#I LOVE ALL OF THEIR CHARACTERS. AND IF YOU LIKE EPIC DOODADS

[the-main-idiot]

@candymeatlemonspiced 's little guys <<3<3<3<3

[teamrealitystanza9]

Doctor Who: Dalek Attack

SO! MANY! WORDS!

Check under the read more for this super in depth ride description love! [ written by the brilliant Pi on my Cake featuring art by the sharpie queen Tegan pilots a chicken]<3

~Loading Platform/Ride System~

Guests exit the TARDIS and enter into the cargo bay of a Dalek spaceship.

This serves as the loading station for the ride. Guests go forward and see Team Members in Torchwood Institute uniforms here to help them into the ride vehicles. [ The Torchwood Institute is a team of alien hunters and paranormal investigators based in Cardiff. They have helped the Doctor a few times before. ] The ride is a mini-EMV style system similar to Many Adventures of Winnie the Pooh. Although both for capacity reasons and to add more motion/rotation, the ride vehicles are a bit larger. One other difference from Pooh is the use of showstops throughout to increase the ride time and enhance the experience.

Visually, they look like Daleks. The story reason for this is that we are using the shells of old, broken Daleks to be able to sneak through the ship undetected.

~Scene 1~

Guests begin their journey by being almost immediately stopped by a Dalek. The vehicles rotate to face the imposing, yet simple animatronic figure.

“HALT! THE DALEK SHIP IS ON FULL LOCKDOWN! ALL DALEKS MUST BE SCANNED!” - Dalek Guard

The Eleventh Doctor’s voice can be heard over a radio assuring us that the shells we are riding in will pass any scan. The Dalek’s weapon begins to charge as if he is about to shoot.

“Well, in theory they can pass any scan.” - The Doctor

“SCAN COMPLETE! CONTINUE ON, FELLOW DALEK! MORE GUARDS ARE NEEDED TO WATCH THE PRISONER AND THE ULTIMATE EXTERMINATOR!” - Dalek Guard

“Ultimate Exterminator? Don’t like the sound of that. But let’s focus on finding me first.” - The Doctor

~Scene 2~

Guests then continue on through the foreboding ship. A few other Daleks can be seen standing guard. Weapons seem to follow us.

This appears to be an armory of some sorts. Decommissioned Dalek shells broken down and scrapped for parts mixed in with new weapons and GunSticks [ the little laser doodads that Daleks have. ] This is a quiet scene. A calm before the storm. But tension is rising and seeing the Dalek armory raises the tension and establishes just how dangerous they can be.

~Scene 3~

Next is the Dalek Prison Block. Most of the cells are empty since Daleks don’t typically take prisoners. But we do see the 10th Doctor in a cell!

This is another showstop as our vehicles park in front of a large screen showing the 10th Doctor.

“Sending the calvary in repurposed old Dalek shells, brilliant! I am one smart fellow! Well, I will be one smart fellow. Well, I am one smart fellow and my future regeneration will be too. You know what, you all get the gist. Open this cell we have work to do.” - 10th Doctor

The cell opens up and The 10th Doctor steps out holding out the Sonic Screwdriver to scan the room.

“Now, the Daleks have some sort of super weapon and I’m gonna need some back up. One smart fellow is great, but two! That’s when things get crazy. Of course, the calculations required for two versions of myself to exist in the same time and place take a very long time. But if I start now I should be done in…” - 10th Doctor

The ride vehicles turn around to face a different screen where a TARDIS is appearing. As it is appearing, the Eleventh Doctor’s voice can be heard.

“...137 years, 2 months, 4 days, 7 hours, 6 minutes, and 42 seconds. Hello, me. Long time no see.” - The Eleventh Doctor

~Scene 4~

Alarms start to blare! Dalek troops are everywhere [ optical illusions and screens are used to make this section of the ride look much larger and much more full of Dalek. ] We see the two Doctors going around on the screens outsmarting and tricking Daleks to save us. It can be stuff as simple as basic pranks [ like the 10th Doctor tapping a Dalek on it’s right “shoulder” when really he’s on the left side ] to more aggressive stuff [ like the 11th Doctor knocking a lubricant on the floor and “This is Sparta” kicking a Dalek down down the slippery hall. ]

This scene is pure fun crazy chaos and absolutely captures the spirit of light-hearted, epic adventures that make Doctor Who so great!

