Ultra 6 is an elite and secretive superhero team recruited by the government in an attempt to counter the privately funded and publicly known League of Heroes should the need ever arise. The members of Ultra 6 are diverse both in the nature of their powers as well as their backgrounds. While some members are government operatives, former soldiers, and science experiments gone wrong, others are former super villains being offered a chance to redeem themselves.

-----

Name: Agent Empath

Secret Identity: Claire Vey

Age: 23

Skills/Powers: Agent Empath has the power of being extremely empathetic and clairsentient. This means that she can synch up mentally and emotionally with others. She also has the ability to briefly copy the fighting styles and physical prowess of those she comes into contact with. Claire’s psychic abilities allow her to communicate telepathically and read other’s minds.

Weapons: She carries a katana. However, Agent Empath is able to copy the fighting styles of her allies and opponents making her an instant expert with any weapon.

-----

Name: White Wendigo

Secret Identity: Dr. Avery White

Age: 47

Skills/Powers: White Wendigo has the increased speed, ferocity, and strength of his mythological counterpart. He also has razor sharp claws. When he is not in “Feral Mode” the White Wendigo possess a high IQ.

Weapons: None

-----

Name: Lady Snapdragon (Reformed Super Villain)

Secret Identity: Dr. Clara P. Hill

Age: 50

Skills/Powers: Dr. Hill, as the result of a lab accident, has the ability to manipulate and control plant life. Direct exposure to sunlight gives her a slight healing factor and replenishes her energy. As a result of the changes to her DNA, Dr. Hill also experiences a decreased aging process.

Weapons: Lady Snapdragon uses two thorn covered vine whips in battle.

-----

Name: Captain Elastic

Secret Identity: Bobby Hooke

Age: 27

Skills/Powers: Captain Elastic has the power to deform and stretch his body. Already an expert free-runner and skilled in parkour, Captain Elastic is both fast and agile.

Weapons: None

-----

Name: Surge Protector

Secret Identity: Private First Class Benjamin Powers

Age: 30

Skills/Powers: After taking part in a top secret government experiment, PFC Ben Powers was granted the ability to absorb, store, manipulate, and discharge various types of energy. In small doses, his body is able to naturally dissipate energy. However, larger amounts of energy cause Surge Protector to release violent blasts of energy from his body if not contained by his power suit. If Surge Protector absorbs too much power, his body will transform temporarily into pure living energy.

Weapons: An advanced containment suit that allows Surge Protector to use his powers safely. His suit, when charged, grants him advanced strength and the power of flight. The suit can also direct and focus his energy blasts.

-----

Name: Frostbyte (Credit for this character and her description goes to A.K. Brickster)

Secret Identity: Unknown

Age: Unknown

Skills/Powers: Extremely quick and agile, Frostbyte is a trained in the art of ninjutsu. Also, she is a computer expert who excels at disabling even the most complex electronic security systems.

Weapons: Frostbyte is a master of all martial arts weaponry. Her standard weapons of choice are a katana and shuriken.

© VictorMacNeil, April 2017

Photo André Knoerr, Genève. Reproduction autorisée avec mention de la source.

Utilisation commerciale soumise à autorisation spéciale préalable.

Yessss! Donald Trump, you're fired.

Now America can be great again.

La démocratie a enfin dégagé un individu menteur, tricheur et dépourvu de toute empathie qui, n'étant qu'une starlette de téléréalité, n'était pas à sa place et laisse une population désunie aux Etats Unis.

Il reste cependant beaucoup à faire, surtout en matière d'éducation. De nombreux citoyens, en grande majorité dans les vastes campagnes, sont ignorants et naïfs au point de gober les moindres "fake news". Cela pourrait faire sourire, mais, lorsqu'ils invoquent des motifs religieux pour s'armer, ils sont aussi dangereux que les intégristes fanatiques qui trahissent une autre religion ailleurs dans le monde.

La motrice grue W-56 et la PCC de service 2194 stationnent dans la cour du dépôt Elmwood.

