers fly around their canopies. Alarms blare and Elliot’s instrument cluster lights up as their jet shudders. “Engine Failure, left engine is out. Tempest, climb!” Elliot ordered. “Climbing,” she responds, pulling up on her stick. Jake freezes in place, hearing but not quite processing what he was hearing. Elliot looks over his shoulder to see the left engine is on fire. “We’re on fire, we’re on fire,” he tells her. “Throttling back. Shutting off fuel. Extinguishing fire,” she says, her training kicking into gear. She pulls back on the throttle and activates the fire extinguisher switch. “We’re losing the right engine,” Elliot informed Ria. “It’s still spinning. I’m gonna try to restart it,” she tells him. She flips the APU switch and pushes the right throttle forward. Nothing happens. “Shit. Trying again.” She tries the APU and throttle again but suddenly, with a bang the right engine now catches fire. “We’re on fire again, Tempest!” Elliot informs her. “Damnit!” she hisses. “Oh, my god,” Maverick mutters. Everyone back in the classroom looks at each other, worry present on all faces, helpless to do anything but listen. Jake’s eyes are blown wide as he stands, powerless. “I’ve got every warning light lit up back here,” Elliot tells her, and Ria can hear the panic creeping into his voice. “Tempest, Denver, punch out, punch out!” Maverick calls out. “We lost hydraulics. I can’t control it,” she told Maverick. “We’re going down, Ria! We’re going in! We’re going in!” Elliot yells as the two watch their altitude begin to drop. “You can’t save it! Eject, eject!” Maverick ordered. “Eject, eject, eject!” Ria repeated, reaching down and grabbing the handles. The canopy blows. She and Denver are ejected one after the other seconds before their jet collides with the desert floor and explodes. Maverick watches the two chutes drift, seeing the past flash before his eyes... He pulls off his mask, shutting his eyes. He let out a shuddering breath before calling it in. “Maverick to tower. We have a plane down. Send a helo.”

[alyjojo]

Love Reading 🎇 - April 2024 - Aquarius

Singles:

Who is Coming In: Page of Cups, The Devil, The Magician, 7 Swords

Regarding: The Tower

Long-Term Potential: 6 Pentacles

Someone is acting like they’ve changed, Phoenix would indicate this is probably someone you know as a damn liar 🤥 Tower, Ace of Swords rev & The World, so there was a lie that destroyed everything, blew it up into smithereens, the end. The Devil with The Magician and 7 Swords I’m just…this is one clever mfer. Sneaky. Strategic, everything they do and say has a motive behind it, they literally think they’re smarter than anyone around them - heavy ego energy. Smarter than you? 🤭 Or - they may have had a history of shady bs in the past, it’s been some time between you, and they’re coming back around. This is someone that could’ve been in prison for someone, Justice indicates law, they could’ve been involved with drugs or on them when you knew them. 2 Cups clarifies the toxicity, this may not have had anything to do with you at all but rather - their last relationship, a baby mama/daddy could be involved and you/they feel “bound” to them in that way, meaning you would have to deal with it too. This person was a liar and a player in the past, but I’m hearing “Jesus dined with thieves”, so you don’t judge. Not really. I looked that up and see “sinners” being the word actually used, but I specifically heard “thieves”, they could’ve been a thief or dated one, have friends that are, have just had something stolen recently idk. Somehow a thief is involved.

Long term potential is both of you giving what you’ve got to this connection, moving away from the drama, possibly putting some actual distance in between you and this toxic…thing…ex, druggie friends, old memories, whatever. Justice & 6 Pentacles would indicate maintaining balance between you is the top priority, whether you’re with them or not. Some probably aren’t, it’s the ex, but you’ll still be cordial and forgiving towards them. The Hanged Man rev indicate they’ve learned their lesson and have gained the necessary perspectives on things - Phoenix rises from the ashes. This is saying not to hold people’s pasts against them (within reason) if they’re proving they’re doing the work, and they do seem to be. If this was a sudden ending that’s staying ended, you could’ve just been like…no, and gave them the space to figure themselves out, have a nice life. They could be coming back around now.

Messages:

- You’re the perfect person for me 😍

- I want to approach you but don’t know HOW.

PHOENIX 🔥

- New Phase & Rekindle

- Renew & Growth

- Changed Mind

- Rise from Ashes

Signs you may be dealing with:

Aquarius, Pisces & Capricorn

Couples:

Them: Knight of Swords, 2 Wands, King of Cups rev

Regarding: Knight of Cups

I’m seeing a couple of different stories. One, if this is a long-time committed relationship, I’m seeing a typical male/female conflict of the man thinks it’s his job to mow grass, work, and control everything, and the woman is over here with 10 Wands and the responsibility of literally everything on her shoulders - doing too much. Even working herself 💯 like “scuse you buttercup, grab a sponge 🧽.” Doesn’t have to be these genders, it just describes the dynamic between you, of any gender.