~Scene 5~

Next we enter the room with the Ultimate Exterminator! A giant Dalek Super Weapon! Both Doctors are standing nearby gloating and exchanging some fun, cocky banter. This is another showstop in front of a large screen. They explain that the reason they captured the 10th Doctor was that they wanted to use the Temporal Energy generated by Timelords to power the weapon. But what they don’t understand is that time isn’t linear, but actually from a non-linear, non-subjective viewpoint, it's more like a big ball of wibbly-wobbly, timey-wimey stuff.

Since time isn’t simple and linear, anything using it as a power source can have that power taken away. A weapon made for explosions, can instead cause an implosion! All they need to do is reverse the polarity of the neutron flow!

This whole scene works as an homage to the technobable filled inspirational hero speeches the Doctor is known for!

Guests then follow a glowing pipe towards the engine of the Ultimate Exterminator.

~Scene 6~

As we head towards the engine for another show stop in front of a large screen, we see it already pulsing with energy and getting ready to implode!

Suddenly there is a big blast and wind blows through the room! A hole was blown in the wall of the ship! Daleks are seen flying out into space and the ride vehicles use it’s motion base to simulate the feeling of trying to hold on!

“Allons-y!” - 10th Doctor

“Geronimo!” - 11th Doctor

The scene quickly becomes a short simulator type sequence as we get sucked out into space! Daleks out in the void with us as well as a lot of debris. We see the TARDIS flying around in the distance. Although as we get a bit further from the ship things start to slow down leading to another slower scene.

~Scene 7~

This scene has a bit of peaceful stillness as everyone is calmly floating out in space. Lights line the room creating a beautiful starfield. A miniature of the wrecked Dalek ship is here creating the optical illusion of it being off in the distance. A couple of Dalek figures are floating in space [ the supports are hidden in the darkness. ]

The peacefulness is interrupted by the Eleventh Doctor’s voice over the radio.

“Beautiful, isn’t it? I’ve been travelling through here for a thousand years and the sight of the stars still hasn’t gotten old.” - 11th Doctor

The sound of the Doctor’s voice alerts a nearby Dalek that was aimlessly floating out in space. It starts to flail and panic and shoots it’s laser wildly hoping to “EXTERMINATE” the Doctor! 

With a flash of light and a sudden jerking motion from the vehicle, it seems like the guests were hit! The vehicles start spinning as they careen into the next room!

~Scene 8~

This scene uses a speed tunnel effect [ basically a wrap around projection tunnel ] like Buzz Lightyear’s Space Ranger Spin. This allows the guests to be surrounded by a high speed space battle and hurtle through the stars as Daleks try to EXTERMINATE them! The vehicles are turned backwards here to help add to the chaos and excitement of this sequence.

Among the space debris flying by during this scene on the projections, Jmmy Neutron’s ship and George Jetsons’s ship can be seen as Easter Eggs to the past inhabitants of this showbuilding.

After a bit, the star projections give way to a time warp tunnel! With two TARDISes flying through it! The Doctors rescued us and we are now warping safely back to earth!

~Scene 9~

Guests then head to one final show stop facing the TARDIS in an alley behind the museum that served as the queue. The door opens and behind it is a screen with the Eleventh Doctor standing in the doorway here to say goodbye.

“You’ve done splendidly. Absolutely breathtakingly fantastic. Fantastic. Faaaannnntttaasstic. It sounds weirder when I say that then when I said it. Oh well. Point is, you did an amazing job and you saved a lot of people. Now, go treat yourself! You earned something special. Maybe get a nice fez. Fezzes are cool.” - The 11th Doctor

The TARDIS then disappears [ What we saw was just a Pepper’s Ghost reflection, so making it disappear is easy. ] After that, guests head towards the unload station which continues the alley theming. The voice of beloved Doctor Who side character and star of the Torchwood spin off, Captain Jack Harkness, comes over the radio.

