2015.12.30 18:37 PUSClFER People Fucking Dying
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2024.05.19 20:37 Shiirooo Exclusive interview with Famitsu and the devs
https://www.famitsu.com/article/202405/5194 (translated by DeepL: there are probably translation errors) submitted by Shiirooo to assassinscreed [link] [comments] Shadows is the next step forward for Assassin's CreedMr. KARL ONNÉE, Producer--First of all, let me say "Thank you" from us Japanese, as "Assassin's Creed" is finally coming out, which is set in Japan! KARL: Thank you for coming here today. I have been wanting to do this work for years, so my dream has come true. --Why did you choose the Azuchi-Momoyama period as the setting for this work? KARL: I chose it because it is a very rich period in history. It was a time of war and political maneuvering, a time of change from rural to urban areas, and also the birth of art. I also chose it because it was the start of the unification of Japan. It was a pivotal moment for Japan. Together, these elements provided an excellent canvas on which to tell the story. --What kind of image do you have of the Azuchi-Momoyama period? KARL: This was a time when the feudal lords of the warring states were fighting for power in the name of unifying the country, but it was also a struggle for control of trade. Portuguese missionaries and merchants came to Japan together. The Portuguese missionaries and merchants came to Japan together, and people who wanted a beautiful country and peace. This is the kind of image we have, but I think there was a mixture of various cultures and people's thoughts. And of course, there were the warring feudal lords. These are great canvases for the story. --What do you think should be inherited from "Assassin's Creed" and what are the unique aspects of this game? KARL: When people think of "Assassin's Creed," they think of stealth, but shinobi fantasy is not only a perfect fit for an "Assassin's Creed" game, it also fits the DNA of the "Assassin" brand. What we wanted to do with "Assassin's Creed Shadows" was to push stealth even further. We started this effort with the previous game, "Assassin's Creed Mirage," but we wanted to take it further with new features. Systems such as light and shadow, grappling ropes, belly crawling, and a variety of tools available in the game provide a new experience. The gameplay is also enriched by two characters, Naoe, a shinobi, and Yasuke, a samurai. Players will explore and discover Japan through the eyes of Naoe, a local, and one non-Japanese outsider. The game is more dynamic than ever before, pushing the limits of technology and offering an experience exclusive to the first state-of-the-art consoles. The gameplay is also enriched by two characters, Naoe, a shinobi, and Yasuke, a samurai. Players will explore and discover Japan through the eyes of Naoe, a local, and one non-Japanese outsider. The game is more dynamic than ever before, pushing the limits of technology and offering an experience exclusive to the first state-of-the-art consoles. --The "Assassin's Creed: Valhalla," released in 2020, is based on the theme of "Vikings" and has been a huge sales success. As a Japanese, I feel that from a global perspective, the Japanese "shinobi" theme is even more niche, but what is your current response? KARL: I would like to talk about how it compares to "Viking" fantasy. Both shinobi and samurai are exciting and celebrated as fantasy with power, and are widely discussed in pop culture, and we are very much inspired by them. Shinobi were on our radar from the beginning because we thought they fit well with the "Assassins" brand, but we felt that incorporating a powerful samurai would create two different gameplay experiences and give us the opportunity to tell the story from two different perspectives. We feel that this is a powerful motif that can compete with the "Viking" motif. --How did you like the setting of Japan as a subject matter for the latest model? KARL: I think it was perfect. For example, the "Global Illumination" technology allowed us to explore the response of light and shadow. Some consoles are still called "Baked GI", but by using dynamic lighting and the power of the new hardware, we were able to explore the creativity. We are now able to express not only light and shadow, but also the dynamism of nature in greater detail. Naturally, since it is set in Japan, we have never dealt with so many trees, and thus so much data, in previous works in the series. We also needed more data to seamlessly move various things at the same time because of the seasonal changes. The latest models have allowed us to realize our vision, and our ambition for this film and for "Assassin's Creed" will continue. --Assassin's Creed Mirage marks the 15th anniversary of the game. Can we consider this work as the next step forward for the next generation of "Assassin's Creed"? KARL: You are absolutely right. Mirage" was a tribute to existing works, but this film is the first step into a new era. We are in the era of modern equipment. With the new generation of our engine "Anvil", plus the opportunity to create a new era by using the power of the latest consoles, we are able to do what we wanted to do with "Assassin's Creed Shadows". With technologies such as global illumination and dynamism, we are now making the game we really wanted to make. --What are the four pillars you are focusing on in the development of this game? KARL: We are focusing on four pillars.
KARL: Development is going very well. We are proud to say that we have done a good job, but of course it is not finished and there are still glitches. This is the result of all the work we have done so far. We are very happy with how things are going right now, and we hope you will stay tuned for more news. -- I understand that "Assassin's Creed Infinity" was announced at the previous Ubisoft Forward and that this title will be included in the game? Also, what is the development status of that game at ......? KARL: "Assassin's Creed Infinity" is introduced as an Animus Hub (*a hub that will function in the future as an entry point for the series), which we will talk about at a later date. --What is your message to your fans around the world and in Japan? KARL: We are humbled that our dream of creating a game in this setting has come true. This is a setting that our fans have been anticipating for a long time, and for us it has been a wonderful experience to work on a game that we have always wanted to make. This game is the result of our love. We hope you enjoy it. We look forward to talking more about it in the coming months. The Shinobi Assassin and the Legendary Samurai. Experience the different fighting styles created by these two characters.(left) Mr. JONATHAN DUMONT (Creative Director), (right) Mr. CHARLES BENOIT (Game Director)--When did you start the development of this work? JONATHAN: Development began about four years ago, and research into the time period in which the film is set began immediately. There were a number of cool subjects that brought us great characters and story plots. I had a gut feeling that this was going to be a very good game. --Was the Azuchi-Momoyama period chosen as the period setting from the pre-development stage? Did you have an idea for a major point in Japanese history, such as the end of the Tokugawa Shogunate? JONATHAN: I started from the beginning of my study of Japanese history, but I began reading with the feeling of a student. Following the Socratic principle, you took the attitude of knowing nothing. As I read on, I found some very interesting settings. I focused on the Azuchi-Momoyama period because I felt it was an extremely important period for Japan. It was a time of warring states, the need to unify the country, and the need to defend itself against the growing influence of other countries. It was a grand and complex period, and there are many stories that can be told from different angles. Among the heroes of the unification of Japan, Tokugawa Ieyasu, Toyotomi Hideyoshi, and Oda Nobunaga are best known among the outstanding characters in Japanese history. Not only war, but also politics are involved, and they are moving toward the peace that will eventually come, with a good ending waiting somewhere in the middle. I strongly felt that this was a wonderful and interesting period that deserved to be featured. It was also a time when the foundations of the arts were laid. Castle towns were built, the world changed, and people's relationships with each other and with art, as well as their inner lives, also changed. It was very interesting to explore this period, and I was strongly attracted to the characters who lived in this time. -- Why did you choose the title "Shadows"? CHARLES: From my point of view, there are two reasons. Shinobi hide in the shadows, so "Shadows" is of course inspired by that. In a way, this embraces the "Assassin" brand and shinobi. There are other aspects to "Shadows" as well. There are "hidden things" in the game that must be discovered by the player, but they are hidden in the darkness in some way. JONATHAN: Both characters are in a way connected to being shadowy heroes living in the underworld of this era. It's a cool title, if you can think of it this way. --Why did you choose two main characters and two fighting styles? Also, what kind of combat action can the Shinobi and Samurai experience respectively? JONATHAN: One of the reasons for the separation of the two styles is that from the beginning of development, we wanted to have two distinct and cool archetypes to play with: the samurai and the shinobi. We also wanted to make sure that this fantasy was as close to reality and expectation as possible without being diluted. I also often felt the need to have two points of view in the development of the story, since history is rarely clearly black and white. The two protagonists provided interesting dynamics and perspectives on how to approach the game. CHARLES: I think it is very interesting that in combat, both the samurai and the shinobi have special types of weapons. Therefore, the style of combat in this work is built on a more weapon-based approach. There are weapons that only Samurai can use, and the same goes for Shinobi. The player can get a good feel for the two different fighting styles. And it is possible to switch between them. --What weapons can Naoe and Yasuke use? CHARLES: Both players have different types of weapons. For Naoe, we went for a more classic fantasy type shinobi. The chain scythe is a weapon that covers a wide area and can only be used by Naoe. In addition, she also has a dagger used at close range, which can be combined with a hidden blade (Hidden Blade). Naoe can fight very quickly and efficiently with these. On the other hand, Yasuke, who excels at overpowering with force, is given more types of weapons, some of which are firearms type weapons. They also have the typical samurai bow. --Why did you choose to make the shinobi Naoe an original character and the samurai Yasuke a historical figure? JONATHAN Even though they are well known in Japan, at least in North America, not much is known about farmers, what happened to them, and where the Shinobi came from. So we decided to introduce a figure from Iga who is shrouded in mystery. We considered historical figures from the region, but we preferred a sense of mystery, so we came up with Naoe as someone who may or may not have actually existed. As for Yasuke, from the beginning we thought that a story about the arrival of the Portuguese would be a very good way to tell the story of the crisis in Japan. The team liked the character Yasuke, and we thought we could use him to show the promise of discovering Japan. We thought that if we started with a samurai already in Japanese society, he would be a very interesting and intriguing character, with concepts that we don't necessarily know. And it would also be interesting to see what happened to him. He starts out as a character who is already rooted in history, and we are curious to find out what happens to him. I thought they would make a cool team, complementing each other in terms of storytelling, physique, and family background. --What did you keep in mind when creating the scenario where the two main characters switch? What were some of the challenges? JONATHAN: I wanted the audience to feel that "both are the main characters," but this was more complicated than it seems. Their stories overlap in places, but I wanted to make sure that as the game progresses, you gradually discover more and more about both characters. They have similar goals and motivations, but they are not 100% the same, which made it complicated and difficult to maintain their individual personalities. Naturally, the quest can be played by either character. If a quest needs to be started by one character and completed by the other, the settings must accommodate both play styles. Thus, although it can be complicated, there are many opportunities to tell the story from one of the two perspectives. Having two different points of view is a lot of fun, but there were some complications, such as having to use new technology in the conversation tools. There were some cool things, however. It is interesting that in the conversational scenes, the player decides which of the two protagonists speaks and they ask for different things. This is cool in a way. CHARLES: Both characters are attacking the castle and at some point the player is asked if they want to continue with Yasuke or Naoe, both are interesting. At various points the player must make these choices. The stories are independent, so if you want to know more about Naoe's or Yasuke's past, you can play as one character and delve into that character's story. --Are there areas of action that differ, such as places that only Naoe, a shinobi, is allowed to enter? JONATHAN: There are areas where both Naoe and Yasuke have different areas of activity. I can't go into details because there are a few surprises, but since Naoe can use a hooked rope, there are places that are almost exclusively accessible to her. The world is designed to be enjoyed by both characters, and players can switch between the two at will. Of course, if you want to reach the final point of the world or reach the summit through the ruins, then perhaps Naoe is the better choice. However, if you want to break through the fort head-on alone and open the way, Yasuke seems like a better choice. Of course, you can play with either character. CHARLES: Each character also has specific actions. Naoe can hook the hooked rope to a specific spot and move like a pendulum, or hook the hook to a high spot and climb the rope to get to where she wants to go faster than Yasuke. However, Yasuke can use a shoulder bash to break down reinforced doors. Yasuke can also perform parkour very efficiently in a more daring way. What can be felt when Yasuke performs parkour is how the crowd reacts. Because Yasuke is a samurai and exudes dignity as a superior class, the crowd reacts accordingly. Naoe, on the other hand, gives the impression of being more integrated into the world. --Can you both use the Hidden Blade, Hawk's Eye, and other Assassin abilities? CHARLES: Without spoiling anything, the traditional skills of the Assassins are mainly for Naoe. However, there is another mechanism called "Kantori" (tentative name) that can be used when you want to find an enemy or target person, and this can be used by both of them. You can use free aim to look around, but you cannot see through walls. Yasuke can also be killed by stealth, but in a more direct and easier way. Even with stealth, there will be some sound, so it is a "stealth-like" approach. JONATHAN: Kantori (tentative name) can be used to find many things in your current location. It is a very good guide for a certain area, but it does not take all the fun out of exploration. It is a good guide because you can learn a little more about where you want to go, but you are left with the surprise of discovering something. -- Is there a skill tree that makes Naoe more combat-oriented or enhances Yasuke's stealth? CHARLES: Both have skills that are more combat-oriented and stealth-oriented. Also, some equipment has effects such as increased resistance when attacked. We also offer perks that enhance your abilities in combat. Naoe, enhanced to be more combat-oriented, has an advantage in melee combat compared to Naoe, enhanced to be more stealth-oriented. Both have a range, but cannot go in completely opposite directions. There is some overlap between the two, but we have made sure that the characteristics of each ability are properly felt. --Please explain the skill system. JONATHAN: Both characters share XP and level up together, but the rest of the system is a bit similar to that of "Assassin's Creed Odyssey". XP and character abilities are available, weapons can be crafted to some degree, and various upgrades can be made as the game progresses. Weapons are not stand-alone, but for two, so each weapon has its own unique skill system. Players should not feel any discomfort, but this is a very different part of the game from the past. CHARLES: There are two things that were very important to us in terms of skills. First, we have to be very aware of archetypes. In Japan, there are distinct archetypes, such as the armor-clad samurai, the revolting monk, and the bandit, which are quite different. We try to make it clear to the player who is stronger, and we try to make that part of the leveling process as important as possible. Samurai are always stronger than bandits. Secondly, player skill is added to the mix. The better you are at timing, reading attacks, understanding weapons, etc., the better you will be and the further ahead you will be. --What is the volume of the map compared to past works? I would also like to know how you decided on the scale of this work. JONATHAN: The biggest difference is the scale ratio. The