23367

It's probably pretty obvious that I've dipped out of the hobby again a bit. I worked all last month at the best job I've ever had and now that season's over, I'm kinda having a crisis over what to do next. I've been working since I got out of high school and now that I suddenly have free time and no where to be I'm kinda freaking out. I'm supposed to start school soon-ish and I'm auditioning for DCI in December, but this in between time is driving me crazy. I have too much time alone with my thoughts and I feel like I'm falling behind but being rushed at the same time. At the same time, I'm trying to juggle all my friends and their problems, and as an intense empath, it's only digging me further into the hole of depression I'm in. I dunno. Things are hard right now. The Flickr changes aren't really helping me want to take more photos either. Same with my complete failure in Dalicious. I really hate myself honestly.

Purchase signed print here.

chancenkosigomez.com/shop/you-are-not-an-island

As a child, I struggled with asking for help when I needed it the most. There was an overriding feeling of not wanting to bother or disturb anyone with anything I had going on. The simple truth is that a closed mouth won’t get fed. That you and I are not an island. I reflect on the six weeks I spent in the Himalayas at an ashram learning how to strengthen my sadhana, or spiritual practice. How intensive the schedule was at first. Our days started at 6 a.m and ended at 9 p.m. What made it easier was seeing how committed all the other yogis were in accomplishing the same goal I had. To be disciplined enough to achieve something for ourselves, together. Unity is strength. I’ve personally experienced unexpected blessings because I dared to speak up about what I needed in the moment. When I’ve taken a single step towards my goals, something greater has delivered what I needed through the actions of another. This portrait of Chi was taken in 2024 at her communal village. I was experimenting with Leica’s M-10 Monochrome for the first time. I knew that strong black and white portraits would be produced that day. When I began editing this still stood out to me. Because nudity is already a charged art form its almost too easy to produce striking photographs. I do my best to capture nude subjects in relation to their environments while also conveying different ways of non-verbal communication. I see a timid mystery in this photograph as Chi’s back is turnt to the viewer and we are only getting a fraction of her face. I feel as if there’s something to be said by our subject that’s not being communicated. Maybe that’s the empath in me wanting to be available as a listener to another.

Paris, 2 septembre 2024. Le triathlon a débuté à 8h 15 pour se terminer vers 1430-15h. Départ et arrivée au pont Alexandre III. Les épreuves par catégories ainsi qu'hommes-femmes s'enchainaient avec peu d'intervalle. C'est ainsi qu'on peut voir en même temps ou des athlètes courant seuls, hommes et femmes, ainsi que des déficients visuels accompagnés de leur guide. Le public était aussi nombreux que fair-play, l'empathie était forte, l'émotion au rendez-vous. Un beau moment de ce Paris 2024.

La foule ayant gonflé au fil de la matinée, pour voir correctement, il fallait s'éloigner du pont Alexandre III et faire un choix : j'avais opté pour la course à pied plutôt que le cyclisme.

Cf en commentaire, la vidéo postée hier du début de matinée.

www.flickr.com/photos/rcontensous/53966130471/in/dateposted/

If you know someone who is an empath, check on them- for we are not okay…

I went to the store this morning and as I walked through the store, I smelled the faint smell of a broken sewer line. As I turned the corner, I found that smell was from someone in a wheelchair being pushed through the store. They had no legs, wore gloves and a make-shift face mask, and I could see they were in dire need of care. The person with them was a registered nurse, so in some degree they were taken care of, but I just wanted to reach out and hug them- hold their hand and tell them I could read every degree of pain, hurt, and fear- tell them that it would be okay and there was hope… but I could not.

As I walked through the store all I could think of was how much I wanted to do something- anything. Before I could find them and offer to help pay for their groceries they had already checked out and were on their way out. After I checked out I went to my truck and sat for a good ten minutes just overcome with emotion. Four hours later, it’s just as real…

Theme: Life, Love, and the Pursuit Of Happiness

Year Twelve Of My 365 Project

Vincent van Gogh, né le 30 mars 1853 à Zundert, aux Pays-Bas, et mort le 29 juillet 1890 à Auvers-sur-Oise, en France, à l'âge de 37 ans, est un peintre et dessinateur néerlandais. Son œuvre pleine de naturalisme, inspirée par l'impressionnisme et le pointillisme, annonce le fauvisme et l'expressionnisme.

