![]() Every inch of those games screams MoM and not just in a "wow, this game totally stole everything from Master of Magic" sort of way, but rather a "Holy hell, they've made an awesome, modernized version of MoM and managed to add what few elements I ever would have thought to append or change from the original, and do it without sacrificing the spirit of it all!" At least I think so. Played this game since it came out and still pick it up about every other year for another go, but there is definitely a game (or two) that could essentially be called its sequel: Age of Wonders and AoWII. Just a quick note after reading the review and don't know if it's already been mentioned in this thread or not. ![]() The only think posibbly lacking is the old world tactics of pikeman kill calvery.as speed of units here is essential even though its turm baised combat.no pikeman rows will cut down any strong mounted charge, youl probably watch in dismay as your troops trying to form a phalanx are cut down lol, but this is a fantasy world and Alexander or Julias never faced a basilisk charge lol If I remember, it was actually programed by Sid Meir.a strategy gaming legend lol.doubt he will ever make a sequel as Real time strategy is the thing now.and Sid is to busy with his Civ series thats crying for tactical combat like this had.its a fantasy Civ with tactical combat.can I say anymore?.a true wargamers paradise! Yeah just wanted to add, that if your a true war game strategist.this is one of the all time greatest with such a diverse economy and city placement (with growth) at will. I just know it is possible, cuz my nehew (my tech) lol was able to by editing my windows registry.
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![]() One issue likely to arise during conference discussions is changes to Ronald Reagan Washington National Airport’s perimeter rule, which limits the airport to flights within 1,250 miles, with some exemptions. If the Senate does pass its bill in September, it’s not clear whether Graves and ranking member Rick Larsen, D-Wash., could reconcile the differences between their bill and Cantwell and Cruz’s legislation in the House’s 12 legislative days before the end of the month. And if the past is any indication, Larsen and Graves’ bipartisan approach could prove difficult to maintain with so little time. ![]() The House passed its 800-page-plus version of the bill via a 351-69 vote in mid-July, sticking to the loose schedule House Transportation and Infrastructure Chairman Sam Graves, R-Mo., prescribed back in May. “I’m very optimistic we’ll get an FAA bill very soon when we return.” Conference “Chairman Cantwell is really making progress on the FAA bill… I think it’s better,” he said. Schumer himself said at a news conference on July 27 that work on the bill is progressing. “We’ve had seven near-misses in recent years, and the solution is not to cut down on pilot training.” It does not actually say what the training is,” Duckworth said in an interview. “We’re not going to have some sort of nebulous language that says you can substitute 150 hours or 250 hours with structured training. Duckworth introduced a bill this month that aims to strengthen pilot training standards and uphold the 1,500-hour rule, a move she described as “holding the line” against efforts from Thune to weaken them. ![]() Tammy Duckworth, D-Ill., have rallied behind Schumer in opposing changes to current pilot training requirements. But resolving this issue has proved to be challenging.” Cantwell and her team, and we’ve made significant progress on the bill. “My team and I will continue working with Sen. ![]() “We have twice on the committee had a bipartisan agreement, and unfortunately, Chuck Schumer blew it up,” Cruz said. Schumer, D-N.Y., objected to the provision’s inclusion in the manager’s amendment the morning of the markup over concerns that it could weaken pilot training standards. Over a month later, lawmakers are still at an impasse.Ĭruz blamed Schumer for “blowing up the agreement” and said senators will have to continue discussions through the August recess. John Thune, R-S.D., included in the bipartisan manager’s amendment that would establish a program providing a prospective pilot who completed “enhanced training” with an additional 250 hours toward the required 1,500 hours of flight experience for eligibility to fly for a regional or major airline.Īccording to staff members familiar with the situation, Majority Leader Charles E. The Senate’s FAA bill, which includes authorization for airport improvement projects, aviation modernization and passenger protection provisions, hit turbulence just minutes before the committee was set to mark up its 400-page-plus bill in mid-June.Ĭhair Maria Cantwell, D-Wash., delayed the markup over what she described as a “miscommunication” over language from Sen. “I still hope we’ll get a markup early in September,” Senate Commerce, Science and Transportation Committee ranking member Ted Cruz, R-Texas, said in an interview. Heated negotiations over pilot training have already deadlocked senators, in turn delaying discussions between the two chambers to reconcile differences between their versions of the measure. And with a September calendar already crowded with other authorization and funding deadlines, it seems likely Congress will have to enact an extension for the aviation agency's funding authority before the fiscal year ends. Senators jetted out of Washington last week without advancing a bill to reauthorize the Federal Aviation Administration, giving them just 17 legislative days to pass a measure before the agency's funding authority expires at the end of September. ![]() (The deals that arise as a result of successful screenplay pitches are often multimillion-dollar projects, rivaling in scope the development of new car models by Detroit’s largest automakers and marketing campaigns by New York’s most successful advertising agencies.) To determine whether my observations applied to business settings beyond Hollywood, I attended a variety of product-design, marketing, and venture-capital pitch sessions and conducted interviews with executives responsible for judging creative, high-stakes