mountains are not the actual size, but we wanted them to be true forests, consisting of trees of a certain size, so that you feel you are in a forest. To achieve this, we needed space. We also decided to keep it close to a realistic scale, so we could feel the breath of many things. When we visited Japan and saw the castle, we were so glad we made this decision. Japanese castles are huge! Of course, we had seen pictures of castles before and thought they were big and magnificent, but when we saw them in person, they were astonishingly large. And I wanted more space to explore the castle. Castles were built to be large battlegrounds, you know. You need space to build intricate walls for defense. The overall scale of the map is similar to the size of the map in Origins. However, the scale ratio makes it feel more realistic. The open space leads to secluded areas throughout the game, which will be fun to explore. This sense of scale is a very interesting aspect of this film for us. CHARLES: The story led us to choose which locations in Japan we would choose. The major events in Kyoto, around Osaka, and around Azuchi Castle took place in the same area, so we were able to focus on that. JONATHAN: Of course, we had to choose a size that matched the game, but I think it was the perfect size for this story and type of game. --Since the game is set in the Warring States period, is there a system that allows players to participate in battles? JONATHAN: We see several battles in the story, and the battle at Iga is playable. There are other battles as well, but I can't talk about them right now. The game is set in the Warring States period, but it is not only about battles. It is a game that allows you to travel and discover that world. --What challenges have you faced and what have you been able to achieve as a result? JONATHAN: By making the big decision to go completely modern and demanding a very high level from the "Anvil" engine, we were able to increase the number of particles, create a more realistic atmosphere, and expand the graphical possibilities of the changing seasons. This allowed us to work on a fresh new Assassin's Creed. This was a great opportunity for us to take a big leap forward in graphics. CHARLES: Also, thanks to the new global illumination system, we were able to take advantage of light and shadow, which had a huge impact on the gameplay and stealth approach. For example, enemies became aware of our presence through our shadows, enemies gathered for warmth under a fire in the winter, or shadows through shoji screens depicted enemy presence, giving a new dimension to stealth. By having two main characters, it is possible to show a wider range of angles and different perspectives.(left) BROOKE DAVIES, Associate Narrative Director, (right) SACHI SCHMIDT-HORI, Narrative Consultant--Did you choose the Azuchi-Momoyama period as the period setting from the pre-production stage? BROOKE: I joined the project after the choice of period had been made, so the Azuchi-Momoyama period had already been chosen. This period offered so many wonderful opportunities from a narrative perspective. The complexity and duality of the period is well reflected in the characters of Naoe and Yasuke. --What were you aware of and what were the challenges in creating a scenario where the two main characters switch? BROOKE: From a storytelling perspective, I see it more as a wonderful opportunity than a challenge. When I write a story, I try to show rather than tell, and having two characters allows me to show what's going on from a wider range of angles and different perspectives. I hope this will encourage players to want to share their feelings with them. --What do you think are the most important points in bringing original characters and historical figures into the game? BROOKE: Both offer different and unique opportunities. With regard to Yasuke, I found him very interesting historically because we know some things about him, but there are many unknowns. So we needed to fill in the blanks in the story. It is important to note that Yasuke is a historical figure. And in the case of Naoe, an original character, we were able to draw the story freely to some extent. The fact that she is a member of the Fujibayashi family and that her father is Masayasu Fujibayashi Nagato Mamoru allowed us to place her firmly within the setting. Because Yasuke is a real person but appears as a foreign-born samurai, the Japanese-born Naoe is on equal footing with Yasuke, although she has a different perspective. --Will other historical figures appear besides Nobunaga Oda and Yasuke? BROOKE: You will meet Luis Frois (a Jesuit missionary) at the meeting in Azuchi Castle. Also, Nene and Oichi will appear. The Japanese art renaissance that began in the Azuchi-Momoyama period blossomed in the Edo period, and you will also meet Sen no Rikyu, Kano Eitoku, and other important figures. --Please tell us what year the story will be depicted. BROOKE: I can't tell you what players will see, but I think it covers a part of the Azuchi-Momoyama period, from 1579 to 1584. --I think the appeal of the series is to depict the struggle between the Assassin Order and the Templars while taking into account the history, but I would like to ask if there were any difficulties in putting the Azuchi-Momoyama period into it. BROOKE: I don't want to mention the Knights Templar because I don't want to spoil anything, but the fascination and dynamics of this period are very interesting and provided wonderful opportunities for storytelling. --How did you go about creating a world with a realistic feel of the Azuchi-Momoyama period? BROOKE: We were very lucky to work with the Environment Team. The visuals they created for the game provided a great backdrop for the story. The in-world experience added so much to the story. What we see from the stories and characters of this time period is complexity. I also believe that many of the people surrounding the World had their own struggles. It was a very difficult time historically, and we see duality. Nothing is ever clear-cut and black and white. In warfare, two groups face each other and are confronted with different perspectives. But in the midst of it all, there are glimpses of hope for the future as we know it, which will later blossom. --What advice did you actually give? HORI: One scene that left a strong impression on me was the scene where Nobunaga's sister, Oichi, remarries Katsuie Shibata. In the original story we received, it was thought that the two families decided on their own without regard to Oichi's intentions, and Katsuie was portrayed negatively because he was more than 20 years older than Oichi. So I spoke with BROOKE and the team and asked them to change it. Oichi had young children after the death of her husband Nagamasa Asai, so if her remarriage was to Katsuie, a trusted man who had served Nobunaga, she would have married him as a matter of course. When I explained that it was better to portray it in a positive light, it was a new discovery for the BROOKEs, and they were very moved by it. The rewritten version of the episode was very moving. The other scene is the tea ceremony scene featuring Sen no Rikyu. Chanoyu is widely known to be translated as tea ceremony, but experts say it is a mistranslation. After researching the misunderstanding over here, I advised them, as far as I could understand, not to use a teapot or tea leaves, for example. --Even we Japanese have a strong image of "ninja" as a fantasy. Did you encounter any difficulties with the theme of "ninja" in order to achieve a high level of fidelity to the historical reconstruction? HORI: Ninja are certainly a fantasy, so I think it's a good thing that we can express ourselves creatively and without reservation. However, there are also dedicated ninja fans and communities around the world, and I am not sure to what extent they see the ninja as a real existence, or as an entity that existed in history. Therefore, the extent to which ninja are represented in the game depends on the level of tolerance of the avid shinobi fans. I discussed this with the members of the development team. We did not have a specific policy on how much to express, but made decisions on a case-by-case basis. We decided on a case-by-case basis. We would say, "This is an acceptable creative expression," or "This is stereotypical", so let's not do that. --I'm sure there are many references, but which one left a particularly strong impression on you? BROOKE: The first book I looked through was "Nobunaga no Kouki" by Ota Ushiichi (Azuchi-Momoyama period, military commander and military history author). I was impressed by his personal observations as he recounts the details. We can learn a lot of historical facts from reading history books, but this author incorporated his own views so that I felt I could understand even his character and what it was like to live in that era, and I was completely drawn in. I was thrilled to be able to portray this time