“Before you head home, me and my buddies at Torchwood wanna check in with you. Just a quick debrief and you can be on your way. And I’m a master at debriefing.” - Jack Harkness ;)

This short message sets up the story for the gift shop and gives a nice segue for guests exiting the ride and heading to the store.

[pixiekptt863-blog]

Full Game GTA IV is mega

I was raised in the era as Grand Theft Auto was mostly contraband. In 2003, my close friend also I pitched in to buy a reproduction of Junior Area also assigned it amongst one another, out of the eyesight your parents, whom underwent every been driven in a fearful frenzy in posts with USA Now about the game’s prostitution and chaotic propensities. Grand Theft Auto wasn’t just a game to us yet was there a chief component of your youth, the kind of all-caps MATURE point we encountered as an play of revolution approximately a cool doodad to outdo the time.

GTA IV came at a different moment. I wasn’t still playing games at that point anymore, having forgot the consoles when I attended institution with 2007 in an effort to focus on our studies and become a world-renowned author™. Still, I even got myself drawn to IV, not because it remained the next-gen variety of Grand Theft Auto, but because a lot of this game talk with a thematic evolution i became thinking about. Head-down with books like The Great Gatsby along with The Howl Of Destiny 49, Grand Theft Auto IV’s somber take on finding yourself lost in the bleak tunnels on the American Dream as a bad person while the plush get stupider, crueler, and richer talk to me. I finished countless hours on the friend’s Xbox 360 to complete the game, eagerly playing through the sad account of Niko Bellic.

You’ve probably read a hundred hot holds in GTA IV and The National Dream. You can turn now for my side of this if you want, but I must focus on anything unique for this part. IV excels when it comes to building something happens exceptional for open-world up for: a thematically unified event that control when it comes to telling a story while also respecting the person is an independent inhabitant of that world rather than a passenger. The way to GTA IV resolve which is there to this highlights the heaviness.

Driving is (forgive us) a loaded word. There are obvious examples of heavy, when it comes to physical weight. Something – a carrier of stones, the anvil – is deep. There is and the thematic form in the term, of course; to say great is deep is to about it is weighing you lower emotionally, it’s depressing you. Grand Theft Auto IV has systems in place both at home moment-by-moment gameplay along with the plot that embraces both of the.

Since the narrative's emotional weight is attractive clear for anyone who’s played Grand Theft Auto 4, let’s mention the gameplay concepts, like physics. Grand Theft Auto 4’s physics are paradoxically unique in they display a https://gtadownload.org surprisingly eloquent take on awkwardness. Everything feels like they have a defined pounds in GTA IV that gets this down. Niko walks without elegance, always a victim of her own lack of balance. Sometimes someone can brush past him or a car will gently touch him, then torture fall over awkwardly. Cars become a extension of that. Even the sooner convertible vehicles turn much more slowly than they would in a racer or another Grand Theft Auto game. To call up them tanks would be exaggerating, but they’re not nimble.

In Grand Theft Auto 4, gunfights feel similarly unique. Plenty of action games make use of destructible cover but there’s something about the seriousness on the globe which makes it feel well in a special way. Taking cover behind a car during a struggle with the police may lead to the vehicle slightly spring when rounds strike that, the goblet above you will break and fall you as bullets hole in. Melee combat is clumsy but visceral, with Niko's brutal pistol beat involving a enemy coming round the turn creating a combination of pressure with wonder. The prolonged delivery of the transfer and also the enemy's stagger backward keeps the opening for you to kill them away from, and it is surprisingly and uncomfortably intimate.

People rightfully realized that the ragdoll animations and even measure of the gunfight action substituted for Grand Theft Auto V, with enemies sticking out all over and their bodies reacting in new of your “lower down” sort of approach than IV’s mixture of prolonged and falling animations. IV’s kills are shifting because of the understanding that V trades away for its scope and variety meetings. Where V is consistently putting you into the kind of action sequences you’d view into Run with Vision Impossible, IV’s gunfights often occur within squalor. The immediacy of nailing a drug dealer’s eyeball round the turn in the ratty slum’s hallway with a blind fire from the pistol and look at their brain drive back touching the side is much more frightening (also appealing) than V’s approach.