If not that, then this may be someone you’re casually seeing that’s not only stating but *demanding* a commitment from you, and you would have other options on the table besides just this person. You’re showing up as the Cups pair, with this person inverted, manipulative, extremely emotional, not the most mature energy. The Emperor rev is a controlling fkhead as well…Knight of Cups being loving actions, so their actions show up as loving, teamwork, we’re in this together, Knight of Swords is dictating what steps need to be taken to achieve xyz…verbally, in a controlling or manipulative sort of way - or that’s their intent. I don’t like this energy, it’s coercive and slimy, because they act like they’re being honest and a straight shooter - but are not actually at all. Words and actions show two different things. Or that’s exactly what they’re pointing out about you, because you’re the one with secrets, options, sudden silent treatments. If you’ve been dating or entertaining someone for awhile and suddenly go ghost 👻, they definitely have something to say about it, or they don’t appreciate being treated as casual, that wasn’t their intent. You don’t seem to have been clear with your own intentions. I do see them being extremely pushy & manipulative, and you’re quiet to avoid that bs. This can also show something going on for a long time that this person refuses to handle or do something about, and you’ve been silent thus far.

Messages:

- Unrealistic Expectations

- STATUS 😎

CUPID’S ARROW 💘

- Have Faith

- Love is Coming

- Surprise Invitation

- Struck by Love

Let go of the helm of life, and let the current pull you in your chart’s direction.

You: Queen of Cups, The High Priestess, 10 Wands

Regarding: 7 Cups

The cards describing your character are very kind, possibly empathic, and it’s like you’re on to this person’s game. They’re increasingly frustrated that you’re not speaking…your mind, what you want, how you feel, etc., and you know that is because this is a coercive and pushy person. Like back the fuck off, yeah? You’re not allowing them space to dictate your decisions, not with guilt, intimidation, aggression, emotions, you don’t give af. You are confused though, you don’t know what you want, something may have happened suddenly that puts a lot of pressure on you, a disaster or some *right now* sort of thing, whether that’s regarding this person or not, and it’s like not only do you not trust this person, but you have no time for their bullshit either so…hope they have a nice day 👻 Date shows you being casual, looking at your options, and this cups energy in you feels like actually sorting through your feelings. ALONE. Because you need to. You can’t make decisions until you know what you want, and you can’t know what *YOU* want so long as some person is dictating what you should want, feel, or do, via the world according to them. There could also have been some sort of episode where this person acted in a very negative way, and you’ve kinda shut down and started questioning everything. In that case, it’s a new beginning with this person that you question. Or whether someone else might be better for you altogether - no matter how deep this connection has been. This relationship may feel like work more than love. At least right now.

Messages:

- Really Tall

- Considerate

DATE 🥂

- Get Back Out There

- Meeting Someone New

- Setting a Date

- Date Online

To keep yourself from becoming an empath - that is, absorbing the pain of others - keep mirrors around you that deflect negativity.

Mutual: 10 Pentacles rev, The Hanged Man rev, The Moon

Regarding: The Lovers rev

I mean this kinda feels like a realization that the two of you just aren’t on the same page. I see clarity & truth here, but no swords, none of the necessary information or clarity that would provide that truth - and that’s why The Moon is here. You both come to your own solutions on things rather than talking them out, maybe you/they have tried before to no avail. A breakup could be on the horizon, or if you’ve already ended something, this could just be validating your experience. If you’ve had other options and this person was under the impression they were it, it’s not going well. If you have several options and they’re trying to manipulate your decisions, that won’t either. I see apologies being held back on both sides, two stubborn betches holding tightly onto their point of view and probably preferring to be apart rather than together. Because of the Cups pair, it may have been tossed around that someone thought they were a soulmate, and you’re (both) realizing now that no, this isn’t the one for you. At least not in this way as it stands.

For the couple fighting over who does what or trying to control who has what job and other such petty shit - it’s being said that both people could stand to walk in their partner’s shoes & to see things from their perspective, or this dynamic won’t/can’t improve.

SWORD & ROSE 🗡️🌹

Clarity & Truth

Revelations

Honor & Protection

Determination

Be careful that negativity doesn’t lodge in your body. Visualize a green light around you for protection.

Signs you may be dealing with:

Cancer, Aries, Scorpio, Virgo, Pisces & Gemini