period and the people in this book. --The drama "Shogun" which is set in a similar time period, has been a hit, and I hope that this work will attract the same kind of attention from game fans. I understand that you have prepared a "Discovery Tour" that allows visitors to freely walk around the game world with historical explanations. BROOKE: I can't answer about the Discovery Tour today, but I am glad to see that interest in the setting and time period of the game is growing. I look forward to the day when we can bring this film to you. Gathering a lot of information to recreate 16th century Japan and build a living world(left) THIERRY DANSEREAU, Art Director, (right) STÉPHANIE-ANNE RUATTA, Historical Supervisor and World Director--Please tell us what kind of materials you used as references to describe the field and the characters' costumes in the Azuchi-Momoyama period. THIERRY: I have been working with experts and consultants for a long time, but for the characters, I referred to museum exhibits and books for their appearances and costumes. I visited several museums, did my research, and checked the materials with STÉPHANIE-ANNE. Based on these, we created the characters. We also referred to descriptions in the books about the colors and the flags people carried. We used multiple sources, but we have checked them for historical accuracy. STÉPHANIE-ANNE: For several years we had the help of experts, but we also did research with a Japanese studio and team. We used different kinds of sources to make sure the team got it right and had all the information they needed to reconstruct what Japan looked like in the 16th century. We used museum databases, as THIERRY mentioned, but we also used inscriptions, scientific books, articles, and medieval depositions. For example, the Principles of Nobunaga has been translated into English, so we used that as a reference to describe 16th century Japan. I also referred to the documents of Luis Frois from the same period, which compare European and Japanese society. --This period was also a time when there was a large influx of immigrants. Will you also depict the episodes, lifestyles, and culture of these people (missionaries, merchants, etc.) as well as Yasuke? STÉPHANIE-ANNE: Yes, it is important to introduce the presence of Portuguese missionaries and merchants in the 16th century. They influenced the course of warfare during this period and the changing power of certain merchants in Japan. --I am wondering what castles, shrines and temples that symbolize the Azuchi-Momoyama period will appear in the game. Although the game is set in the Kansai region, is the Osaka Castle built by Toyotomi Hideyoshi ......? STÉPHANIE-ANNE: The era is represented by the construction of various castles and castle towns, so players will discover a wide variety of castle types and castles destroyed in battle. The Azuchi Castle, which is related to the name of the era, will also be featured. THIERRY: Himeji Castle, Osaka Castle, and Takeda Castle are also available, and it is wonderful that players can visit and play in these castles. I think this is one of the strengths of the franchise, but all of the castles are based on actual historical blueprints, which I think is very unique, both as an experience and a learning opportunity. The Koyasan Okunoin Cemetery is the oldest graveyard in Japan, which can also be seen in the game. There are too many to mention them all, but thanks to STÉPHANIE-ANNE and the experts, I think they are well described and it is wonderful that players will be able to travel to these places. --The architectural style and decoration of the buildings is a different culture from the previous works in the series. What were you conscious of in recreating the culture and what were the challenges? I am also interested in the possibility of diving on the "Shachihoko". STÉPHANIE-ANNE: The building team did a lot of research, and then we checked the results with experts and asked them to add the elements needed to build a great castle. We did research to recreate the decorations of not only the castle, but also the temples and shrines, and also to find out what materials were used to make them. THIERRY: The colors also change over time, so we made adjustments to that as well. Of course, this is "Assassin's Creed," so you can climb anywhere and jump from almost anywhere. Exploring is fun. --Japanese period games tend to be rather subdued, but were there any barriers to making it a worldwide production? STÉPHANIE-ANNE: It's a game based on history, and we want players to have the opportunity to play with history. This period is so fascinating and celebrated, and has had such an impact on pop culture, that we were fortunate to have the help of renowned experts to make sure we had all the information we needed to faithfully recreate medieval Japan in the 16th century. We maintained historical fidelity in this film because it was a rich period with so much to talk about and we didn't feel the need to change it. It is a rich setting, so there is an experience that goes into fantasy, but keeping it authentic was our primary goal. --In the main storyline, can we experience famous episodes from the Azuchi-Momoyama period (such as the Battle of Nagashino, the Honnoji Incident, the Battle of Komaki and Nagakute, etc.)? STÉPHANIE-ANNE: You will have to wait a little longer for that. --In the recent series, "Origins," "Odyssey," and "Valhalla," you can enjoy the connection to mythology and fantasy elements based on mythological themes. Will this work also contain elements based on Japanese mythology, yokai, and other fictional creatures? STÉPHANIE-ANNE: That is a very good question, but I will answer this one later. --This work also reproduces the four seasons of Japan. Which season did you start first? And which seasons were particularly difficult to express? THIERRY: I started with spring. We all know about cherry blossoms, and I think they are the most symbolic Japanese element for foreigners. And the big difference is winter. I wouldn't say that winter is more complicated because it has many different expressions, but it was very different from spring, summer, and fall, and the challenges were also different. --What was particular about the representation of water, such as waterfalls, rivers, lakes, etc.? THIERRY: All of the water topics were very important to us. We knew that there is a Shinto belief in waterfalls and rivers, and that they are important places in the Japanese eco-system. Even the blueprints of the suburbs are lined with irrigation canals, and they even go into the houses. Thus, we knew that water is a key component of Japanese culture, especially for agriculture. This is why we installed drains everywhere in this work. The presence of water in the Japanese landscape was different, so we took it seriously and treated it as an inviolable part of the Japanese landscape and way of life. --What are some of your favorite places, castles, or cultures that appear in your work? STÉPHANIE-ANNE: That's difficult. THIERRY: My favorite is Takeda Castle. It is on top of a high mountain and is called the castle in the sky, and I like this location. I can't say it's fair because we built it ourselves, but there are many other great places to visit. It was a lot of work to create the forest, but I really enjoy looking at the landscape. I also like how all the ecosystems interact with each other, such as the clouds in the weather system. It's not a location, but I enjoy it because it encompasses the whole game. STÉPHANIE-ANNE: I was impressed by the "Rakuchu Rakugaizu," Japanese folding screens from this period. I was fascinated by the fact that just by looking at them, one could come into contact with the vivid world of this period. The artistic touch is something special. I have never seen anything so full of art. I truly admire the artists of this era. THIERRY: I also think the most striking thing for me was the harmony of nature and architecture. I visited the site and found many places, and I could see how everything was deliberately composed. I was told that trees were planted while the chedi was being built at the time, but everything looked perfect. Also, the culture loves the age and values it, so they cherish moss and things that have taken root there. Japan has maintained these places so they still exist and are still in use. I realized that we are dealing with a subject that has a long history. It is also a culture that values space, living space. These were the most exciting discoveries during my travels in Japan. |
2024.05.19 20:36 Rayof808 reply to a previous post -- BLSP status
It should also be noted that the "bears" on Stocktwits have made it their obsession to try to discredit our efforts, even though we have been successful thus far in placing BLSP into SEC-rule violation with our Transfer Project success and have been successful in our efforts to get BLSP trading in the U.S., something they constantly said could never be done.