La Méridienne dit aussi La Sieste (1889–1890)

Huile sur Toile

________________________________________________________________________________________________________

Website : GALERIE JUGUET

© All rights reserved ®

Website : MÉMOIRE DES PIERRES

© All rights reserved ®

________________________________________________________________________________________________________

Contexte historique et généalogie de l’image

La toile a été réalisée entre décembre 1889 et janvier 1890, pendant le séjour de Van Gogh à l’asile de Saint-Rémy-de-Provence. Elle fait partie des œuvres de sa dernière période et figure aujourd’hui dans les collections du musée d’Orsay à Paris.

Van Gogh s’inspire ici d’un motif de Jean-Frédéric Millet : la composition provient d’un dessin (ou d’une gravure) lié aux « Quatre heures de la journée » / « La Sieste » de Millet. Van Gogh considérait Millet comme un maître de la représentation paysanne et a souvent repris et « traduit » ses compositions en intensifiant la couleur et la touche.

Description formelle (ce que l’on voit)

Format : huile sur toile, environ 73 × 91 cm (dimensions muséales).

Sujet : deux paysans allongés, un homme et une femme, reposant au milieu d’un champ fraîchement fauché ; à l’arrière-plan, meules, charrette et un paysan au travail. Près des dormeurs, détail important : les faucilles et une paire de sabots posés signes évidents du travail interrompu.

Composition et organisation spatiale

Van Gogh conserve la structure générale du modèle de Millet (deux figures allongées au premier plan, paysage agricole en profondeur) mais opère plusieurs choix formels qui transforment la scène :

La diagonale formée par le corps des dormeurs crée un mouvement visuel qui guide le regard de l’avant-plan vers l’arrière-plan.

Les meules et le champ derrière eux forment des masses géométriques simples (plans horizontaux et volumes arrondis) qui équilibrent la composition.

L’espace est relativement peu profond : Van Gogh aplatit légèrement les plans par le traitement de la couleur et des touches, privilégiant la surface picturale plutôt qu’une illusion d’espace profonde.

Couleur, lumière et touche

Palette : contraste marqué bleu / jaune les vêtements et ombres des dormeurs tirent vers des bleus froids, tandis que la paille, les meules et le sol sont dominés par des ocres, des jaunes chauds et des bruns. Ce contraste de complémentaires renforce la vibration chromatique et l’intensité lumineuse.

Lumière : l’effet est celui d’une lumière de midi, sèche et tranchée, qui écrase légèrement les volumes et accentue la chaleur du paysage méridional d’où le titre La Méridienne.

Pinceau : courte touche rythmée et nervurée, ondulations de la matière qui suivent les volumes (la paille, la texture des vêtements). Van Gogh « traduit » ici la structure du dessin originel en une « langue » picturale de couleurs et de coups de pinceau.

Sens et lectures possibles

Repos et dignité du travail paysan : la scène célèbre le repos du midi comme moment légitime et nécessaire après la tâche, sans pathos. Les objets de travail laissés à portée (faucilles, sabots) rappellent la réalité du labeur.

Translation symbolique : par la couleur et la touche, Van Gogh ne se contente pas de copier Millet ; il « traduit » l’économie de valeurs claires-obscures en une vibration chromatique qui donne à la scène une charge émotionnelle personnelle empathie, paix robuste mais aussi mélancolie contenue.

Rapport à l’artiste et à son état : peint pendant son internement, le choix du sujet paysans au repos peut être lu comme une quête de simplicité et de consolation dans la nature et les gestes humains ordinaires. La maîtrise intense de la couleur témoigne d’une énergie créatrice remarquable malgré les troubles personnels.

Technique et détails remarquables

Van Gogh amplifie les contrastes chromatiques et transforme la ligne millétienne en rythmes de peinture : par exemple, la répétition des coups de pinceau pour rendre la paille crée une texture proche du motif décoratif, presque ornemental.