The divergence between the two sorts of assault makes sense if you think about the composition they're aping. V is the termination of Rockstar’s love affair with the pictures of Michael Mann (Thief, Heat). The action is breezy and fulfilling, with the screen briefly fly to enable you know if you kill somebody.

Notice the elements here. There’s a lot of remaining on the injuries, blood splattering on the window, the element from the vehicle slowly step before to deviate with the parked one, the topics. There is no zipping present with scores. This sort of storytelling places emphasis not on frantic action but instead about the thought that it violence is produce the emotional with pure effect on the world. Cars move. Glass shatters. People moan in agony.

Grand Theft Auto V take these air, like grass collapse and mortality moans, but they're minimized due to the high production surveys plus the waves of enemies that come after you while Tangerine Dream’s beautiful score show in the family. It shape a fence among a person with the violence. Yes, it is entertainment. Don’t worry, you’re just engaging in a cassette game of which stays mimicking that case blockbuster you understand past summer.

IV has very little in the way of such artificial barriers. There is no soundtrack to camouflage the cries in the guy you just appeared while he ask someone nearby to see their girl he care for her. The violence is shifting and often cruel, helping turn Niko Bellic in a complex character, an individual with fine class that however commits heinous steps that will result in fall and go through upon countless people.

Niko’s emotional damages and suffering from a crazy, adolescent betrayal have left him incapable of understanding the world when everything apart from a mercenary for hire – someone capable of spin off of their experiences to harm people for notes. The technique in GTA IV, particularly when it comes to physics and activities in combat, stress that just as much because history does. Every bill of assault is mired in the throes of creative realism, with personality models fall again, while the world erupts close to people in a slow but tell respect which reason the theatre of Niko's story.

Of course, a lot of these variations probably be beyond the world of creative intent. GTA 4 was Rockstar's first real attempt to grip with the RAGE engine on the massive amount, so the awkward physics and clunkiness of beat is very likely a result of that than any intention. However, at the end with the period, you have the part of art and intent only concern to some point. It doesn't matter if Grand Theft Auto 4's physics are accidentally compelling or a mistake, they're still fascinating and immersive storytelling props.

Storytelling in activity is unfortunately often seen in terms of traditional story. "The design then the makeup become clear." However, I think this worth paying attention to the elements away from that. Just like the actor creates a person on the script alive regarding a flick, the specialist matter that you could not value with opening view (like how physics weigh on a appeal and identify the tether to the earth) is often key in making that lie what it is in the first home. The worst thing that could ever happen to GTA 4, outside of being removed from gap with age, is a remaster that enhance the gunplay then makes up the qualities animations more attractive. To do that would puncture Rockstar's disturbing yet compelling portrayal in the National Dream.

Yes, GTA 5 is a substantial practical and artistic achievement that dwarfs IV in terms of articles with satisfying activities to do. Next Vice Urban and III were both incredible sports to made much to alter the way. However, IV remains an important GTA to me since it’s a high-budget game produced by the most successful developers to goes all-in by developing a great knowledge on wandering, sympathetic souls doing bad things also getting hard alternatives to survive a dingy, despairing world.

IV is not without their catches. The produce is problematic in some places, particularly some homophobic and misogynistic sections that touch juvenile rather than provocative, and Oh My Spirit I Ignored How Severe The Checkpoint Scheme Is. But, IV's ambitions and performances upon those goals, are still unmatched by nearly any other game away there near my own measure. Epic in range and bitter but humanistic, IV lives beyond these topics as a new classic in a way that the other GTAs just don't.

[anthonydarnell]

RETROACTIVE CONTINUITY: THE SECRET TO STAR WARS SUCCESS

Yep. You read that title correctly. Here’s another goddamn article about Star Wars!

