#ark: ultimate survivor edition

[redflicker]

Ark Survival for Switch is a perfect game with no issues whatsoever.

Jokes aside, does anyone know how to fix this? I can’t craft anything in my menu, messing around with folders didn’t help, and my saves on other maps are just fine. Can’t really play the game like this =(

[scontomio]

💣 ARK: Ultimate Survivor Edition per Xbox One - Gioco Avventura e Sopravvivenza 🤑 a soli 16,99€ ➡️ https://www.scontomio.com/coupon/ark-ultimate-survivor-edition-per-xbox-one-gioco-avventura-e-sopravvivenza/?feed_id=271439&_unique_id=66d950f19f687&utm_source=Tumblr&utm_medium=social&utm_campaign=Poster&utm_term=ARK%3A%20Ultimate%20Survivor%20Edition%20per%20Xbox%20One%20-%20Gioco%20Avventura%20e%20Sopravvivenza Scopri l'Ultimate Survivor Edition per Xbox One, un'avventura epica tra dinosauri con tutti gli expansion pack. Doma creature e unisciti a battaglie tribali. #coupon #kochmedia #xboxone #offerteamazon #scontomio

[gameforestdach]

Studio Wildcard, die Entwicklerschmiede hinter der beliebten ARK-Reihe, hat bedeutende Updates und Pläne für die Zukunft des Franchise bekanntgegeben, was ihr Engagement für die Nutzung neuer Technologien und Plattformen widerspiegelt. Dieses umfassende Update bezieht sich auf mehrere wichtige Aspekte der ARK-Serie, einschließlich des sehnlichst erwarteten ARK 2, ARK: Survival Ascended und Erweiterungen über verschiedene Plattformen hinweg. ARK 2: Verzögerung und Entwicklungsfortschritt Ursprünglich für früher angesetzt, wurde ARK 2 jetzt auf Ende 2024 verschoben. Diese Verschiebung ermöglicht es dem Entwicklerteam, die Fähigkeiten der Unreal Engine 5 voll auszuschöpfen, um ein überlegenes Spielerlebnis zu bieten. Geplant für den exklusiven Start auf der Xbox, Game Pass und Windows-Vertriebsplattformen wie Steam und PC, unterstreicht diese Verzögerung die Hingabe des Teams an Qualität und technologischen Fortschritt. ARK: Survival Ascended - Ein Remaster der nächsten Generation ARK: Survival Ascended stellt eine signifikante Generalüberholung von ARK: Survival Evolved dar, jetzt mit Unreal Engine 5 remastered. Dieses Upgrade beinhaltet umfassende Verbesserungen wie dynamisches Wasser, interaktive Vegetation und eine Überarbeitung mit Spitzentechnologien wie Nanite, Lumen und RTXDI. Es führt auch plattformübergreifendes Multiplayer-Spiel und ein bahnbrechendes, plattformübergreifendes Modding-Erlebnis ein, in Kooperation mit Overwolf, dem führenden Modding-Plattform-Anbieter. ARK auf Nintendo Switch und mobilen Plattformen Die ARK-Reihe setzt ihre Expansion fort mit der erfolgreichen Einführung der ARK: Ultimate Survivor Edition auf der Nintendo Switch und einer für das Jahresende geplanten kompletten Überarbeitung von ARK: Survival Evolved für mobile Plattformen. Diese Erweiterungen steigern nicht nur die Verfügbarkeit des Spiels über Plattformen hinweg, sondern zielen auch darauf ab, das Benutzererlebnis mit grafischen Verbesserungen und neuen Features zu verbessern. ARK: Die animierte Serie Um das Franchise weiter zu diversifizieren, hat Studio Wildcard den Schritt in die Animation gewagt mit ARK: The Animated Series. Mit allen 14 Anfangsepisoden, die sich bereits in der Postproduktion befinden, verspricht diese Serie, eine neue Dimension in das ARK-Universum zu bringen. Überarbeitung von Spielmodi und Erweiterungspaketen Studio Wildcard hat mehrere Verbesserungen für ARK: Survival Ascended geplant, wie die Integration des Spielmodus Survival of the Fittest, aufgewertete Grafiken und neu gestaltete Feiertagsereignisse. Auch ein neues, kanonisches Story-Erweiterungspaket ist für das vierte Quartal 2023 vorgesehen, das vier neue Kreaturen und andere spannende Elemente enthält. Game-Design-Innovationen in ARK 2 ARK 2 wird signifikante Designänderungen gegenüber seinem Vorgänger einführen, einschließlich Elementen wie Soulslike-Kampfmechaniken, ausschließlich primitiven Waffen und strikt aus der Third-Person-Perspektive agierend. Diese Änderungen bedeuten eine strategische Anpassung an Plattformen der nächsten Generation. Letztes Inhaltsupdate für ARK: Survival Evolved Das finale Inhaltsupdate für ARK: Survival Evolved ist für den Juni 2023 geplant und markiert den 8. Jahrestag des Spiels. Dieses Update umfasst die Einführung des von Fans gewählten Rhyniognatha, was die Entwicklung des Spiels und die fortlaufende Interaktion mit seiner Community symbolisiert. Fazit Die Roadmap von Studio Wildcard für die ARK-Reihe zeichnet ein ambitioniertes Bild von technologischer Innovation, Plattformerweiterung und Inhaltserweiterung. Indem das Studio neue Spieletechnologien annimmt und seine Angebote diversifiziert, ist es bestens positioniert, seinen Stand in der Spieleindustrie zu halten und auszubauen.

