[News] ผู้กำกับยืนยัน Ghost of Tsushima มีแผนที่ขนาด "มหึมา" แต่ "ไม่ว่างเปล่า" และเป็น "เกมยาก"
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ทาง IGN ได้นั่งจับเข่าคุยกับ Nate Fox ผู้กำกับ Ghost of Tsushima และได้พูดคุยทั้งในสิ่งที่เราได้เห็นและไม่ได้เห็นในวิดีโอตัวอย่างเกมเพลย์ 18 นาทีช่วง State of Play เมื่อสัปดาห์ที่แล้ว ในหลายๆ เรื่อง ดังนี้
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- เรื่องราวและสไตล์การต่อสู้ของ Jin Sakai ...
Continue Reading[News] Director confirms ghost of tsushima has a " HUGE " size map but " not empty " and " difficult game
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IGN has been sitting on the knee and talking to Nate Fox Director Ghost of tsushima and talked about what we saw and didn't see in the 18-minute game trailer last week's state of play in many things as follows.
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- Jin Sakai's fight story and style
Ghost of tsushima is an exploration and pursuing curiosity as jin sakai, the main character in the game wanted to do by Jin, grew up on tsushima island as a samurai trained to fight with sword from a young age, then mongol invaded the island. Tsushima Samurai is almost all wiped out. He is 1 of the survivors who have already used his skills. Know the fact that samurai cannot fight Mongol, so he has to find another way to struggle and this will be a major part of you as Players, how can you win if just a sword is not enough and that's what you will find a way and try to do in battle.
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- you can finish the game by playing samurai style.
You will start the game with an expert sword. You will feel it is your duty to protect this island and that will never change. But the deeper the game tells, the more you become an honorable ghost and with your chosen skills. You will get the right style of playing with you and can finish this game as a samurai too. If you want, 2 game developers can do it successfully.
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Even though you can fight honorable as a samurai from beginning to end, this is a huge challenge. As it says mongol is a strong force and wipe out many samurai before seeing you, so jin must find a way. Other and inevitable to become ghost to protect and help people on ghost island will be more role characters. Because intruders are afraid of Native villagers also affectionate as protectors. As players, you get to decide that ghost of How do you develop and what skills to wear and upgrade your armor? So we can adjust the character very freely.
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Meanwhile, Jin is trained to be a samurai and doesn't forget his skills, so he has both samurai fighting skills while doing better when ghost. You can switch the 2 styles you want throughout the game. Which you will start with great sword skills and it will never disappear. But the more you play, the more you will gain reputation and skill as ghost.
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In the plot, jin becomes ghost is difficult for him because ghost's fighting style is not bushido way. Although he holds on to samurai, he needs to leave some ideas taught to become ghost and protect. The hometown which Mr. Fox says doesn't want to spoil much, but what I can say now is jin has to sacrifice something personal to do the right thing for the people on the island.
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- fighting is very difficult.
Although we have seen video games, state of play show the enemy chopping at ign thinks the players who play this game is already highly skilled and real play is much harder for us, which fox itself. Agree.
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" we're trying to create a game based on that feeling, so just 2 swinging swinging from the enemy can kill you. The game will be very challenging. We have 3 short words to describe the fight. In this game is mud, blood, and iron. We admire the deadly of the power of samurai sword. We've watched samurai movies. So the idea that only 1 teeth can be extinguished and it will be integrated. Of fighting in this game. Of course, Mongol fall in battle is difficult, but it's a challenge that makes it really feel death and rewarded as a win. You can't just run to camp and fight 5 enemies at once. Only because you will be lynched to death "
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- I wish we could show the sword fight during state of play.
Fighting and winning is not easy, and you may have to break everything you have to win. and the most important thing is play smart. Sucker Punch wants to exalt this from the old samurai movie by presenting one-on-on-one swordsman. It's going to be very challenging.
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" one thing we didn't show during the state of play, which I think now I think we should do is that the game has a feature to fight with swords. It's a classic for samurai. These battles will be very difficult and will be driven by personality to End the cool fight. Looks like the movie as we can. You need to learn opponents and understand how they will attack if they want to win "
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- Tsushima Island
The question that comes up in ign's head when watching the latest state of play is how big will the game world be and how to see life in the game, which developers have a lot of exploration means we must have a world. In a game worth exploring and rewarding curiosity, which looks like sucker punch himself thinks so. An Island with a wide range of bioecological and sub-Missions, including goals that come up just you explore and at us. Seeing the state of play is the only crescent, which is a simple sub-mission at the start of the game and ign is afraid that enemy camp invasion will become a heavy focus in the game.