ideas from pitchers previously unknown to them. In interviewing and observing the pitchers and catchers, I was able to discern just how quickly assessments of creative potential are made in these high-stakes exchanges. Over the course of six years, I observed dozens of 30-minute pitches in which the screenwriters encountered the “catchers” for the first time. Specifically, I worked with 50 Hollywood executives involved in assessing pitches from screenwriters. These insights emerged from my lengthy study of the $50 billion U.S. Within 30 minutes, they’ve made lasting judgments about your character. Research suggests that humans can categorize others in less than 150 milliseconds. So the first thing to realize when you’re preparing to make a pitch to strangers is that your audience is going to put you into a box. But the fact is, they rush to place us into neat little categories-they stereotype us. We all like to think that people judge us carefully and objectively on our merits. And judgments about the pitcher’s ability to come up with workable ideas can quickly and permanently overshadow perceptions of the idea’s worth. The person on the receiving end tends to gauge the pitcher’s creativity as well as the proposal itself. It turns out that the problem has as much to do with the seller’s traits as with an idea’s inherent quality. All too often, entrepreneurs, sales executives, and marketing managers go to great lengths to show how their new business plans or creative concepts are practical and high margin-only to be rejected by corporate decision makers who don’t seem to understand the real value of the ideas. By finding ways to give your catchers a chance to shine, you sell yourself as a likable collaborator.Ĭoming up with creative ideas is easy selling them to strangers is hard. To become a successful pitcher, portray yourself as one of the three creative types and engage your catchers in the creative process. ![]() As Oscar-winning writer, director, and producer Oliver Stone puts it, screenwriters pitching an idea should “pull back and project what he needs onto your idea in order to make the story whole for him.” The research also reveals that catchers tend to respond well when they believe they are participating in an idea’s development. ![]() The results in those environments were similar to her observations in Hollywood, she says.Ĭatchers subconsciously categorize successful pitchers as showrunners (smooth and professional), artists (quirky and unpolished), or neophytes (inexperienced and naive). To determine whether these observations apply to business settings beyond Hollywood, the author attended product design, marketing, and venture-capital pitch sessions and conducted interviews with executives responsible for judging new ideas. An impression of the pitcher’s ability to come up with workable ideas can quickly and permanently overshadow the catcher’s feelings about an idea’s worth. Having studied Hollywood executives who assess screenplay pitches, the author says the person on the receiving end-the “catcher”-tends to gauge the pitcher’s creativity as well as the proposal itself. ![]() Entrepreneurs, sales executives, and marketing managers often go to great lengths to demonstrate how their new concepts are practical and profitable-only to be rejected by corporate decision makers who don’t seem to understand the value of the ideas. Coming up with creative ideas is easy selling them to strangers is hard. ![]() She frequently posts updates about her music and her life, and she enjoys hearing from her fans and seeing their fan art and cosplay inspired by Persona 5. Inaizumi is also active on social media and often interacts with her fans through Twitter and Instagram. She has performed live at concerts and events in both Japan and the United States, and her performances are known for their energy and excitement. Lyn Inaizumi is known for her passionate performances and her ability to connect with her fans through her music. Other standout tracks on the soundtrack include “Rivers in the Desert,” which has a dramatic and epic feel, and “Beneath the Mask,” which is a more subdued and contemplative track that plays during the game’s quieter moments. The song’s lyrics and melody perfectly capture the game’s themes of rebellion and standing up against corruption. One of Inaizumi’s most popular songs on the soundtrack is “Life Will Change,” which is played during the game’s most intense moments. Her powerful vocals and catchy melodies have helped to create a unique atmosphere for the game, and her music has been praised by both fans and critics. Lyn Inaizumi’s contributions to the Persona 5 soundtrack have been instrumental in establishing the game’s distinct style and aesthetic. She has since released several more albums, including “Pieces,” which was released in 2020 and features original songs written in both English and Japanese. Her debut album, “Lyn,” was released in 2013 and features a mix of original songs and covers of popular J-pop and anime songs. Inaizumi has also released several albums of her own music. She has worked with Japanese musician Tatsuro Yamashita, and has also provided vocals for the anime series “Blood Lad” and “JoJo’s Bizarre Adventure.” In addition to her work on the Persona 5 soundtrack, Lyn Inaizumi has collaborated with a number of other artists on various projects. Although she didn’t win, the experience helped to launch her career in Japan. In 2007, she auditioned for the singing competition show “Nodo Jiman” in Japan and made it to the finals. Her powerful vocals and catchy melodies have helped to create a unique atmosphere for the game, and her music has been instrumental in creating the game’s distinct aesthetic. ![]() Inaizumi’s other songs in the game include “ Life Will Change,” “Rivers in the Desert,” and “Beneath the Mask,” which are all popular with fans of the game.īoth fans and critics have widely praised Inaizumi’s contributions to the Persona 5 soundtrack. The song features Inaizumi’s powerful vocals and a catchy melody that has made it a fan favorite. One of the standout tracks on the Persona 5 soundtrack is “Last Surprise,” which is the battle theme for the game.