[actu24hp]

Ark: Survival Evolved a été mis à jour à nouveau pour Switch

Ark: Survival Evolved a subi une refonte massive de la Nintendo Switch l’année dernière avec la sortie de “Ultimate Survivor Edition”. Au cas où vous l’auriez manqué, il a amélioré la qualité visuelle et les performances, réduit les temps de chargement et ajouté un certain nombre de fonctionnalités de qualité de vie, y compris la gestion des stocks. Avance rapide… CLIQUEZ ICI POUR LIRE LA SUITE…

[svenerd]

ARK: Ultimate Survivor Edition - Official Accolades Gameplay Trailer

ARK: Ultimate Survivor Edition – Official Accolades Gameplay Trailer

ARK: Ultimate Survivor Edition – Official Accolades Gameplay Trailer The ARK: Ultimate Survivor Edition: Official Accolades Gameplay Trailer shows off some of the reception and critical acclaim the game has gotten from its Nintendo Switch release. ARK: Ultimate Survivor Edition is available now on Nintendo Switch. #GameTrailers #Gaming #Ark Ansehen auf YouTube

[iaad]

(со страницы ARK: Survival Evolved - Ultimate Survivor Edition [RePack от FitGirl] (2017) - скачать через торрент - Игры на выживание - Онлайн игры - Miltor)

[ftwrthtx]

ARK: Ultimate Survivor Edition for Nintendo Switch Now Available in North America

ARK: Ultimate Survivor Edition for Nintendo Switch Now Available in North America

THE DEFINITIVE DINOSAUR EXPERIENCE – ARK: ULTIMATE SURVIVOR EDITION FOR NINTENDO SWITCH™ NOW AVAILABLE IN NORTH AMERICA   All ARK DLC Updates Included for Thousands of Hours of Gameplay; EU Version to Launch Nov 8   (more…)

[elmundotech]

NEO: The World Ends with You lidera el ránking japonés de ventas de juegos

#NEOTheWorldEndsWithYou lidera el ránking japonés de #ventasdejuegos - Semana del 26 de julio al 1 de agosto, 2021 - #videojuegos #elmundotech

Aunque la cantidad de juegos que se vendieron fue menor que en las semanas anteriores, NEO: The World Ends with You ocupó el puesto número 1 en el ránking japonés de ventas de juegos para la semana del 26 de julio al 1 de agosto de 2021. Se vendieron 18,799 copias de la versión Switch de NEO: The World Ends with You, empujando a The Legend of Zelda: Skyward Sword HD al segundo lugar con 18,620…

[linuxgamenews]

ARK: Ultimate Survivor Edition launches with full content

ARK: Ultimate Survivor Edition now fully updated in Linux gaming, Mac, and Windows PC. Thanks to the continuing efforts of Studio Wildcard, Instinct Games, Efecto Studios, and Virtual Basement. Available now on Steam, along with a discount. The final chapter of ARK: Survival Evolved finally launches. Studio Wildcard is wrapping up all ARK content with a bow into a definitive collection, the ARK: Ultimate Survivor Edition. Priced at $59.99 USD and packed with everything the ARK franchise has to offer. This includes the ARK: Survival Evolved base game. This also means all Expansion Packs: Scorched Earth, Aberration, Extinction, and Genesis Parts 1 and 2. The Survivor Edition is fully updated and fit with every upgrade since the launch. As a result, this adds up to thousands of hours of gameplay.