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" what you see in the video presentation is just some side action in the game. It's not even part of the plot. The plan to have mongols everywhere and the main part will be jin's change from samurai to ghost next to the plot. Met people trying to survive this game world with a broken story apart from the main plot. That's what's what's made into a game "
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" by not playing with Jin's plot and following your curiosity, you will be stronger than just playing along jin's plot. But more important is that you will get more interesting and varied experiences than it has stories and Hidden items and can get those things from going after doubt. This is why we don't put markers on the game map. We want you to be fascinated in tsushima that when you head to your hill. To hear the birds immediately. Maybe I'll chase that voice instead of just wandering from one thing to the next and we want you to have the tools and freedom to do that
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- the map we show in state of play is the only part that gets zoomed very close.
" the map we show during state of play is a very close zoom map fox explains that's just a small part of the start area and the actual map of the game is huge which fox says. That's the biggest map as sucker punch Been done and so much variety
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" Tsushima Island is covered in life that you can find in Japan's main island, from snow mountains to bamboo forests to waterfalls and pastures have everything in it but although the game maps are huge, sucker Punch is sure it doesn't feel empty
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" we want enough content to excite players. We don't want to make a huge map. There's nothing in it, so it will be full of people, plot items to explore
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Ghost of tsushima will officially be available on 17th. July This on Playstation 4
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Source: https://nordic.ign.com/ghost-of-tsushima-ps4/36560/preview/ghost-of-tsushima-game-director-says-combat-is-very-challenging-interview
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Voices of Photography 攝影之聲
Issue 21: 影像刊誌考
A Study of Photo Publications
◼︎ 購書 | Order : http://bit.ly/2uhMNd6
◼︎ 訂閱 | Subscribe : http://bit.ly/2tTlqn6
在本期專題裡,我們埋首雜誌報刊堆中,透過梳理台灣、中國和香港攝影雜誌的出版歷程,作為初探東亞影像刊誌的歷史迴路及攝影文化脈動連結的支點,試圖疊映出這個影像時代過去與現在的考驗和變貌。
走過日本殖民與國府戒嚴的重重歷史,歷經戰後攝影發展的流變,台灣影像雜誌的存在與承續,彷若一趟崎嶇蜿蜒的旅程——陳佳琦追蹤台灣攝影刊物的沓雜步履,瞭望島嶼影像出版百年來的起落波潮;張世倫重訪七〇年代發行的《ECHO》英文漢聲雜誌,追述這份台灣民俗調查攝影先鋒刊物的歷史脈絡與文化影響;梁秋虹考掘日治期間出版的「黃色刊物」,剖析台灣女性作為視覺消費商品的殖民結構與政治關係;李威儀蒐集台灣戒嚴年代官方編印發行的「今日」系列政宣畫刊,探查國府曾經透過出版啟動的對外影像心戰。
在對岸中國,長久以來由政府當局全面管控的媒體與出版體系,塑造了「具中國特色」的攝影媒介生態——顧錚回看自1949年至今、在文革到改革開放帶來的政經變化下,攝影雜誌所承載的理想、現實與時代肌理;此外,何伊寧書寫近年中國獨立刊物的多樣風景,體現這些在限制中試圖開拓道路的紙本與網路同人誌的某種可能與想像,為中國攝影注入了不同以往的革新感與清新氣息。放眼香港,李泳麒則細數自戰後以來發行的眾多香港攝影刊物,揭示早期攝影雜誌與左派團體的隱密關係,以及面對商業市場的掙扎取捨,回溯這些影像刊誌曾經點燃的火花。
本期Artist’s Showcase單元,我們專訪台灣藝術家侯怡亭,在她的作品《歷史刺繡人》系列中,藉由刺繡、勞動生產與殖民時期歷史照片的交疊展現,反射出社會集體意識灌輸的性別設定與身體感。在「Q」單元裡,法國攝影雜誌《The Eyes》創辦人文森.馬熙哈希與我們分享這份新的半年刊的編輯概念以及他對攝影的前線觀察;同時,我們也造訪巴黎視覺藝術空間「LE BAL」,一探這個位在紅燈區、前身曾是酒館舞廳的展演場,如何變成新穎的歐洲影像文化據點。
我們在籌備本期專題、記述這些影像刊物生命史之時,特別能夠感受到催生與維持一份刊物背後所需付出的心血與懷抱的理想,在此我們向眾出版人們致敬。出版的路上時而快意、時而蹌踉,我們也想再次感謝親愛的《攝影之聲》讀者給予這份刊物持續的動力,謝謝你與我們一起共度這段雜誌時光。
In this issue of VOP, we combed through and compiled numerous photo publications from Taiwan, China and Hong Kong. Using this as a fulcrum in our primary examination of the historical development and cultural ripples of photo publications in East Asia, we tried to map the past and current challenges and transformation of this age of images.
