In many ways, the game was painful to play. And try as I might to make a super-strong killing strike, I couldn’t do it. Although the large pneumatic buttons looked soft, they were actually firm, and their outputs were inconsistent. I recall that the controls were surprisingly stiff. This cabinet is now often called the "deluxe" or "crescent" cab, and the pressure-sensitive buttons are often called "bash pads" or "pneumatic buttons." It looked totally rad. Each player had a start button, an eight-way joystick, and two large pressure-sensitive rubber buttons. In my local arcade, it consisted of a large, curvy cabinet with two sets of controls to accommodate two players at once. I soon discovered that the game was called Street Fighter ( SF1), and it was made by a company called Capcom. It was also said that if you hit a button hard enough, you could knock out your opponent with one hit! Certain people were supposedly seen climbing on and jumping up and down on the buttons of the machine in the hope of making a killing strike.Īs a child of the '80s who loved video games, this game intrigued me. Drive Reversal: Counterattack while blocking.KLOVRumor had it that there was this fighting video game, like Karate Champ, except the harder you hit the buttons, the stronger your attacks were.Drive Rush: Quick rush forward that costs less if used following a Drive Parry.Overdrive: Equivalent of EX Special Moves in previous Street Fighter games.Drive Parry: Parry an enemy attack and recover Drive meter if timing is perfect.Drive Impact: A powerful attack that can wall splat an enemy in a corner, or absorb an enemy blow. If a fighter uses up their entire meter, they'll enter Burnout, which applies multiple disadvantages until the meter is recovered. Portions of the meter can be used up for special attacks. Characters earn portions of their Drive meter for performing different actions, like parrying an attack. Regardless of which controls are chosen, also new to Street Fighter 6's gameplay is the Drive Gauge system. Naturally, this simplicity means these controls don't offer as much precision as the classic controls. These controls are much simpler and are designed so that anyone who has never played a fighting game can quickly understand them and start playing. You can see these controls below tap the symbol above the upper-right corner of the images to enlarge them. This starts with how there's two control schemes A classic layout for longtime veterans, and a simpler method for new fans. The game is also being designed around being far more accessible than past Street Fighter games. Together, these three modes make Street Fighter 6 the biggest street fighter game ever. Street Fighter 6 is based around three huge modes: Fighting Ground, World Tour, and Battle Hub. This is the same engine Capcom has used for the vast majority of its games over the last few years, including Resident Evil titles like Resident Evil Village and the upcoming Resident Evil 4 remake.Ĭapcom describes the art direction of the game as "where graffiti meets realism," with realistic characters and backgrounds given a painted effect, while large splashes of color punctuate the action. As mentioned above, Street Fighter 6 is being developed using the proprietary RE Engine.
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Specially coated elements reduce chromatic aberration. The Venus 25mm f/2.8 Lens optical design consists of eight lenses with a minimum working distance of 17mm. The rounded front housing blocks less light than standard lenses. The minimum focusing distance is 40mm at 5x magnification. The focal length of 25mm allows you to take sharper pictures and use a few frames for stitching photos with different focus points. The Venus Laowa 25mm comes with a manual focusing full-frame ultra-macro lens that has no autofocus and no iris. In addition, this wide-angle Tokina lens for the Nikon D3500 is great for astrophotography thanks to its large aperture, large diameter, and short focal length. With a very wide-angle and an f/2.8, you will love this lens for indoor photography or in tight spaces. At 16mm, the Tokina 11-16mm remains decently sharp.Īlthough the zoom range is short, it still covers a useful wide-angle range. At f/8, the overall best image quality is achieved. By stopping down the lens, the centre sharpness worsens, but the sharpness improves towards the edges. At f/2.8, the centre sharpness is excellent and it becomes only slightly soft towards the edges. This lens is the sharpest at 11 mm at maximum aperture. Although the Tokina 11-16 mm doesn’t have a silent ultrasonic focusing motor, it’s very quick and fairly quiet. Interestingly, to switch between autofocus and manual focus, you nudge the focus ring back and forth. It is excellently built with high-grade plastics and a black textured finish. The Tokina AF 11-16 mm performs extremely well for a lens in this price range. Chromatic aberration towards the edges.Thanks to its outstanding focal length range, the Nikon 18-300mm is virtually a mix of zoom and telephoto lenses for your Nikon D3500. At the maximum focal length, 300 mm, centre sharpness remains good between f/6.3-f/11. By stopping down to f/5.6-f/8, the sharpness in the centre of the frame improves drastically. You will be able to take hand-held shots at shutter speeds as low as 1/15 sec, thus providing a 5-stop VR.Īt the smallest focal length, 18 mm, and the maximum aperture, the sharpness is very good in the centre of the frame. Nikon’s VR is ideal for hand-held shooting at slower shutter speeds. You can also turn the AF off and use the focus ring for manual focus, which is located close to the camera body. The silent wave motor provides decent autofocus, but it’s not the fastest. The Nikon 18-300mm f/3.5-6.3G ED VR is a very compact and lightweight lens at 550g, considering its impressive 16.7x zoom. You will love it for landscape, travel, and street photography. Therefore, the Nikon 18-200 mm is not a good option for portrait and macro photography.