ARK: Genesis - Part 2 Expansion Pack

Now the ARK saga ends with the launch of the ARK: Genesis Part 2 expansion pack. This is due to be a story bridge between the current game and its recently announced sequel, ARK II. ARK: Genesis Part 2 introduces a massive adjoining world full of strange new biomes, story missions, and exotic creatures. ARK: Ultimate Survivor Edition houses the final conflict between the sprightly HLN-A and the deranged Sir Edmund Rockwell takes place. Doing so on a massive colony ship traveling through deep space. So players will need to use all of their ARK skill to survive.

ARK Ultimate Survivor Edition Trailer

Genesis Part 2 also welcomes new voiceover talent. Including David Tennant (Doctor Who, Good Omens) playing the villainous Sir Edmund Rockwell. There is also Madeleine Madden (The Wheel of Time, Picnic at Hanging Rock, Dora and the Lost City of Gold). Madeleine is taking on the in-game robotic AI companion HLN-A/Helena Walker. Haven’t yet explored the wild world of ARK? ARK: Ultimate Survivor Edition is available for all gaming platforms. So this includes support in Linux gaming, Mac, and Windows PC. Along with major discounts on ARK: Survival Evolved the base game. Plus a sale on the ARK Season Pass, as well as ‘Complete the Bundle’ options. ARK: Survival Evolved is available on Steam. In ARK, players are stranded naked, freezing, and starving on a mysterious island. So you must hunt, harvest, craft items, and grow crops. And of course, build shelters to survive. Use skill and cunning to kill, tame, breed, & ride the dinosaurs and primeval creatures. Team up with hundreds of players online or try solo survival in offline play. ARK: Ultimate Survivor Edition is fully updated, including ARK: Genesis Part 2. Releasing with support in Linux gaming, Mac, and Windows PC. Offering up a 10% discount off the $59.99 USD price on Steam.

[wojciech-kac]

ARK Ultimate Survivor Edition - GRA Ps4 - Opole 3158

[cybeout]

CrossfireX, Besiege, Ark: Ultimate Survivor Edition e altro ancora si dirigono verso Xbox Game Pass

CrossfireX, Besiege, Ark: Ultimate Survivor Edition e altro ancora si dirigono verso #Xbox Game Pass

Microsoft ha più arrivi di Xbox Game Pass preparati per le prossime due settimane. L’ultimo lotto annunciato oggi include alcuni successi indie come Besiege , un’edizione molto più ricca di contenuti di Ark , così come la lunga campagna CrossfireX di Remedy Entertainment nelle sue viscere. Ecco tutti i giochi annunciati oggi per le porzioni Xbox Game Pass, PC Game Pass e Xbox Cloud…

[canyouhearthelight]

The Miys, Ch. 132

Yes, I know... it’s late again :(

I realized at about 1030a this morning, when I was 30 miles and a minimum of 7 hours from my computer. The guilt was real.

Also, I recently upgraded computers, so I apologize for any editing errors.  Honestly, I don’t have my preferred word processing program on here to check and make sure all my flavor editing is done correctly, so I’m probably going to come back and re-do it when that’s available.  However, I PRIDE myself on the fact that I may post a few hours late, but never the next day! (even though my deadline is technically Tues or Thurs each week?. I dunno)

Quick kudos to @baelpenrose, @the-raven-fae, @anotherusrname, and @charlylimph-blog for being my writing team!

The next morning, I staggered into work very much regretting the onions that I dared to put on the table the night before - I had only gotten a few hours sleep the night before thanks to two rather tall men who shared a tendency to snore like congested warthogs. Fortunately, Vati and Hannah were off today, so I didn’t have to hide the gargantuan yawns every few minutes.

Unfortunately, I wasn’t spared from the sarcastic wit of my assistant, who breezed in the door and simply arched an eyebrow at me. “Hmm, having a coffee day, I see.”

“I can’t look that tired,” I grumbled, shoving my hair out of my face and sulking into my cup - which unfortunately did contain coffee, as predicted.

“You do smell that tired, I am afraid.  And by you, I mean the deplorable muck you are drinking.”

Alistair wasn’t a fan of coffee, obviously, but I was admittedly drinking a really strong cup of it. “The guys had a terrifying amount of onions with dinner last night,” I confessed.

To my satisfaction, he wrinkled his nose. “Delightful.” He also despised onions, more so than he did coffee. “Fortunately, you have quite a sparse schedule this morning.”

Shaking my head, I broke the news to him. “Change of plans. Xio got the list of shelter locations back to me and Tyche yesterday, ironically after we had been complaining about not having them. Pretty sure she was listening in.”