One must truly wonder why they have had engaged in a non-stop battle to try to dissuade BLSPers from continuing their efforts.
The Blue Sphere case in Delaware concerns the Creditor's attempt to have the judgment for a previously-settled award enforced against a co-defendant, Leonite, who allegedly orchestrated the corporate fraud along with Blue Sphere management (specifically Shlomi Palas). The case is in its final stages, with the key deposition delayed until around August. Once this deposition is entered into court records, the case is likely to be decided within a couple of weeks thereafter.
The key to the Delaware case has been in the evidence uncovered during discovery, something that only happened because the Defendants refused to settle with the Plaintiff, which enabled the Plaintiff to pursue the case and eventually unearth damning evidence that corporate fraud had taken place. It is this newly-released email evidence that prompted the North Carolina case, which alleges all the Federal crimes that have taken place.
The Delaware case is the key to the North Carolina case. Everything that has been released in discovery has automatically been introduced into the North Carolina case. As a result of the mountain of already-submitted evidence, the North Carolina case will not have a lengthy discovery process, which often can take 1-2 years. This time-period has already been absorbed in the Delaware case, which began in 2022.
The Delaware case is a Creditor case, but the evidence in discovery opened up a new can of worms for Blue Sphere and Leonite, and the Plaintiff's charges have now risen to the point at which it has attracted the attention of the SEC and the DOJ.
Our Blue Sphere efforts have been broad and sweeping, but we have learned that the key to our primary objective requires the assistance of the SEC. As detailed in a recent email-update, the focus of our efforts is not to seek financial compensation but to have the courts appoint a receiver to manage the affairs of Sphere, claw back the embezzled funds, update the European revenues (over $10M in 2023) and consolidate them into their U.S. 10-K, and thereby regain compliance with the OTC Markets and SEC to return the stock to OTC for public trading. In addition, new management would allow the company to become the target or merge or takeover by another global IPP interested in acquiring these valuable European assets (valued at upwards of $100M according to court transcripts).
Once the North Carolina case begins (upon conclusion of the Delaware case), we expect the SEC to ramp up their investigation into the new charges alleged. As detailed in a previous email-update, the North Carolina Department of Justice filed a case on our behalf with the SEC, and the SEC acknowledged the receipt of the case in an email to a couple of BLSP investors. In addition, it was reported that the FBI has also been involved by contacting larger shareholders for more information regarding the allegations.
According to our court-reporter in North Carolina, the case is being handled by the same judge that ruled against Blue Sphere in an earlier related case, so the timeline for the North Carolina case will likely be streamlined. But of greater importance is the day the SEC publicly confirms their investigation, which they will only do when they are ready to employ their lawyers to take over on or behalf. Once this happens, then the future is a foregone conclusion.
So we are in a very good position as we watch the wheels of justice grind away. According to the reporter, the case will begin to generate possible media attention once the more serious allegations are entered into the North Carolina court case. This will be the first big step towards our long-term goal of exposing the fraud and taking our company back.
Were it not for the Delaware court case, BLSP shareholders would be in the same position as other small-cap companies that are getting away with investor fraud. The SEC simply does not have the resources to go after all these companies, so companies like ALYI, PLYZ, HMBL and hundreds of others will continue to succeed in stealing investor money with impunity. The level of their deceit does not rise to whatthe SEC requires for their efforts to be expended.
The evidence unveiled in the Delaware case, on the other hand, does place BLSP on the SEC radar screen, especially after the North Carolina Secretary of State (DOJ) filed the complaint on our behalf. The SEC now is aware of the embezzlement claim, which places our case far above any of the other small-cap stock claims.
So when people on Stocktwits try to demean the success we have made in the past 2 years by stating that "nothing will ever happen," they are simply denying where we stand at this time.
And those who say that the case "has not begun" and "will take years to resolve" do not understand that the Delaware case has placed the North Carolina case on a fast-track to resolution.
According to the reporter, the usual time-length of a court case is 2-5 years, but given the Delaware evidence that has already been entered into the North Carolina case, we have already passed 2 years and will likely see the trial case rapidly progress in 2024 and be resolved in 2025.
However, this is not our primary objective. The North Carolina court case seeks treble damages for the civil fraud, but this will activate the criminal case by the SEC, which then begins our mission for a court-appointed receiver to take over the company and restore the company's good name. This will mark the first step toward returning Blue Sphere to its rightful place as a publicly-traded and highly success waste-to-energy company.
Those who listen to the "bears" on Stocktwits are listening to ignorant comments by a few who begrudge our successful efforts and refuse to admit that we have made progress that no other small-cap shareholder bloc has ever accomplished.
To receive the weekly email-updates and stay abreast of the latest news developments, email me. Our email-group consists of 800 BLSP shareholders with a collective holding of over 2.1 Billion shares.