![]() While working on one of my personal projects I came accross a very intruiging question: You can download this PxrDisney example hereįridge was created by artist Fabio Sciedlarczyk. Hide the abrupt shadow terminator line when strong bump or normal maps are used. A value between 0 and 1 will produce unwanted noise !!!Īn optional connection point for bumped normals. IMPORTANT NOTE: This value should be either 0 or 1. Useful for modeling leaves and other thin, complex shapes. Presence is defined as a binary (0 or 1) function that can take on continuous values to antialias the shape. Select a transmission behavior for shadow rays: opaque or use baseColor.Ĭonnect a mask function here to apply a cutout pattern to your object. 0 means isotropic scattering, values between 0 and 1 means mainly forward scattering, values between -1 and 0 means mainly backscattering. Subsurface volume anisotropy (mean cosine for scattering) in path-traced subsurface scattering. The mean distances at which red, green, and blue scatter for subsurface. The color to mix with diffuse response according to the subsurface parameter. Subsurface ScatterĬontrols the amount of subsurface scattering. Sometimes also labeled as "atDistance." The smaller the distance, the more saturated the transmittance color. The distance at which absorption yields the specified transmittance color. The color of transmitted light for volumetric absorption (Beer's exponential extinction law). ![]() When set to Thin, the index of refraction is 1. Whether the surface should be considered thin or that it forms the interface to thick material. Incident (maximum) specular transmission amount. 0 means 0% transmitted, 100% reflected 1 means 50% transmitted, 50% reflected 2 means 100% transmitted, 0% reflected. The amount of diffuse light that is transmitted rather than reflected. SheenĪn additional grazing angle / forward scatter diffuse component, primarily intended for clothĪmount of tint sheen toward base color. Note: this parameter has the inverse sense of roughness. 0 produces blurry highlights, 1 produces tight highlights. This parameter is usually not needed as the specular response is determined by the incident angle of light and the roughness and IOR parameters in a physically correct way, but this parameter can override that.Ī second, special-purpose specular lobe, useful for adding varnish or clear coat layer to your materials.Ĭontrols clearcoat glossiness. (It also influences subsurface scattering.)Ĭontrols the intensity of specular reflection 0 removes it and 1 maintains the full specular reflection response. The index of refraction of the material, controlling refraction, and also the amount of specular reflection. The degree of anisotropy controls the aspect ratio of the specular highlight. ![]() Again, usually, a PBR Roughness map would be used as the input to add roughness variation. it doesn't tint incoming light).ĭefines the surface roughness between the diffuse and specular responses. Grazing specular is still achromatic (i.e. The metallic model has no diffuse component and also has a tinted incident specular equal to the base color.Ī concession for artistic control that tints incident specular towards the base color. This is a linear blend between two different models. A PBR Metalness map can be used as the input. 0 is a dielectric, whereas a value of 1 is fully metallic. Specular Reflectionĭefines the metallic-ness of your material. For brighter objects, always use a PxrMeshLight. Only use for low emission objects and materials. The main surface color, usually supplied by texture maps. Image inspired by Figure 1 of the Burley Bsdf paper. The PxrDisneyBsdf is a nice and straightforward physically-based model with a concise number of parameters, allowing for a wide range of photoreal and artistic materials, including diffuse and specular reflection and transmission, clearcoat, sheen, and subsurface scattering.Īll CG animations made at Walt Disney Animation Studios use this material model and the source code for the Pixar version of this material, PxrDisneyBsdf, is available among the bxdf code examples.Įxamples of different material parameter settings for PxrDisneyBsdf: metallic reflection, thin diffuse transmission, thin specular transmission, subsurface scattering, and glass refraction and reflection. This Bxdf is based on Brent Burley's extended material model, introduced in " Extending the Disney BRDF to a BSDF with Integrated Subsurface Scattering" at SIGGRAPH 2015. |
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