The eyebrow arched again. “Another ‘sensor test’, I assume?”

“Don’t know, don’t care,” I shrugged. “We wanted the list, we got the list. And an ersatz apology in the form of which area can hold how many people, which makes our end much easier.  Bump it up against a map of who is closest to which location, and half our work is done.”

I flicked the list to the emitter on the conference table, and got started. Since Parvati and Hannah were up to their eyeballs in their plotting for the Food Festival, and our job had been significantly lightened in regards to deciding shelter locations, I made the executive decision to take the lead on this project and pull in Tyche for assistance if Alistair and I needed it.  Maybe Arthur if I got desperate for extra help, but working with him and Alistair at the same time was chancy at best - they spent so much time snarking at each other, it could be harder to get work done than if I did it alone sometimes.

Soon, Alistair and I had a map of the Ark, with all shelter locations highlighted and the data from Xiomara’s report overlaid. I had my head down, programming the shelter locations to change color when the capacity limits Xiomara provided were reached, when Alistair noticed something. “Why, pray tell, are the Archives on this map?”

I didn’t even look up. “Probably because it’s the furthest location on the ship from the real-space engines, so it’s the safest place if someone tries to blow those.”

“You are mistaken.” He tapped on the table to get my attention. “The Archives are right on top of the engines, which is why it was available for use: when it was empty, the room was so noisy it was difficult to be in there for more than a handful of minutes.”

Shaking my head, I tapped the ‘front’ of the ship to highlight it. “These are the real-space engines, apparently. When we drop out of relativistic space, these will fire to start slowing us down as we approach Von. These,” I tapped the ‘back’ of the ship, “Are the relativistic engines, which we are using now, which is why that room was so loud when you found it.  According to Noah, for safety purposes, they are housed at opposite ends of the ship.  Also, pretty sure no one is going to try to blow the relativistic engines.  Something quantum physics related that made sense but I would probably explain it wrong.  Big boom, big shrink, no survivors is the gist.”

The disgusted look he gave my explanation was glorious. “So people will be in the Archives, no doubt touching things.”

“They’re books, Alistair. They are meant to be touched and read.” Glancing at the map, I was actually impressed - I never realized how large the Archives were.  They made up nearly an entire deck, albeit the second-smallest on the Ark. “Hang on, someone is already assigned there? Did you do that?”

He scoffed. “I certainly did not, I assumed you had.”

“Nope.  Must have been Xiomara,” I trailed off before tapping the icon indicating an assignment to see who it was.

I started to smile, only to be scared out of my mind by Alistair suddenly shouting. “NO! Absolutely not, I will go tell Councillor Kalloe myself. I - I shall duel her if need be! I refuse to allow this to occur.”

“Alistair, if you duel Xiomara, you’ll probably wind up dead. You know that right?”

“It is only over my dead body that you will be sheltering the Archives. Absolutely not.”

“I’m not going to hurt your precious books, you know that. If anything, I’ll be able to make sure no one else does, either.”

“Not going to hurt the books!?” he nearly shrieked.  I was starting to worry about how hysterical he was getting before he pinched his nose and took a few breaths to calm down. “Madam Reid, I am aware that you will not, through deliberate action or mischance, directly harm a single item in that Archive. I am equally aware that there are certain things that you are distressingly oblivious to, one of which being your own poor luck, if events that take place after being rescued from a global infrastructure collapse can count as poor luck. I shall endeavor to clarify to you why I am so concerned with this.”

Uh oh. He was being very formal.  This was never a good thing.

Before I could object, however, he forged on. “This entire planning exercise is aimed at what, precisely?”

“Designating shelters for non-combatants,” I answered slowly, confused.

“Shelters in the event of what?”

“If we are forcefully boarded in the month after we drop out of relativistic space?”

“Correct.  Which is clearly a bad thing, true?”

“True…”

“And what, remind me, do you have a tendency to do when bad things happen?”

“Plow into the middle of them, which is probably why Xiomara wants me as far from potential combat as possible, so I can’t - “

“Dying, Madam Reid. You have a tendency of dying.”

“Almost dying,” I corrected meekly.  I could unfortunately see where this was going.

“Whenever bad things happen on the Ark, the bad things find you,” he almost hissed. “And I would rather that they not find you in the middle of the only books - potentially the only artifacts, period - that we have from Earth.”

“It may distract them from killing me?” I pointed out.