Star Wars celebrates its 40th anniversary this year and the ubiquity of George Lucas’s groundbreaking creation is enough to choke a rancor. Every time you get online, there’s a slew of clickbait promising spoilers, beat-by-beat breakdowns of the latest trailer, and advertisements for the newest doodad with Star Wars stamped on the box.

It takes a near-herculean effort to slog through the crap and remember what it is that makes Star Wars SO FUCKING GOOD.

“I don’t like Star Wars. It’s course and rough and irritating and it gets everywhere.”—The Internet

Lightsabers. AT-ATs. X-Wings. Epic space battles. Metal bikinis. The Force. That little green dude. Those things are Star Wars, right?

Well, yes, those elements are in Star Wars, but they don’t make the story of Star Wars unique. There’s plenty of stories that share similar ingredients (Dune, Blade Runner, Alien, Firefly, Star Trek, etc.), but the characters, plot/structure, and dialogue put Star Wars into a class of its own.

In a 1983 Time article, Lucas claimed he envisioned nine movies (three separate trilogies) that would detail the adventures of the Skywalker family. This is, in essence, A BUNCH OF BULLSHIT.

Back in 1977, when A New Hope premiered, it was a stand-alone movie. I mean JUST WATCH THE DAMN THING. The Empire’s defeated. There’s bombastic-as-shit music. Han and Luke wink at Princess Leia and, when we cut to the end credits, we can only assume that they’re gonna go get it on in some funky intergalactic ménage à trois. Everything wraps up nicely.

After the success of A New Hope, regardless of what Lucas said in later interviews, he didn’t have a follow up story planned. In fact, he had to reach out to other writers to help him continue the trilogy.

Initially, Alan Dean Foster wrote a sequel to Star Wars called Splinter of the Mind’s Eye (released in 1978). The book was written to be filmed as a low-budget sequel if the original film wasn’t a success. However, after the record-breaking success of Star Wars at the box office, it was dropped in favor of a big-budget sequel.

In a moment of divine inspiration, Lucas turned to veteran pulp science fiction writer Leigh Brackett to do the initial draft of The Empire Strikes Back. If you don’t know who Brackett is, she was the screenwriter behind such films as The Big Sleep, Rio Bravo, and The Long Goodbye. Unlike Lucas, SHE WAS A FUCKING PROFESSIONAL AND KNEW WHAT SHE WAS DOING and introduced the elements that would become many of the franchises most famous moments.

“Plot is people. Human emotions and desires founded on the realities of life, working at cross purposes, getting hotter and fiercer as they strike against each other until finally there’s an explosion—that’s Plot.”—Leigh Brackett

After completing the initial draft in 1978, Brackett died of cancer and the screenplay was further developed by Irvin Kershner, Gary Kurtz, Lucas, and Lawrence Kasdan.

The development of the original Star Wars trilogy has been explored in several fantastic books. I’d recommend checking out The Secret History of Star Wars by Michael Kaminski. It’s a moment-by-moment breakdown of the screenplay development from conception to execution. It outlines Lucas’s influences, notes, and revisions.

All this goes to say that Star Wars was developed as it was being made. It wasn’t part of Lucas’s grand design. The original trilogy was pieced together through an ingenious array of retroactive continuity (retcon).

In A New Hope, when Obi-Wan tells Luke his father was killed by Vader, he wasn’t bending the truth “from a certain point of view.” That was actually the truth. They hadn’t decided that Vader was Luke’s dad yet. When Yoda says, “No, there is another,” in Empire he wasn’t referring to Leia. Leia and Luke weren’t twins yet. The writers were leaving a door open to introduce another Jedi in the final installment.

I truly believe that the retcon in Star Wars is why people have fallen in love with these stories. It’s engaging. It’s shocking. It leaves you with questions that must be answered. In a roundabout way, it’s good storytelling.

With The Last Jedi on the horizon, I want to take a step back and look at some of the scenes—especially the dialogue—that’s made this franchise a juggernaut to be reckoned with for the last 40 years.

Over the next week, I’ll be rolling out my Top 10 Star Wars Scenes and I hope you’ll check back in for updates.