2024.05.19 20:33 AutisticStare Glowing Red Fist - Shock Release
2024.05.19 20:30 RetroNumanox Lumas fine art gallery, specialists for high-quality art, now also promotes and sells AI art worldwide in collaboration with reputable artists. AI Art = Art
https://preview.redd.it/ia4dqcp5hf1d1.jpg?width=1920&format=pjpg&auto=webp&s=9191b32db4f479f6fe138933190e02bbf28ffa70 submitted by RetroNumanox to aiwars [link] [comments] AI ART: ARTISTIC INTELLIGENCEEnter a realm of unlimited creativity: welcome to the innovative world of AI art. Discover the revolutionary approach that uses today's technologies to realize tomorrow's visions. A new form of creativity – between artificial and artistic intelligence. Explore creations that transcend the ordinary! AI ART: ARTISTIC INTELLIGENCEArt out of this world: In his original AI-generated works, the artistic figure Slender O’Kenoshi creates the parallel universe within a parallel universe. He creates a holistic concept that merges fiction and reality and brings on a new aesthetic entity. Instead of fighting it, Slender O’Kenoshi teams up with what other photographers tend to consider a threat: Artificial intelligence accompanies every step of his process, an artistic synthesis, from the re-invention of the artist himself through the artificial character based on an AI-generated biography to the virtual virtuoso compositions inventing a new world. He engages entirely in what others use supportively, becoming a part of the story he is telling. While conventional photographers create stories with pictures, Slender O’Kenoshi creates pictures with stories. https://www.lumas.com/artist/steve_glashie Artistic intelligence: Steve Glashier is familiar with visualizing the world - both as a photographer and as a filmmaker. In his avant-garde, exclusively AI-generated works, the entire creative process is based on the artist's imagination and creativity. Instead of merely depicting the world, he builds his own - and thus helps building a new, much-discussed artform: promtography. Instead of capturing things, in promtography it is all about allowing full bent: virtual image creation knows no boundaries, but instead it confronts the artist with the challenge of going beyond the limits of the imagination and channeling or taming it. The equation that photography is merely a mirror of our living world has become obsolete at the latest since contemporary art. Meaningful art does not imitate: it creates. Notable photographs do not only depict the actual state, but they change it. In this sense, Steve Glashier uses digital image production in the form of text-based, generative artificial intelligence as a design tool – to elevate his conceptual thinking to a new level that leads to artworks that do not only portray reality but expand it. It offers him new forms of expression for his passion for storytelling, enhancing the space for his ideas to unfold ad infinitum. The more precise the commands to the AI, the more artistic the results. https://www.lumas.com/artist/sophia_winters/ Artful contrasts melting together in the evening sun: cold stone bathed in warm twilight; earthy colors that play around cool water surfaces. Modern aesthetics of clear lines and straight surfaces, interrupted by the sweeping shapes of classic vintage cars. A deserted ambience that is at the same time brimming with personality: Sophia Winter's aesthetic creations exude an irresistible, luxurious charm. Behind the glassy pool surfaces, however, lie sophisticated creations that go into depth: Her series is a sensual study of society. Under her artist's name, the sociology graduate from Los Angeles explores the spirit and lifestyle of California from an aesthetic point of view. Socialized in a society ruled by innovation, the artist has been inspired by her immediate environment not only in terms of her subject matter, but also her technical approach: Using complex AI tools, she succeeds in giving visual expression to her socio-psychological observations. Free of judgement, yet with a critical eye, her works reflect the zeitgeist in a world characterized by glamour and progress. The artist uses digital tools, which are usually used to generate a touch of surrealism and realize parallel worlds, to create astonishingly photorealistic impressions – in an environment illuminated by the Hollywood’s glow and dominated by the pursuit of perfection. In this way, she subtly integrates a meaningful friction between a real illusory world and generated reality. https://www.lumas.com/artist/tom_bake What if ...: Tom Baker has set himself the challenge of posing this question – far beyond the boundaries of the superhero cosmos. Tom Baker is not an artist, but many. He is the sophisticated concept of a creative collective that combines a cultural-theoretical approach with a creative one. After configuring a personified algorithm who gave himself the name Tom Baker, they jointly explore the limits and possibilities of artificial intelligence under his pseudonym. Using state-of-the-art technology, they create art on a meta-level that addresses the human fascination with superhumanity – illustrated by a superhero fascinated by everyday life. Tom Baker's avatar is designed to continuously tap into sources of information and autonomously acquire data. Or also: “Developed to self-develop.” A dynamic concept that consciously rejects the idea of completion and thus positions itself critically against the concept of 'completion' as perfection. “The expression of ‘attaining something’ is also misleading. It idealizes the arrival, the cessation. But in terms of living, movement is essential. Moving people, moving things. That is the difference between art and administration. Art knows no closing time, but it is also immortal.” https://www.lumas.com/ai-art/ https://www.lumas.de/en/about-lumas/ https://preview.redd.it/ry3ccuh8hf1d1.jpg?width=1523&format=pjpg&auto=webp&s=f5161cda95dee60de852abfc663398bea7f7232d |
2024.05.19 20:19 roxofoxo0000000 Canada is the most overrated country in the world
2024.05.19 20:17 Yurii_S_Kh Righteous Job: an image of hope through suffering
I.Repin. Job and his friends. 1869. submitted by Yurii_S_Kh to SophiaWisdomOfGod [link] [comments] A person's name, given at baptism and especially at his entry into the path of service to God, connects his life with the lives of those who also bear this name and are honored by the Church, sometimes determining its direction and serving as a beacon. Today, on the day of the memory of St. Job of Pochaev, we will remember the story of the Job the Long-suffering from the Old Testament. His feat teaches us not only to endure sorrows and sufferings. This book of the Old Testament is interpreted by the Fathers of the Church in a prefigurational way, and we Christians need to remember and know this. Job is one of the images that fuse human history into a coherent whole. So why does the Lord test Job, what does He want to lead him to? What are the prefigurational meanings of this Old Testament story? How are its contradictions explained? The authors of this article talked with theologian Peter Malkov. - The Holy Fathers wrote about the life of the long-suffering Job as an edifying example for all of us. But does the Old Testament Book of Job teach only patient endurance of tribulation? Or is there another meaning in the story? Certainly, the Book of Job is a teacher of godliness and humility for those who are in tribulation. But that is not its only significance for us Christians. And that quote you brought up sounds a little different. St. Ambrosius of Mediolanus says, “No one loved Christ more than Job.” This is the angle from which we need to perceive this story. Job, through his sufferings, symbolizes Christ, His sacrifice on the cross. And let me remind you that he lived in the pre-Testament era - before Moses: Job was one of Esau's descendants and lived a few generations after Abraham. And the story of Job's sufferings before the law (i.e. before the law, which was received by Moses on Mount Sinai) prepares the ancient man for the coming encounter with Christ and for understanding the meaning of Christ's sufferings, which will be revealed in the Incarnation of God. The story of Job is one of the Old Testament stories that taught Old Testament man who he should expect, who he should hope in - God who would become Man and as Man suffer for the world and save the world through His suffering... This is an excerpt. Full text is available at : http://sofia.kharkov.ua/en/article/pravednyj-iov-obraz-nadezhdy-cherez-stradanie |