The glare he gave me rivalled Tyche at her worst.  I probably would have been flattened, had I not built up immunity to far more vicious gazes. “No, this won’t do at all. I must speak to Councillor Kalloe immediately.  And quite likely to Farro.  Let me update the less-endangered Reid that she shall need to arrive early to assist you…”

Any attempt I made to try to dissuade him from the abrupt shortening of his lifespan was ultimately ignored.  As he tried to breeze past my sister, I resorted to grabbing his sleeve and physically stopping him. “Alistair!  You cannot go fight Xiomara to make her put me somewhere else! It’s not worth it!”

He stopped in his tracks, confusion flooding his face. “Somewhere else?  Madam Reid - please unhand me, thank you - whatever gave you that impression?”

“You - the books - dying… I’m so confused. What are you going to fight Xio about, then?”

“I cannot argue the logic of keeping you as far from the engines as possible, nor the logic of placing you as close to something that would deter any invading parties from making rash or reckless decisions.  It is likely quite safer for the ship, in all honesty.”

“Then…?”

He sighed and shook his head. “I am going to speak to Xiomara about removing myself from the non-combatant list and instead being one of the persons assigned to the Archives to defend it from any hostile parties,” he admitted.  “Farro will need to help me brush up on defensive techniques, but I am certain it will be easier to keep the Archives from disaster if I protect it myself.”

“Hey!” Tyche objected. “I’m already assigned to the Archives! She’ll be safe!”

Turning on a heel, he waved a hand over his shoulder dismissively. “You protect your sister from invaders. I shall protect the Archives from her.”

As the door closed behind him, she gave me a baffled look. “Long story,” I sighed. “I’ll explain while we start allocating people.”

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[dweemeister]

When Worlds Collide (1951)

Stop-motion animator György Pál Marczincsak garnered pan-European fame for his pioneering Puppetoons series of short films in the 1930s. Sensing tumult in continental Europe, he fled his native Hungary to Britain as the Nazis rose to power in Germany. With the assistance of Walter Lantz (the creator of Woody Woodpecker), he moved to the United States, changed his name to George Pal, and attained American citizenship. In America, Puppetoons resumed with Paramount Pictures’ financing until 1948. Puppetoons, unlike most stop-motion films, utilized “replacement animation” – a form of stop-motion animation where a new hand-carved, wooden puppet would be used for each photographed frame rather than modifying the same figure for each successive frame. Though Paramount discontinued the series due to its increasing costs, Pal nevertheless remained in good standing with the moviegoing public and the studio’s executives. Transitioning from an animator/director to producer, George Pal took an interest in a genre that – since the silent era’s end – had been relegated to low-budget serial films and comic book stands.

As the world’s nations shuffled to take sides for the Cold War, the United States and the Soviet Union’s greatest engineering and scientific minds were imagining new possibilities in aerospace. The renewed interest in space flight and scientific discovery led to Paramount’s Destination Moon (1950), produced by Pal. Destination Moon was the first film released by a major American studio to consider a speculative human landing on the Moon. For Pal’s follow-up, he purchased a science fiction property gathering dust at Paramount. The property: When Worlds Collide, based on Edwin Balmer and Philip Wylie’s novel of the same name. With acclaimed cinematographer Rudolph Maté (1928’s The Passion of Joan of Arc, 1940’s Foreign Correspondent) as director and providing aesthetic expertise, When Worlds Collide is the origin of all subsequent apocalyptic movies where a celestial body smashes into another celestial body. In two inconsistent films that deem their characters’ humanity as secondary, George Pal rejuvenated an entire film genre in the United States – and Hollywood has never looked back.

In South Africa, astronomer Dr. Emery Bronson (Hayden Rorke) instructs American pilot David Randall (Richard Derr) to pass along confidential, unsealed photographs and research to his American counterpart, Dr. Cole Hendron (Larry Keating). Drs. Bronson and Hendron will warn the United Nations Security Council (UNSC) that a star named Bellus will strike and destroy Earth within a year. Shortly before the projected impact, Bellus’ sole orbiting planet, Zyra, will pass by Earth close enough to wreak gravitational and geologic devastation before the Earth’s ultimate destruction. Bronson and Hendron thus propose the construction of human spaceships – “arks” – to transport human survivors to Zyra just before Bellus arrives. The astronomers are not taken seriously by the UNSC. However, private donors such as wheelchair-bound businessman Sidney Stanton (John Hoyt) provide the necessary funds for the ark’s construction. 