Through the Japanese colonization and martial law eras, the existence and evolution of post-war photo publications in Taiwan is not unlike a winding journey. Chia-Chi Chen traces the complex development and the ups and downs of Taiwanese photographic journals in the last century; Shih-Lun Chang revisits ECHO, a magazine published in the 1970s, and recounts the historical context and cultural influence of this pioneering publication on Taiwanese folklore and documentary photography. Chiu-Hong Liang takes a look at “adult publications” from the Japanese colonial period and examines the relationship between politics and the colonial structure of objectifying Taiwanese women as a form of visual consumer product. Wei-I Lee puts together the Today series of KMT government propaganda materials published during the martial law era and explores how the government engaged in psychological warfare through the use of such publications.
Over in China, the media and publication industry, which has long been heavily controlled by the state, has given birth to a photographic media ecology with “Chinese characteristics." Gu Zheng takes a look at how political and economic changes since the Cultural Revolution and the Reform Era gave shape to the expectations, reality and texture that photo publications have had to bear since 1949. Yi-Ning He also explores how independent publications in China, in an attempt to blaze a trail in a much-restricted environment, with their dedication to possibility and imagination, have brought with them a new sense of innovation and a breath of fresh air into the scene of Chinese photography. Turning to Hong Kong, Wing-Ki Lee showcases Hong Kong’s post-war photo magazines and recounts their impact on the society as he reveals the close relationship between early photo publications and leftist groups and their struggles with the commercial market.
In this issue’s “Artist Showcase”, I-Ting Hou tells us how her work Li̍k-sú Tsiam-tsílâng reflects gender definition and sensory perceptiveness instilled by the social collective consciousness through the overlapping historical photographs of embroidery and labor productivity from the colonial period. In the “Q” segment, Vincent Marcilhacy, the founder of French photography magazine The Eyes, shares with us his editorial concept for this new magazine and his first-hand observations of photography. At the same time, we also pay a visit to Le Bal, a visual art space in Paris, and see its transformation from a haven of drinks and dance to a new cultural stronghold in Europe.
While preparing for this volume of VOP, we had renewed respect for all the work and effort these publications put in as we articulate their histories. Hence, we would like to pay tribute to our fellow publishers. The same time, we also want to express our gratitude to our beloved VOP readers for giving us the reason to persevere with this publication. The road of publishing is at times smooth-sailing, and at times discouraging. Thank you for always staying with us on this journey.
---
Voices of Photography 攝影之聲
www.vopmagazine.com
us map by state 在 VOP Facebook 的精選貼文
#新刊發行 | New Release
Voices of Photography 攝影之聲
Issue 21: 影像刊誌考
A Study of Photo Publications
在本期專題裡,我們埋首雜誌報刊堆中,透過梳理台灣、中國和香港攝影雜誌的出版歷程,作為初探東亞影像刊誌的歷史迴路及攝影文化脈動連結的支點,試圖疊映出這個影像時代過去與現在的考驗和變貌。
走過日本殖民與國府戒嚴的重重歷史,歷經戰後攝影發展的流變,台灣影像雜誌的存在與承續,彷若一趟崎嶇蜿蜒的旅程——陳佳琦追蹤台灣攝影刊物的沓雜步履,瞭望島嶼影像出版百年來的起落波潮;張世倫重訪七〇年代發行的《ECHO》英文漢聲雜誌,追述這份台灣民俗調查攝影先鋒刊物的歷史脈絡與文化影響;梁秋虹考掘日治期間出版的「黃色刊物」,剖析台灣女性作為視覺消費商品的殖民結構與政治關係;李威儀蒐集台灣戒嚴年代官方編印發行的「今日」系列政宣畫刊,探查國府曾經透過出版啟動的對外影像心戰。
在對岸中國,長久以來由政府當局全面管控的媒體與出版體系,塑造了「具中國特色」的攝影媒介生態——顧錚回看自1949年至今、在文革到改革開放帶來的政經變化下,攝影雜誌所承載的理想、現實與時代肌理;此外,何伊寧書寫近年中國獨立刊物的多樣風景,體現這些在限制中試圖開拓道路的紙本與網路同人誌的某種可能與想像,為中國攝影注入了不同以往的革新感與清新氣息。放眼香港,李泳麒則細數自戰後以來發行的眾多香港攝影刊物,揭示早期攝影雜誌與左派團體的隱密關係,以及面對商業市場的掙扎取捨,回溯這些影像刊誌曾經點燃的火花。