2024.05.19 20:17 Substantial_Wear_311 How do I fix my issue with coding a MaxEnt test in R
2024.05.19 20:15 aspiringeverythingg The start of my epic sci-fi novel - feedback would be appreciated
2024.05.19 20:11 tempmailgenerator Implementing Dynamic Email Functionality in Google Sheets with AppScript
Command | Description |
---|---|
MailApp.sendEmail() | Sends an email from the script |
SpreadsheetApp.getActiveSpreadsheet() | Gets the current active spreadsheet |
getSheetByName() | Accesses a specific sheet within the spreadsheet by name |
getRange() | Gets the range of cells specified in the sheet |
getValues() | Retrieves the values from the specified range |
const sheet = SpreadsheetApp.getActiveSpreadsheet().getSheetByName("Emails"); const range = sheet.getRange("A2:B"); const data = range.getValues(); data.forEach(function(row) { MailApp.sendEmail(row[0], "Your Subject Here", row[1]); });
2024.05.19 20:11 thatmozzie_ Created A CyberPunk Dystopian Choose-Your-Own-Adventure Novel Set In The Year 2124 In Los Angeles
"The Neon District" submitted by thatmozzie_ to ChatGPT [link] [comments] https://preview.redd.it/h6j5xnthef1d1.jpg?width=1792&format=pjpg&auto=webp&s=2dac28553adfcd5e9a5762f45cecd76ca2071491 I was inspired after reading another user's experience creating his own world, so I decided to give it a shot. I wanted to create a sort of interactive choose-your-own-adventure cyberpunk story set in 2124 Los Angeles. I prompted ChatGPT to essentially create a story and world that revolves around common themes within a typical CyberPunk setting such as rampant crime, corrupt cops and politicians, massive drug usage, mega-corporations out of control, poverty, and technology blurring the lines between humanity. One of my favorite video games lately of all time is CyberPunk 2077, so I just wanted to create something similar that I could experience and live through in a different interactive way while also testing out ChatGPT out of boredom. Here are some of the results from the simulation. I'll denote "USER INPUT" as anything I wrote or input, and "CHAT GPT" anytime it outputs anything. Rules: I will use minimal intervention / altering and mainly allow the program to pretty much lead me through the story barring any world-breaking narratives or plots:
Setting: Los Angeles, 2124General Environment
Society
Key Locations
Main Character: ZoeBackground
Appearance
Plot ElementsConflict
Themes
Lets create some additional characters to the story and more world building, starting with her childhood best friend. He's trustworthy, loveable character type. Strong, loyal to a fault, pure, but also an amazing fighter and can be mean to those that do him or his family wrong as quick as any common thug on the streets. What should his name be? CHATGPT Let's name Zoe's childhood best friend Lucas. Here's a detailed character profile and additional world-building elements: Character Profile: LucasName: Lucas "Luc" RainesBackground:
Skills and Abilities:
Relationships:
Additional World-Building Elements:Key Factions:
Key Locations:
Plot Hooks and Story Arcs:
USER INPUT Can you generate an image in an anime/cyberpunk style reminiscant of the style of Ghost In The Shell. Generate our main character Zoe CHAPTGPT ZOE
CHATGPT New Character: Marcus "Iron Hand" KaneRole: Father Figure to Zoe and LucasBackground:
Additional Characters:1. Lila "Viper" Santos
New Locations:1. The Hub
New Scenes:1. The Heist
can you create images in the same style as the original image for the new Characters Marcus Iron Hand, Lila Viper Santos, and Riko Ghost Tanaka, Lucas, etc? Also generate additional images of some of the new locations etc separately. CHATGPT LUCAS MARCUS \"IRON HAND\" RIKO \"GHOST\" TANAKA LILA \"VIPER\" SANTOS THE HUB THE SPAWL NEOCORE HEADQUARTERS "THE VAULT" https://preview.redd.it/anol60qpef1d1.jpg?width=1792&format=pjpg&auto=webp&s=fcfb76dc6ac42f816de6148e66d3f3f60f442d64
Scene: Zoe's Apartment - Late Saturday MorningThe dim light filtering through the grime-covered windows of Zoe's apartment barely illuminates the cluttered room. The remnants of last night's celebration are scattered everywhere—empty bottles, discarded clothes, and the faint hum of old electronic music playing in the background. Zoe groans and sits up in bed, rubbing her temples to ease the throbbing in her head.Narration:Narrator: Zoe squinted at the holographic display, her vision still slightly blurry. The notifications were a mix of urgent messages and missed calls, each vying for her attention. She quickly scanned through them, her fingers moving with practiced ease over the interface.Zoe: (mumbling to herself) "Great, just what I need. More problems to deal with..." She swings her legs over the edge of the bed, stretching and wincing at the persistent hangover. With a sigh, she picks up her cybernetic arm from the nightstand and attaches it, feeling the familiar click as it integrates with her neural network. She taps her wristband, bringing up the missed messages and calls. Dialogue:Zoe: (talking to herself) "Let's see... job offers, updates from the underground... and what's this? 'Urgent Opportunity – High Reward.' Sounds promising."Her stomach growls, reminding her of her hunger. She heads to the small kitchenette, grabbing a protein bar and some instant coffee. As she munches on her makeshift breakfast, she taps the message to read the details. Zoe: (reading aloud) "High-risk, high-reward job, requiring a skilled netrunner. Substantial payout. Meet at The Hub tonight. Perfect." Her thoughts are interrupted by a knock at the door. She frowns, not expecting visitors this early. Cautiously, she approaches and peers through the peephole. Recognizing the familiar figure on the other side, she relaxes and opens the door. Lucas: (with a grin) "Morning, sunshine. You look like hell." Zoe: (rolling her eyes) "Thanks, Lucas. You’re a real charmer. Come in." Lucas steps inside, looking as rugged as ever with his scruff and tattoos. He drops a bag on the table and takes a seat. Lucas: "I brought breakfast. Figured you’d need it after last night." Zoe: "You’re a lifesaver. So, what’s up?" Lucas: "Got a tip about a job. Sounds like it could be worth our while. But first, you need to get your head straight. Eat up and let’s talk." They share a quick meal, discussing the potential job and catching up on recent events in the underground. Choice Point 1: Zoe's Response to the Job OfferOption A: Agree immediately and start planning. Option B: Ask for more details and express caution. Option C: Refuse the job and suggest looking for something safer.Please choose an option by typing "Option A," "Option B," or "Option C."
Choice: Option B - Ask for More Details and Express CautionZoe: (taking a sip of her coffee) "Hold on, Lucas. Before we jump in headfirst, I need to know more about this job. What exactly are we dealing with here?"Lucas: (nodding) "Fair enough. It's a high-stakes heist at NeoCore Headquarters. Our client wants us to steal some sensitive data from their secure servers. The payout is massive, but so are the risks. We'll need to get past top-tier security, both physical and digital." Zoe: (raising an eyebrow) "NeoCore, huh? That place is a fortress. Who's the client?" Lucas: "No name, just an anonymous contact. But they seem legit. They've provided detailed blueprints and security protocols. Still, I get it if you’re hesitant. This one's big." Choice Point 2: Zoe's Next ActionOption A: Accept the job but suggest taking extra precautions and planning thoroughly. Option B: Contact Marcus "Iron Hand" Kane for his advice and see if he has any additional information or support. Option C: Investigate the client further to ensure their legitimacy before making a decision.That's all i have so far but this was a super cool way to pass some time on a Sunday. I am considering starting a parallel story similar to this but a horror-survival one, similar to something like the original Silent Hill etc. What do you guys think - Anyone interested in seeing how this develops?! |
2024.05.19 20:07 JohnnyMacado Are Zaius and Maurice Related?