Various arks are assembled across Earth, but When Worlds Collide concentrates on the effort spearheaded by Drs. Bronson and Hendron and financed by Stanton. This American ark will also include co-pilot, Dr. George Frye (Stephen Chase), and Dr. Hendron’s daughter/assistant, Joyce (Barbara Rush). Joyce is attracted to David because 1950s science-fiction films always seem to have an obligatory romance.

With an acting lineup filled with B-movie stalwarts and future television stars (who may be recognizable by those who know their ‘50s-‘70s television), When Worlds Collide is hindered by stiff line readings and an emphasis on the mission rather than its human characters. Screenwriter Sydney Boehm (1952’s The Atomic City, 1953’s The Big Heat) has written a procedural screenplay, one where decisions about the ark’s construction, its flightpath, and the selection of its passengers are the film’s primary drama. From that screenplay, only John Hoyt, as the irascible Sydney Stanton, distinguishes himself in the film with his patrician sneering. Disaster films and invasion literature during and prior to the mid-twentieth century typically did not privilege individual viewpoints, and that trends continues in When Worlds Collide.

That is to the film’s benefit and its detriment. It is a mechanical motion picture, with the occasional reminders that humanity, collectively, is staring down its certain destruction. Once Drs. Bronson and Hendron have made their presentation to the UNSC, every character in the film is henceforth defined by the looming apocalypse. Whatever lives they lived outside their work are extinguished in service of constructing the arks. All over the construction facility, numerous signs read:

WASTE ANYTHING EXCEPT TIME TIME IS OUR SHORTEST MATERIAL

The privileged few tasked with the ark’s construction and its piloting are but a fraction of a fraction of humanity. Even among the several hundred persons (unsurprisingly, due to a complete lack of imagination, they are all white) involved, everyone reacts differently to the situation they all share. Some are despairing, believing they have not lived a fulfilling life; some commit to their final purpose, subsuming their emotions in service of a space age Noah’s ark; some are possessive, concluding that their involvement with the ark makes them more worthy than others to embark the ship come doomsday. With precision, the elements comprising the ark’s first and final flight are assembled. Perhaps the most unrealistic aspect of When Worlds Collide is the uncritical adherence to the scientists by the faceless masses who construct the ark (the scientists’ hand-picked survivors are few, but these individuals’ placement on the ark is somehow never questioned). Interpersonal and inter-group conflict does not appear until far later than is realistic – the film’s romantic triangle is devoid of comprehensible motivation other than the fact that the film’s top-billed actor and actress should end up together somehow. Anyways, When Worlds Collide is not depicting a humanity akin to Star Trek at its most utopian. Thus, one must assume there will be at least some level of destructive human ego that confounds the ultimate task. Here the film falters, as the characters become the means to the end.

Maté and Pal choose not to show Zyra’s passing and Bellus’ catastrophic impact. Only their aftermaths are shown. On paper, any similar decision in a modern apocalyptic movie would be hounded across the Internet – but it works for When Worlds Collide. Here, the aftermath of Zyra’s passing is portrayed in a montage of film miniatures, matte paintings (mostly of the ark and its surroundings), and tactful slow-motion. With no computer-generated imagery to assist these scenes, the special effects team outdo themselves. Special effects artists Harry Barndollar (1946’s Cloak and Dagger, 1956’s The Ten Commandments) and Gordon Jennings (1942’s Reap the Wild Wind, 1953’s War of the Worlds) contributed to the miniature-heavy montage of Zyra’s approach. Their colleague, artist Chesley Bonestell (known as the “Father of Modern Space art”, Bonestell also worked on 1941’s Citizen Kane, Destination Moon, and 1953’s War of the Worlds) provided the novel idea of the ark beginning its launch on a one-mile mostly horizontal ramp (the miniature of this ramp was an enormous 700 feet long) rather than the conventional vertical launch.

Zyra’s approach is visceral terror in its timing (the effects are felt several seconds after scientific projections), sharp editing, and mass bedlam. Where the impacting sun will vaporize the Earth’s remaining inhabitants instantly, the passing planet will leave survivors left to wander or repair, perhaps futilely, the pre-apocalyptic wreckage. When Worlds Collide’s final minutes are special effects wizardry, partially redeeming the film of its ill-conceived storytelling and sketchy science. Yet, there could have been more in the film’s final minutes. George Pal envisioned a scene featuring an ark miniature resting on the surface of Zyra. Due to success of Destination Moon, Paramount expedited When Worlds Collide and rejected Pal’s request for an additional $5,000 (almost $50,000 in 2020’s USD) to cap off the Zyra scene. This forced Pal to utilize a Bonestell concept painting instead for Zyra’s surface – and it is too obviously concept art.