Ĭonsidering its price, image, and build quality, the Nikon 18-200 mm is an excellent zoom lens for the Nikon D3500 lens. Plus, the sharpness around the edges sharply drops as you open the aperture. First of all, the lens’ aperture is not bright enough. The Nikon 18-200mm is not very good at bokeh. Distortion, however, is quite strong across all focal lengths. Vignetting is not bad, but it gets stronger as you stop down the lens. It provides three stops of stabilisation, which is great for images at night and handheld shots. The built-in second-generation VR (vibration reduction) is capable of producing superb images in low-light conditions. The housing is made of semi-hard plastic, while the mount is metal, which guarantees sturdy attachment and no wear. Interestingly, for a zoom lens, it’s very compact and not much bigger and heavier than the Nikon 18-105 mm. Thanks to its wide zoom range (11x zoom), it is extremely versatile. Some might say that it’s the best multi-purpose Nikon D3500 lens for travel and landscape photography. Since the Nikon 18-200 mm f/3.5-5.6 IF-ED AF-S VRII entered the market in 2009 and succeeded Nikon’s previous version of the Nikon 18-200 mm, it has become a widely popular lens among Nikon photographers. And I think that’s something that men have to retain and celebrate as much as women celebrate their femininity.” Okay. “A lot of men these days are made to feel like apologists for their sexuality and their masculinity. But I think you’ve got to be careful we do not lose sight of what a man is,” he said. “Certain aspects of a man’s character are frowned upon now as being discriminatory or boorish. When the interviewer noted that intimacy coordinators provide a level of protection for actors, specifically in the wake of Me Too, Bean said, “I suppose it depends on the actress.” Speaking of the Me Too movement, the actor also reportedly mused on the difficulty of being a man in the modern era. “Often the best work you do, where you’re trying to push the boundaries, and the very nature of it is experimental, gets censored when TV companies or advertisers say it’s too much,” he said. We had good chemistry between us and we knew what we were doing was unusual.” (I’ll wait until I hear that from Bean’s co-star in that film, Joely Richardson.) He compared that to his recent experience filming a nude scene for Snowpiercer, which he claimed had been cut for air. He called the shoot “spontaneous,” adding, “It was a joy. “I think the natural way lovers behave would be ruined by someone bringing it right down to a technical exercise.”īean went on to reminisce about the good old days sans intimacy coordinators when he shot 1993’s Lady Chatterley’s Lover. “Somebody saying, ‘Do this, put your hands there while you touch his thing.’” It’s unclear whether Bean has actually worked with an intimacy coordinator in his career, but he continued. “It would inhibit me more because it’s drawing attention to things,” he said. In a recent interview with The Sunday Times, Bean suggested that intimacy coordinators would potentially have a negative impact on his performance. And yet the actor has decided to go on the record saying he doesn’t really see the point of having intimacy coordinators on set for sex scenes. He knows that one does not simply film an action sequence without a stunt coordinator. He has died in every way imaginable onscreen, from death by arrows in Lord of the Rings to a good old-fashioned beheading in Game of Thrones. I vaguely remember going “PO TAY TOES” throughout my meal, as well as rattling off facts about him to my friend.Sean Bean is a veteran actor. I was sat at the table directly next to him, and had a clear line of sight to him throughout my entire meal. Plus, it’s not the kind of establishment that behaviour would be accepted at. I barely kept my shit together, but didn’t think it was appropriate to interrupt him during his meal or demand pictures with him. I am definitely not rich enough to be a member myself. I had tagged along with my friend who is a member there. This took place at a fancy country club restaurant in Mells, Somerset. His wife’s coat was an almost floor length sequinned coat in a houndstooth pattern, and the sequins were iridescent. “Clocked him” to me means “saw/recognised” not punched. I then told him how much of a fan I was, he put his arm on my shoulder and laughed and thanked me for being a fan and said it was nice to meet me too.ĮDIT - thanks for the awards! Wasn’t expecting my fan girl gush to get so much attention. I complimented his wife on her coat as they walked past, and she didn’t hear me at first - so this Angel of a man stopped her and told her I’d complimented her coat. I clocked him as soon as I walked into the restaurant, but didn’t want to bother him. He was the nicest, most genuinely kind celebrity I’ve ever met. In the context of our problem, the timing function will take the ratio of the time elapsed and the total duration of the animation as input. So, we’ll have to wire that up ourselves! Unfortunately, there is no out-of-the-box way to define the animation of a scroll. You can read in depth about timing functions here. Under the hood, both of these methods use the concept of timing functions.Ī timing function is a function of time and defines the variation of speed of an animation over a given duration, that is, its acceleration. easing presets ( ease-in, ease-out, ease-in-out etc.).In CSS, we have the provision of defining the animations of some properties like background-color and opacity through: animation parameters specified, which will dictate the pace of the scrolling.This will depend on two interdependent factors: On each tick, that is, each invocation of the callback function, the function will calculate the amount that needs to be scrolled. requestAnimationFrame is a non-blocking way to call a function that performs an animation just before each repaint cycle of the browser. A continuously self-executing function is provided to requestAnimationFrame as a callback. Now, we need to start scrolling the element at a pace based on the duration provided in the parameters. function smoothScroll(scrollParams = īased on the type of element, we use appropriate properties, as seen below. The library will expose a function that will accept the different input parameters required like the element to scroll, the scroll amount, etc. callback to cancel the scrolling event at any point.specify the duration over which the scroll will happen.ability to scroll inside any element and not just window.animations with cubic Bézier curves and easing presets - the most interesting part!.Today, we will explore how smooth scrolling works on the web by building a smooth scrolling library from scratch that will have the following features: Photo by Damon Lam on Unsplash (it’s a scroll. |