View allAll Photos Tagged visually
Visually, NGC 6891 seems fairly simple. I can only see some very small knots of H-alpha. One of them is easy to spot. It's a very small, red dot near the left edge of the outer halo of material. I almost cleaned it up, thinking it was a cosmic ray.
Red: hst_08390_09_wfpc2_f658n_pc_sci
Green: hst_08390_09_wfpc2_f555w_pc_sci
Blue: hst_08390_09_wfpc2_f502n_pc_sci
North is NOT up.
From the official Ducati art collection.
Buy one now: www.ducatiart.com/art/392678/Yulia_Monster_-_Numbered_edi...
www.youtube.com/watch?v=Iv9znWex9W8
Artist biography:
Elizabeth Raab (b. 1981) is a photographic artist specializing in automotive and creative portraiture imagery. Her images often contain a visually strong emotional sensuality that crosses the boundary between her subjects and objects. Uniquely vivid color palettes and a detached sense of forlorn beauty and intrigued silence permeate most of Elizabeth’s scenes, as realism and objectivity are commonly set aside. Elizabeth’s career in the arts started with her move to Rome, Italy in 1999 where she lived for two years working in creative portraiture before returning to her native North West in 2001. Her work has been featured in exhibitions and many areas of publication in the US and Italy. Features include a range from the Seattle Art Museum, published works of David Lynch, to Joseph Kosuth’s “Perloined.” She has recently been most noted for her work in conjunction with Ducati motorcycles and now resides in Brooklyn, New York with her husband and their two children.
Newsmap is an application that visually reflects the constantly changing landscape of the Google News news aggregator. A treemap visualization algorithm helps display the enormous amount of information gathered by the aggregator. Treemaps are traditionally space-constrained visualizations of information. Newsmap's objective takes that goal a step further and provides a tool to divide information into quickly recognizable bands which, when presented together, reveal underlying patterns in news reporting across cultures and within news segments in constant change around the globe.
Newsmap does not pretend to replace the googlenews aggregator. It's objective is to simply demonstrate visually the relationships between data and the unseen patterns in news media. It is not thought to display an unbiased view of the news, on the contrary it is thought to ironically accentuate the bias of it.
From "Postcards for the visually illiterate" / "Ansichtkaarten voor visueel ongeletterden"
Learning to see things as they are.
Zuster/Sister
Duif/Dove
Visually Speaking: The People's Photographer
Brooklyn Public Library
Noelle Flores Théard
Joseph Rodriguez
Jamel Shabazz
www.bklynlibrary.org/calendar/visually-speaking-people-ce...
We went to the National Leprechaun Museum yesterday and was so surprised at how visually stunning it was!!!! totally unexpected :) www.leprechaunmuseum.ie
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Photographed in Algonquin Provincial Park, Ontario, Canada
The gossamer beauty of this supernova remnant is difficult to observe visually, but the camera sensor and a long exposure reveal the extent and colours of this famous object in the northern hemisphere summer sky.
From Wikipedia: "The Veil Nebula is a cloud of heated and ionized gas and dust in the constellation Cygnus. It constitutes the visible portions of the Cygnus Loop (radio source W78, or Sharpless 103), a large but relatively faint supernova remnant. The source supernova exploded some 5,000 to 8,000 years ago, and the remnants have since expanded to cover an area roughly 3 degrees in diameter (about 6 times the diameter, or 36 times the area, of the full moon). The distance to the nebula is not precisely known, but Far Ultraviolet Spectroscopic Explorer (FUSE) data supports a distance of about 1,470 light-years."
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Nikon D800 modified (red blocking filter removed) camera body on Stellarvue 102 mm (4") apochromatic refracting telescope:
www.stellarvue.com/stellarvue-svr102t-25sv-top-rated-4-ap...
This is what the equipment set-up looks like:
www.flickr.com/photos/97587627@N06/15210693339/in/set-721...
Hand guided, fifteen stacked frames, each one: ISO 5000, ~2 min. exposure at f/8 (with LENR - long exposure noise reduction)
Stacked in Registar; processed in Photoshop CS6
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"The visually exposed Empire house from 1818 includes older structures, the stone cellars are probably medieval.