When Worlds Collide solidified George Pal as one of Hollywood’s best producers, and Pal already set his eyes on a sequel: After Worlds Collide (based on the novel’s sequel of the same name). But the failure of Conquest of Space (1955) led Paramount to nix the idea. The coming decade saw the Space Race between the Soviet Union and the United States and an explosion in American science-fiction films. Whether these 1950s sci-fi features contained spacefaring, exploration, or alien invasions, they invariably influenced succeeding entries into the genre that have made it dominant in contemporary Hollywood. George Pal, as a producer uniquely suited to special effects animation, became a science fiction and fantasy film innovator in the second half of his career. When Worlds Collide, though seemingly primeval compared to its sci-fi contemporaries a decade or so after, was fortuitous in its timing and for having George Pal as its producer.

My rating: 7/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[yespoetry]

An Interview with Maryan Nagy Captan

copy/body by Maryan Nagy Captan is a poetry collection that explores identity, place, home, gender, and family dynamics. It was originally published by Empty Set Press in 2017. With the close of Empty Set earlier this, we have partnered up with ESP and are offering the chapbook as a free ebook. You can read an interview with the Captan below (and poems from the collection are forthcoming on our site on Monday, October 14), and can download the collection here and below.

Did you write this collection to any kind of music?

This collection spans about 9 years worth of work. The oldest poem in the collection, "Housewife", was written in 2009 while "Blood Pact" was completed in 2017.  There are so many albums that are my tried and true and have been for the past decade which deeply influenced the bulk of the work: The Lemon of Pink by The Books,  Shake Shugaree by Elizabeth Cotton, Veneer by Jose Gonzalez, Noah’s Ark by CocoRosie, Aquimini by Outkast, Rain Dogs by Tom Waits, Plaisirs D'Amour by Rene Aubry, anything by Bessie Smith, anything by Kendrick Lamar, anything by John Cage, In Rainbows by Radiohead, the list goes on and on. 

Describe your favorite meal.   

I'm not sure if it qualifies as a meal but a minimum of 20 pieces of my mama's waraq ineb drenched in lemon juice (preferably eaten on the couch next to my dad while we switch between watching Wimbleton and Lebanese soap operas on DISH Network).

Choose three books that you've always identified with?  

I have such a hard time answering questions about identifying with books or characters. I think partially because I don’t read narratives where I identify with the characters. I read to escape into form and language. However, I do have books that I love and have read many, many times over the last several years. Tender Buttons by Gertrude Stein is a bible, as is Recyclopedia by Harryette Mullen, and Zong! by M. NourbeSe Philip come to mind. 

However, I find myself identifying much, much more strongly with visual art. I feel most connected to the work of Masao Yamamoto, Louis Bourgeois, Joan Miro, Paula Rego, and Ren Hang. 

Choose one painting that describes who you are. What is it?  

For the past few years, I’ve been enamored with the work of Julie Speed, an oil painter and collage artist based in Marfa, TX. My current favorite piece is titled “Eyes to See.” How does it describe me? I like to think that I am both figures in this painting. As a writer and performance poet, I get self conscious about overwriting or being too insistent in the work. As a reader and citizen of the world, I sometimes feel overwhelmed by the amount of information and insight that we’re expected to consume regularly. It can be suffocating. 

However, behind all the chaos of humanity is a bird and a tree and an open window.  I think this aspect speaks strongly to my desire to always find a sliver of hope in everything: an escape, a reminder, a moment of joy.

What do you imagine the apocalypse is like? How would you want to die?  

Even though it’s a terrible movie, I always loved the premise of The Happening. In it, plant life develops an airborne toxin that causes humans to commit suicide. 

In this version of the apocalypse, instead of an airborne toxin, all plants and trees develop a taste for human blood and devour all of humanity in a few days. I wouldn’t want it to last too long because it sounds horrific. 

In this scenario, I’d prefer to be gently leaning onto and then very suddenly be absorbed into Bald Cypress. Though, I hope I’m the first to go because I’m way too soft to actually witness any of this.

If you could only watch three films for the rest of your life, what would they be?  

This one’s too hard but okay: Beetlejuice, Cairo Station, and Chungking Express.

Where do you find inspiration lately?