Les vêtements bleus des dormeurs, loin d’être neutres, isolent les figures du paysage doré et focalisent l’attention ce bleu calme a aussi une valeur psychologique (repos, retrait).

Les éléments périphériques (le petit groupe de personnages/charrette à l’arrière) servent à inscrire la scène dans le cycle du travail agricole sans voler la primauté au repos des deux figures.

Position dans l’œuvre de Van Gogh

Cette œuvre appartient à la dernière période provençale de Van Gogh : recherches chromatiques intenses, reprise de modèles (Millet), et une peinture où la matière et le rythme pictural deviennent véhicule d’expression émotionnelle. La Méridienne illustre bien son processus : appropriation d’un motif rural traditionnel et transposition expressive par la couleur et la touche.

Observations finales (effet sur le spectateur)

La toile produit un double effet : au premier regard, une scène simple et calme deux personnes qui dorment puis, au second regard, une force picturale : la couleur et le geste de la main de Van Gogh transforment l’anecdotique en expérience visuelle palpitante. L’œuvre nous invite à comprendre le repos non comme absence mais comme moment riche, rythmé et essentiel, rendu par une peinture qui oscille entre compassion humaine et exaltation chromatique.

CES PHOTOS NE SONT PAS À VENDRE ET NE PEUVENT PAS ÊTRE REPRODUITES, MODIFIÉES, REDIFFUSÉES, EXPLOITÉES COMMERCIALEMENT OU RÉUTILISÉES DE QUELQUE MANIÈRE QUE CE SOIT.

UNIQUEMENT POUR LE PLAISIR DES YEUX.

The commander braces himself and tells the squad to do the same, because after today. everything they knew about life could change. He filled them in for a second time, about the asteroid folding time and space around itself to reach its destination, given they're inputted first. Banseal, the squad's only empath didn't like the sound of this and was slightly hesitant of the news.

www.lifeascinema.blogspot.com

I wonder how screenwriters begin to draw out her character? Maybe brainstorming over coffee and a white board with random words such as these. (check out Tom Kelly's ART of INNOVATION www.theartofinnovation.com/default.htm He and I chatted by email long ago during their heyday after creating the Palm V)

What would you add? My old college friend who's now a writer invited me to visit his monthly screenwriter's group. Got me thinking.

Biochemist, nano, ninja, Europe, Costa Rica, specimen, regiment, gene splicing, empaths, dancer, mafia, soldier, fever, hot zone, ancient languages, hypnosis, twins, camps, ballet, HEROES, cryogenics, poison,

Then I think music. Like director John Woo's famously ironic mixtures (Somewhere Over the Rainbow during a slow-motion shootout in the John Travolta/Nicholas Cage movie Faceoff). Or maybe just the serendipitously, simultaneously carefree and hypnotic songs by The Doors such as People Are Strange or Love Street.

I love discovering untapped potential. A fun example of this is in casting. Just like a producer and director, I look for that... something different... in a person. And then I go deep trying to describe to myself the impressions that person makes.

Allie's instagram: www.instagram.com/tiny.empath/

Taken at the August 2019 Street Meet/

Mission Log # 11 – Second Planetary Survey of Ingemar

Star Date: 2551.06.10 11:00 hrs

The mission commenced at Resilient Base Briefing Room with the following crew present:

• Fazzy Constantine

• T5 “Tinman”

• Chastian Necrosa

• Noah Constantine

• Bansealgair

• Eric Regulus

The mission parameters were clear and simple:

1) Continue the investigation of the base discovered on Ingemar, which was evidently

abandoned by a group who were known to be collectors and concealers of large life forms.

2) Determine the age and function of the clearly older – and now submerged -- habitations

discovered on the first survey.

The team departed Resilient aboard the upgraded Kodiak and proceeded to the landing pad

on Ingemar. The flight was completed without incident, and the crew, consisting of all but

Tinman, departed the Kodiak for the base interior. They proceeded to the moon pool, where

the team appropriated one of the submarines discovered on the prior mission. The intent was

to better explore the submerged portions of the complex surrounding the base, using the probe

deposited on the last mission as a guidance beacon.