本期Artist’s Showcase單元,我們專訪台灣藝術家侯怡亭,在她的作品《歷史刺繡人》系列中,藉由刺繡、勞動生產與殖民時期歷史照片的交疊展現,反射出社會集體意識灌輸的性別設定與身體感。在「Q」單元裡,法國攝影雜誌《The Eyes》創辦人文森.馬熙哈希與我們分享這份新的半年刊的編輯概念以及他對攝影的前線觀察;同時,我們也造訪巴黎視覺藝術空間「LE BAL」,一探這個位在紅燈區、前身曾是酒館舞廳的展演場,如何變成新穎的歐洲影像文化據點。
我們在籌備本期專題、記述這些影像刊物生命史之時,特別能夠感受到催生與維持一份刊物背後所需付出的心血與懷抱的理想,在此我們向眾出版人們致敬。出版的路上時而快意、時而蹌踉,我們也想再次感謝親愛的《攝影之聲》讀者給予這份刊物持續的動力,謝謝你與我們一起共度這段雜誌時光。
◼︎ 購書 | Order : http://bit.ly/2uhMNd6
◼︎ 訂閱 | Subscribe : http://bit.ly/2tTlqn6
In this issue of VOP, we combed through and compiled numerous photo publications from Taiwan, China and Hong Kong. Using this as a fulcrum in our primary examination of the historical development and cultural ripples of photo publications in East Asia, we tried to map the past and current challenges and transformation of this age of images.
Through the Japanese colonization and martial law eras, the existence and evolution of post-war photo publications in Taiwan is not unlike a winding journey. Chia-Chi Chen traces the complex development and the ups and downs of Taiwanese photographic journals in the last century; Shih-Lun Chang revisits ECHO, a magazine published in the 1970s, and recounts the historical context and cultural influence of this pioneering publication on Taiwanese folklore and documentary photography. Chiu-Hong Liang takes a look at “adult publications” from the Japanese colonial period and examines the relationship between politics and the colonial structure of objectifying Taiwanese women as a form of visual consumer product. Wei-I Lee puts together the Today series of KMT government propaganda materials published during the martial law era and explores how the government engaged in psychological warfare through the use of such publications.
Over in China, the media and publication industry, which has long been heavily controlled by the state, has given birth to a photographic media ecology with “Chinese characteristics." Gu Zheng takes a look at how political and economic changes since the Cultural Revolution and the Reform Era gave shape to the expectations, reality and texture that photo publications have had to bear since 1949. Yi-Ning He also explores how independent publications in China, in an attempt to blaze a trail in a much-restricted environment, with their dedication to possibility and imagination, have brought with them a new sense of innovation and a breath of fresh air into the scene of Chinese photography. Turning to Hong Kong, Wing-Ki Lee showcases Hong Kong’s post-war photo magazines and recounts their impact on the society as he reveals the close relationship between early photo publications and leftist groups and their struggles with the commercial market.
In this issue’s “Artist Showcase”, I-Ting Hou tells us how her work Li̍k-sú Tsiam-tsílâng reflects gender definition and sensory perceptiveness instilled by the social collective consciousness through the overlapping historical photographs of embroidery and labor productivity from the colonial period. In the “Q” segment, Vincent Marcilhacy, the founder of French photography magazine The Eyes, shares with us his editorial concept for this new magazine and his first-hand observations of photography. At the same time, we also pay a visit to Le Bal, a visual art space in Paris, and see its transformation from a haven of drinks and dance to a new cultural stronghold in Europe.
While preparing for this volume of VOP, we had renewed respect for all the work and effort these publications put in as we articulate their histories. Hence, we would like to pay tribute to our fellow publishers. The same time, we also want to express our gratitude to our beloved VOP readers for giving us the reason to persevere with this publication. The road of publishing is at times smooth-sailing, and at times discouraging. Thank you for always staying with us on this journey.
---
Voices of Photography 攝影之聲
www.vopmagazine.com
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