A terraced one-storey house with a basement in a corner position stands on the main square in the centre of the historic centre of the city. It has a rectangular ground plan, a mansard roof with small dormers, two roof ridges run perpendicular to the facade – a hipped roof adjoins the neighbouring house. The roofs are covered with eternit on the outside, and with burnt grooved tiles on the inside. The southern facade to TG Masaryk Square has 5 window axes on the first floor, on the ground floor on the left a window, a glazed entrance to the pharmacy, a window, a passage gate and a glazed display window with an entrance to the shop. The entrance to the passage is vaulted with a compressed arch, flanked by a profiled cornice with a vault and emphasised by half-columns carrying straight entablatures. The other openings on the ground floor are rectangular, flanked by cornices. The ground floor is divided by a bossage, separated from the first floor by a cordon cornice. The floor is divided by fluted pilasters with volute capitals between each window. Under the crown cornice with dentil is a strip with plastic decor, around the windows there are profiled chambranes with ears, window and window sill cornices and plastic decor in the parapet fillings and suprafenestras (festoons, floral curtains, ribbons). The side facade to Pernštýnské Square is designed similarly to the front facade with a bossage on the ground floor and pilasters on the floor, 3 windows on the left side of the facade have a semicircular raised window cornice, 4 windows on the right are distinguished by pilasters on each side of the window (i.e. there are two pilasters between the windows). On the ground floor there is a window on the left and a rectangular entrance to the house, from it to the right there are 4 window axes, windows without chambranes. The narrow courtyard facade is smooth, on the ground floor there is a passage opening vaulted with a compressed arch and a window, on the first floor there are 2 semicircular arched windows. The passage is vaulted with Czech flats into the waists. There are vaults in both shops - mainly barrel vaults, then barrel vaults with sectors, barrel segmental vaults, barrel vaults into traverses and a Prussian vault. A straight staircase vaulted with a compressed barrel vault leads from the passage to the first floor. On the first floor there are flat-ceilinged rooms, some with fabions, the layout has been subsequently modified. The cellars are dissected, barrel vaulted, made of stone, others of brick masonry. The roof is traditional wooden, with hambálky and a standing stool, under the wooden floor of the attic there is a mezzanine that used to be used for storage.
The visually exposed Empire house from 1818 includes older structures, the stone cellars are probably medieval. Apart from the cellars, the most valuable parts are the facade and the vaults on the ground floor." - info from the National Heritage Institute.
"Prostějov (Czech pronunciation: [ˈproscɛjof]; German: Proßnitz, Yiddish: פראסטיץ Prostitz) is a city in the Olomouc Region of the Czech Republic. It has about 44,000 inhabitants. Today the city is known for its fashion industry and AČR special forces unit 601. skss based there. The centre of the town is historically significant and is protected by law as urban monument zone.
The first historical mention of the village Prostějovice is from 1141. By the middle of the 13th century, it had developed into an important market village. At that time, German settlers were invited here, who established a new settlement on the site of today's TG Masaryk Square, to which the rights of the original settlement were transferred. On March 27, 1390, Prostějov was granted the right of the annual market thanks to the lords of Kravaře, which in fact became a town. In the Hussite period, the promising development slowed down as the city suffered delays on both sides; the insufficiently fortified Prostějov became easy prey for the troops of Margrave Albrecht and was burned down in 1431. The prosperity of the city was brought about by the establishment of the Jewish city and especially after a year 1490 more than a century-old government of the Pernštejn families, whose property became the town. In 1495, the city began the construction of stone walls with four gates with bastions. Between 1521 and 1538, the townspeople built a Renaissance town hall.