Lately, I’ve been screenwriting and studying storytelling. It’s been really energizing and it’s changing the way I think about poetry. I’ve always been inspired by what I feel most challenged by so right now, I’m learning to tell stories through narrative and the three act structure rather than through emotion and musicality.  It’s really hard but the creative payoff is huge.

Where did you write most of your book? 

The majority of the book was written in Philadelphia, and three of the poems were written in Keene Valley, NY during a residency with Paul Smith College of the Adirondacks.

What was something surprised you recently?

I recently learned that a placebo can still have a positive effect on someone even if they know it’s a placebo which I thought was so fascinating.

What do you carry with you at all times?   

A piece of mica from Clark Park in West Philly.

Tell us a bit about your writing process. What works and what doesn't? What doesn't, but you keep trying it anyway?

I’ve always been self conscious about how little I produce but I’ve slowly come to understand over the years that I don’t write unless I feel compelled to.  

I can meditate on a poem for days before actually writing it. I’m obsessed with subjectivity (as a concept and with my own) and I feel most compelled to write when I’m in a state of deep introspection. I’ll meditate on an idea for days and when a poem finally comes, I’ll spend eight months editing it to death. I have some poems that have gone through 30-40 different drafts. The biggest challenge for me is to write a poem, edit once, then twice, and be done with it. The poem is done after the second edit. It has to be. 

One of my favorite mantras comes from the teachings of J. Krishnamurti: Observe your confusion. Study it. 

For me, what works is writing about something that scares me about myself.  At the present moment, I’m most interested in examining how I’m complicit in, even though I protest against, the deconstruction of the natural world. I’m attracted to hypocrisy as a theme and find it really difficult to write without relying on tropes. 

What doesn’t work for me is sitting down and saying “I’m going to write a poem.” The compulsion to write is an integral part of the process. Without it, ideas just don’t come. 

What are some of your daily rituals or routines?  

Birdwatching and drinking coffee is my favorite daily ritual because I like to pretend I’m retired even though I’ll probably be working for the rest of my life. (: 

What was the hardest part about writing this book?

Honestly, when Angelo invited me to publish with Empty Set, I already had these poems ready. They span the length of nearly a decade and I had already performed them dozens of times. These are the poems of my 20s. 

Now, that I’m in my 30s and working on a new collection, one that is intentionally thematically linked and far more narrative, I think the obstacle I keep coming up against is the question of whether or not each of the poems is building on the last or if the poems are merely reiterating the same ideas. 

copy/body is as a book is a collage: the poems are linked by their musicality, language play, and loose themes of domesticity. The current book I’m working on is much more intentionally themed and though there are individual pieces, the book is designed to be read as one long poem.

Ultimately, the hardest part of writing copy/body was finding the time to write and the hardest part about having time to write is actually writing. But maybe that’s the case for everything.

Define happiness for you. 

The silence of a desert.

Maryan Nagy Captan is an experimental writer, educator, and performance poet based in Austin, Texas. She is a Fellow at The Michener Center for Writers and serves as the Marketing Director for Bat City Review. Maryan is the author of copy/body (Empty Set Press, 2017) and an alumna of the Disquiet International Literary Program. Her work has appeared in or is forthcoming in The Egyptian Writers Folio (Anomaly Press), Foundry, AJAR, Apiary Magazine, Mantra Review, Boneless/Skinless, Sundog Lit, and elsewhere.

Joanna C. Valente is a human who lives in Brooklyn, New York. They are the author of Sirs & Madams, The Gods Are Dead, Marys of the Sea, Sexting Ghosts, Xenos, No(body), #Survivor, (forthcoming, The Operating System), and is the editor of A Shadow Map: Writing by Survivors of Sexual Assault. They received their MFA in writing at Sarah Lawrence College. Joanna is the founder of Yes Poetry and the senior managing editor for Luna Luna Magazine. Some of their writing has appeared in The Rumpus, Them, Brooklyn Magazine, BUST, and elsewhere. Joanna also leads workshops at Brooklyn Poets. joannavalente.com / Twitter: @joannasaid / IG: joannacvalente / FB: joannacvalente

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ARK: Ultimate Survivor Edition - Official Nintendo Switch Launch Trailer

ARK: Ultimate Survivor Edition – Official Nintendo Switch Launch Trailer

ARK: Ultimate Survivor Edition – Official Nintendo Switch Launch Trailer This definitive collection of the ARK experience includes overhauled visuals and gameplay improvements for ARK: Survival Evolved, adds exclusive Switch interface options, and includes all massive expansion packs. ARK: Survival Evolved is avaliable now for Nintendo Switch in North America along with it’s EU release on…