I have a few reasons for thinking this. In short; Maurice is named after Maurice Evans, he's an orangutan, and is seen as the intellect of the main apes, but all of this can be chalked up to being a cheeky reference. submitted by JohnnyMacado to PlanetOfTheApes [link] [comments] Mainly, if Dr. Zaius were a descendant to Maurice, then it would explain why he earned the important position that he's in. Perhaps his whole bloodline earns these spots for their direct ancestor being Caesar's closest friend. Does Zaius know the truth just because he's smart and uncovered the artifacts? Or was he hiding these artifacts because the knowledge of what really happened was passed down to him? If Maurice ever had a trusted son or daughter, then he could've explained to them how the simian flu started in vivid detail, considering that he was there since the beginning. This subsequently would've been passed down through the generations, making it so that in the future, only one orangutan family knows what really happened, and are tasked with manipulating the state and church. If Zaius isn't a direct descendent to Maurice, then it would at the very least explain why orangutans in the future seem to have the social and political status that they do. Again, ape Jesus' closest friend was an orangutan, therefore it would make sense why they are gifted positions as religious and judicial figures, when gorillas and chimpanzees have a harder time acquiring those roles. They have orang e privilege So do you all think that this was outright implied in the prequels? Or were all of the similarities merely a reference? |
2024.05.19 20:06 Conversation-Chance Finally Beat Classic Mode
2024.05.19 20:00 PaladinsRobot Strix - Champion of the Week (19th May 2024)
Welcome to /Paladins' Champion of the Week, a place to celebrate the Champions of the Realm. Share your fan-art, gameplay videos, and memes. Tell your funniest and most exciting stories! Talk about the best card loadouts and strategies, and tell us why you love the Champion of the Week! This week, we're celebratingOne day, I will be challenged.
Name | Skill Type | Description | Cooldown |
---|---|---|---|
Talon Rifle | Direct Damage | A powerful rifle that fires every 1.20s, dealing 1200 damage. Has a maximum Ammo count of 5 and is fully effective up to 500 units. | - |
Pistol | Direct Damage | An automatic pistol that shoots every 0.15s, dealing 165 damage. Has a maximum Ammo count of 15 and is fully effective up to 55 units. | - |
Scope | Direct Damage | Look down your scope and greatly increase your Accuracy. | - |
Flare | Direct Damage | Fire a Flare that Reveals enemies in a large area. Hitting an enemy with Flare deals 200 damage and an additional 100 damage over 2s. The radius of Flare's Reveal is 45 units and Flare persists for 7 seconds. | - |
Quick Switch | Utility | Swap between your Talon Rifle and Pistol. | - |
Stealth | Stealth | Enter Stealth and hide yourself from vision. Entering Stealth consumes 33% of your Energy and requires at least 40% Energy to cast. While Stealthed, your Energy is drained over time. Getting too close to an enemy will Reveal you to them.Passive - EnergyYou have energy, which is used to Stealth and regenerates 4% per second. | 1s |
Flashbang | Area Damage | Throw a Flashbang grenade that detonates on contact, Blinding nearby enemies for 3s and dealing up to 250 damage. The explosion has a radius of 80 units. | - |
Name | Ability | Description | Cooldown |
---|---|---|---|
Overburn | Flare | Flare lasts {0.6/0.6}s longer. | - |
Bushwhack | Quick Switch | Swapping to your Pistol grants {10/10}% Lifesteal for 3s. | 10s |
Dexterous | Quick Switch | Reduce the time it takes to Quick Switch to your Pistol by {10/10}%. | - |
Escape Plan | Stealth | Heal for {100/100} after entering Stealth at or below 65% Health. | 10s |
Guerrilla Tactics | Stealth | Generate {15/15} Energy after getting an Elimination. | - |
Grizzled | Armor | Increase your maximum Health by {50/50}. | - |
Relentless | Weapon | Reduce the Movement Speed penalty of Scope by {20/20}%. | - |
White Knuckle | Weapon | Reduce the recoil of your Pistol by {6/6}%. | - |
2024.05.19 19:53 knuckanoos Name choice help!
2024.05.19 19:42 broedersan Why doesn't my script for a random pot generator work?
setblock ~ ~ ~ chest loot insert ~ ~ ~ loot paradox:dev/random_pottery_sherd summon item ~ ~2 ~ {Tags:["decopot"],Item:{id:"minecraft:decorated_pot",count:1}} data modify entity @e[tag=decopot,limit=1] Item.components."minecraft:pot_decoractions" append from block ~ ~ ~ Items[0].id setblock ~ ~ ~ airLoot table:
{ "pools": [ { "rolls": 1, "entries": [ { "type": "minecraft:item", "name": "minecraft:snort_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:skull_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:shelter_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:sheaf_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:scrape_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:prize_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:plenty_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:mourner_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:miner_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:howl_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:heartbreak_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:heart_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:guster_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:friend_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:flow_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:explorer_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:danger_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:burn_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:brewer_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:blade_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:arms_up_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:archer_pottery_sherd" }, { "type": "minecraft:item", "name": "minecraft:angler_pottery_sherd" } ] } ] }
2024.05.19 19:41 Checker8763 Doesn't apply domain, but uses fallback/default cert.
[certificatesResolvers.pb.acme] email = "foo@bar.com" storage = "/etc/traefik/porkbun/acme.json" # caServer = "https://acme-staging-v02.api.letsencrypt.org/directory" [certificatesResolvers.pb.acme.dnsChallenge] provider = "porkbun" delayBeforeCheck = 0 resolvers = ["1.1.1.1", "1.0.0.1"] disablePropagationCheck = true [entryPoints] [entryPoints.https] address = ":443" asDefault = true [entryPoints.https.http] middlewares = ["security_headers@file"] [entryPoints.https.http.tls] certResolver = "pb" # default certresolver so I don't need to specify [entryPoints.https.http.tls.domains] main = ["*.main.net"] [entryPoints.http] address = ":80" asDefault = false [entryPoints.http.http] middlewares = ["force_https@file", "security_headers@file"] [entryPoints.http.http.redirections.entryPoint] # can be overriden with priority if needd to = "https" scheme = "https" permanent = truedynamic config
[tls.stores] [tls.stores.default.defaultGeneratedCert] resolver = "pb" # porkbun [tls.stores.default.defaultGeneratedCert.domain] main = "main.net" sans = ["*.main.net"]dynamic docker container config
services: ntfy: image: shlinkio/shlink:stable container_name: shlink command: serve environment: DEFAULT_DOMAIN: short.link IS_HTTPS_ENABLED: true # GEOLITE_LICENSE_KEY: xxxx networks: - traefik labels: traefik.enable: true traefik.http.services.shlink.loadbalancer.server.port: 8080 traefik.http.routers.shlink.tls: true traefik.http.routers.shlink.tls.domains[0].main: short.link traefik.http.routers.shlink.rule: Host(`short.link`)
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