At the end of the 16th century, the city became the property of the Liechtensteins, which resulted in the stagnation of the city's development. In Prostejov the year 1527 printer Kaspar Aorga printed the first book on Moravia. During the Thirty Years' War, the town was devastated and in 1697 a fire broke out, killing the town hall, the school and the church. Then the city began to acquire a Baroque character. Around the middle of the 17th century, mainly thanks to local Jews, the food, textile and clothing industries developed rapidly, and in 1858 the first Czech ready-to-wear clothing industry was founded in Prostějov - the factory of the Mandla brothers, which attracted new inhabitants. In the 1960s, Prostějov was connected by rail with Brno and Olomouc. The 19th and 20th centuries changed the face of the city in the style of historicism and Art Nouveau. Since the 20s and especially 30s, dominating the construction becoming in Prostejov functionalism.
Moravia (Czech: Morava [ˈmorava]; German: Mähren) is a historical region in the east of the Czech Republic and one of three historical Czech lands, with Bohemia and Czech Silesia.
The medieval and early modern Margraviate of Moravia was a crown land of the Lands of the Bohemian Crown from 1348 to 1918, an imperial state of the Holy Roman Empire from 1004 to 1806, a crown land of the Austrian Empire from 1804 to 1867, and a part of Austria-Hungary from 1867 to 1918. Moravia was one of the five lands of Czechoslovakia founded in 1918. In 1928 it was merged with Czech Silesia, and then dissolved in 1948 during the abolition of the land system following the communist coup d'état.
Its area of 22,623.41 km2 is home to about 3.2 million of the Czech Republic's 10.8 million inhabitants. The people are historically named Moravians, a subgroup of Czechs, the other group being called Bohemians. The land takes its name from the Morava river, which runs from its north to south, being its principal watercourse. Moravia's largest city and historical capital is Brno. Before being sacked by the Swedish army during the Thirty Years' War, Olomouc served as the Moravian capital, and it is still the seat of the Archdiocese of Olomouc. Until the expulsions after 1945, significant parts of Moravia were German speaking." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Visually, the finished look is one of pure line with few design elements. The atmosphere is one of pure tranquillity during the day; the reflection of sky in the water and very little to distract the eye. At night the lighting scheme creates a magical pathway fading into the distance, and always there is the gentle sound of running water.
Part of a larger scheme, these clients wanted an ultra-simple, minimalist waterfeature on two levels. The main material used was a pale cream Travertine detailed with a dark slate-grey.
At the lower level, a canal runs across the garden. The main steps are accessed by stepping stones across the water.
The upper level features two rills. Water flows away from the house and cascades via two stainless steel waterfalls onto the lower level beyond, aerating and purifying. The paving features LED flush lighting to highlight the edge of the scheme and the steps and all three bodies of water are floodlit discreetly below the water surface.
The only plant material is six ball-shaped box trees, providing a simple, sculptural look to this otherwise angular scheme.
The whole concept of visually updating cars on a yearly basis has always seemed a bit extravagant to many people outside of the U.S. Whereas our cars could look pretty much the same year on year before finally being replaced in America sheet metal changes were often done after 12 months in a continuous effort to get people to buy the latest seasons vehicle.
One one hand you could say it got potential buyers to continually seek out your latest products and on the other it would bring about the term "built in obsolescence" making a pretty new purchase seem old hat! It must have caused a nightmare with model makers even now but I guess also a goldmine of potential for maximising a certain casting with only minimal changes.
This is the second Auto World Buick Estate Wagon Santa brought me this Christmas yet being a 1975 example and not a 1974 means its front panel and grille have been altered accordingly. Everything else looks pretty much the same meaning a true 1/64 scale Station Wagon laden with lashings of chrome and gaudy fake wood appliqué. I absolutely love this type of model and Auto World seem to be very good at making them! Mint and boxed.
Marilyn Rushton, a well-known Burnaby citizen, is awarded with the province’s newest honour, the Medal of Good Citizenship.
Rushton is honoured for her for inspirational life of service to the visually impaired community, her contributions to families with blind and visually impaired children, and her energetic support for the musical community.
Learn more: news.gov.bc.ca/releases/2016IGR0025-001407
I think I may have mentioned this before, but the big joke in my most intimate crowd of friends is "Oh that's Karen... she sees things VISUALLY". (beat) (beat) (beat) Duh-uh!