Upon submerging, it was clear that a much

holder habitation had been built, and given its configuration and construction, it was built with

the intent to be underwater. Brass-and-rivet beams around large panels of quarter-meter silica

glass were configured into at least two habitations, with what appeared to be a Jeffries tube

connecting them.

Much of the complex appears to be underground, but the submarine was not

equipped with scanning technology beyond SONAR. This would require more extensive

inspection, likely with EVA.

Aside from the underwater habitat, several other geological formations were encountered

including two caves, and at least two abyssal trenches. Life forms were encountered including

jellyfish, rays, tube worms, coral, and various marine flora. One configuration of coral appeared

to have several orbs embedded into it, similar to the ones recovered from Jasper McFudd, and

housed in the laboratory on Resilient. It was at this point that the survey took something of a

turn.

The submarine experienced a number of mechanical failures, with loss of propulsion and

buoyancy control. No cause could be identified within the submarine’s systems, but Bansealgair and Commander Constantine both felt a large presence nearby. At this point,

Chastian activated some portable shield generators to protect the crew. The submarine was

disabled, and oxygen and power supplies were running short. A moment later, from one of the

abyssal trenches in the sea floor, emerged a leviathan. Following a brief but loose collective

bowel movement from the crew, communication was commenced with the gargantuan

intelligence. The leviathan communicated. Listed below is the collection of remarks made:

• Humans. I know your kind. And you. Empath. You are in the wrong place. You cannot

begin to fathom our very existence.

• Impossible to leave now. You are under my serving. My servants, Thralled to control as I

please.

• Those orbs. Are my windows to the galaxy. I have watched your arrival. Your departures.

You fumble in the dark like small creatures. With each passing moment, you have no

doubt become experienced.

• [After the Commander requested assistance with our disabled submarine] My help?

There's nothing I can do for you.

• [After the Commander advises that the leviathan’s “brothers are still alive.”]

Impossible. There is...wait. It cannot be. You bear the insignia of the Shepard.

• I realize you have more orbs in the dwelling in space you call home...but my kind is

alive? We were the apex race. We will be once again.

• Very well. I will let you go. If you fight my creations...then you have my support. But I

am only doing this to see my brothers once more.

At this point, the leviathan receded into the abyss, with power and control of the submarine

returning quickly thereafter. The crew performed an emergency ballast blow, and surfaced

immediately. Once at the surface, the top hatch was opened and the crew had breathable

atmosphere. The vehicle, now depleted of battery energy, was abandoned and the crew swam

for the generator-level pad at the base, then ascended to the landing pad where Kodiak was

boarded for the return to Resilient Base.

Other Conclusions:

• The orbs recovered from Jasper McFudd appear to be palantíri, seeing stones, that allow

one to observe the activities surrounding all of the other stones. This was likely how the

leviathan was able to observe our actions. The orbs were destroyed, along with the

fume hood that housed them.

• Orbs or not, we are likely under the surveillance and possibly the control, of the

leviathan. It cannot be ruled out that this leviathan was behind our movements from

Idun, to Baldur, and the voyage to Tyr. The signals we have received from these various

destinations all may have the same creature as the origin.

• A return mission to explore the habitation carries additional risk of the leviathan

changing its mind.• There is an increasing probability that we may have to demonstrate our commitment to

“fight” the leviathan’s “creations” to remain free of the leviathan’s influence on the

team and to maintain its “support.”

Casualties: Two – Commander Constantine and Engineer Necrosa both suffered anterior

epistaxis. Paroxysmal cephalgia was reported by other crew members, but self-corrected.

Damage: None

• The submarine will need to be towed and/or recharged, but it is undamaged.

Follow-on Actions:

• More extensive review of the signals received from Tyr, Ingemar and elsewhere for

consistency and possible common origin.

• Increase telemetry with the undersea probe.

• Finish repairs to the fume hood in the laboratory.

• Library Computer research on leviathan history is indicated.