It's my own fault. I think it mighta been at the Thanksgiving table a few years ago when I- without adequate aforethought- blurted out in the middle of a conversation "Well that's because I see everything visually". Meaning that I'm more highly attuned to visual stimuli than to anything else in a given situation. If the light's too bright- in my opinion- in a room I will have a hard time concentrating on what is being said until I adjust it. Certain colors- or color combinations- will make my teeth clench. I can remember minute details of the rooms of houses I was in years ago even when I can't call to mind the name of the host. And visual chaos, other than of course my own clutter, will render me incapable of productivity... and even my own visually cacophonous environment will get to me when it reaches a certain point. Didn't have my camera with me on my walk home today from my nutritionist appointment, so of course I saw two dozen imaginary oblong frames over perfect photo ops through my built-in organic viewfinder in the course of two miles.
I'm sure the visual bunch around here can relate!
For some reason this penchant of mine seems particularly acute near the holidays. In both good and bad ways. I love, for instance, how illumination can be used so beautifully to set mood for the "dark of winter" holidays that hover around the solstice. And I have a healthy appreciation for some good old fashioned kitsch... good thing in my neighborhood! But I have no tolerance for the "over the top" sensibilities of the "bigger is better" crowd. Last night when I was over at Matt's for the weekly viewing of my favorite show "Pushing Daisies"- beloved by me mostly for it's fabulous visual sense, but also it's slightly absurd point of view- I hit my limit of bad holiday advertising visuals in less than three hours. A new record I believe. Luckily, I have a significant counterbalance in memories of holidays past.
Last week when I was making pies the day before the holiday, with a buncha friends and family laughing and talking at a table across the room, just the act of looking down into the bowl at the pastry blender mixing fat and flour conjured up a breathtaking remembrance of the barren front yard and manual water pump of my Indiana grandmother. As a very young child I would sit on her ramshackle sagging porch staring out at that pump while we waited impatiently for the pie-day treat she always made us... little individual piecrusts to eat plain and salty and warm from the oven. And then, as always happens when that visual comes to mind, I remembered too how her kitchen looked when my grandad would take a bath in the galvanized tub, with water from the pump heated in kettles on the stove while she was baking the pies. If I was paid to I don't believe I could recall the timbre of my grandfather's voice, or what kind of fillings grandma put in the full-sized piecrusts.... but I could paint you an accurate picture of that front yard, and can draw a groundplan of that kitchen with its farmhouse table and well-used butter churn and the hole in one of the sagging floorboards that you had to avoid. It's not that I didn't love them.... it's that my visual memories overwhelm most of the others.
There's another visual memory I was trying to describe to Matt recently. Much harder to describe. One Christmas Eve when I was maybe 8 or 9 or 10 years old, and we lived in a happy but crowded small duplex, I escaped to the tiny bathroom- the only room with a lock on the door- to elude the party downstairs and the inevitable festive chaos for a few minutes. It had snowed that day, which prompted some of the celebration below, and in there, with the lights turned off, the quality of the light that came through the venetian blinds- reflected off the cold white untrammeled-as-yet snow twenty feet below- had a serenity and a magical quality to it that I've never forgotten. Almost blue, but feeling both warm and cool at the same time. Bright enough that there must have been a full moon, though I don't recall seeing it. The din belowstairs seemed far away for a moment, and there was a feeling of promise to it that I know had to do with anticipation of Christmas, but that felt- in that moment- something more portentous than that.
I bring this one up because, over the many years since that night, maybe once every few years, I will be in a dark room somewhere and the quality of the light will immediately transport me back to that moment.... and I'll see it again as if I'm a child sitting in that tiny bathroom, just hours before Santa's anticipated arrival by sleigh. It's a very happy feeling.
Not all of the visual memories are holiday related, of course. Seeing lavendar growing anywhere near silver artemesia will bring to mind herbalist Adelma Simmons- now long dead- bending over a row of her plants in her signature capelette and skullcap tackling an unwanted weed. Any image hereabouts of a straight highway through a desert will recall to me precisely the way New Mexico looked over the dashboard of our rental car when Matt introduced me to the beauty of that part of the country via route 40. My friend Zen Granny posted a photograph from a mountaintop in Switzerland recently that brought back a memory of sitting on a misty mountaintop high above lake Lucerne so vivid and clear that I swear I could feel the chill in the air that I felt there 34 years ago. I've been known to miss my bus stop when someone on the route reminds me of my mother, and I get lost in a photorealistic picture in my head of a day she was across from me on the Newington to Hartford bus explaining to a newcomer where the best bargains were to be found in the area. I was a sullen teenager at the time too embarrassed to sit next to my mom, but not so jaded that I don't remember the exact way the late afternoon sun sat on her shoulder, or the grateful smile of the mousy blond woman in the incongruous black fishnet stockings who- though she didn't know it at the time- was being inducted into the exclusive cabal of my mother's G Fox & Company cronies.
Oh, you know I could go on and on, but I'll spare you the tedium. Sometimes this acute visual memory feels like a curse, but most of the time I'm grateful for it. Would I trade it for some of the memories that are less developed in me? ...names. ...dates. ...how to make money reliably. Those would be tempting ones to have. But not if I'd have to give this one up. Even if my friends do make fun of me for it.
Toute reproduction sur un support imprimé ou publication sur internet devra faire l'objet d'une demande expresse auprès du service communication de la Fédération Française Handisport.
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Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
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Contact : photos [at] handisport.org
Perhaps the most visually compelling element in the Over mansion is this exquisitely detailed Classical inspired porch pediment. It combines lines from Classical Antiquity with Georgian era details reinterpreted though early 20th century eyes and tastes. Although merely part of an architectural statement, I view this as a genuine artistic statement worthy of careful study to fully appreciate the Old World workmanship from this era over a century ago. The stylized symmetrical Georgian Revival window at the center of the pediment was missing for a while but an exact replica was made for a previous restorer. Over 20 years of careful restoration work has gone into this mansion and continues.
Toute reproduction sur un support imprimé ou publication sur internet devra faire l'objet d'une demande expresse auprès du service communication de la Fédération Française Handisport.
–
Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
–
Contact : photos [at] handisport.org
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
Visually identical to the Jenoptem models, this example came in great condition but out of collimation. Performance is not as good as my Jenoptem 7x50, image goes soft towards the edge of the field quicker than I would expect from this model. Still has the great Zeiss smell though!
Usable with Spectacles =No
Never let who you are limit what you can do. I honestly believe that anyone can accomplish anything in life if they have the will to do it.
Pictured are two runners seen at the Ma On Shan Promenade after they have finished their run and are walking home. One of the men is visually impaired. But he is able to run outside with the help of a guide runner. A cotton rope binds their hands together, thus allowing the visually impaired athlete to be able to run out in open air.
I have never seen anything like this before. Hong Kong is awesome. And very accessible. Crazyisgood. SML Love.
# SML Data
+ Date: 2013-02-08 11:20:37 GMT+0800
+ Dimensions: 3196 x 4794
+ Exposure 1/200 sec at f/5.6
+ Focal Length: 102 mm
+ ISO: 640
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 70-200mm f/4L USM + Canon EF 1.4x Extender III
+ GPS: 22°25'14" N 114°13'27" E
+ 中國香港馬鞍山海濱長廊 中国香港马鞍山海滨长廊 Ma On Shan Promenade, Hong Kong, China
+ Serial: SML.20130208.7D.21490
+ Workflow: Lightroom 4
+ Series: Crazyisgood
“領跑員 Guide Runner + 視障運動員 Visually Impaired Athlete” / Crazyisgood / SML.20130208.7D.21490
/ #Crazyisgood #CCBY #SMLPhotography #SMLUniverse #SMLMen #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #馬鞍山 #MaOnShan #人 #people #男 #Men #街 #Street #攝影 #摄影 #photography #run #體育 #体育 #運動 #运动 #sports
I don't typically buy anything from the Revoltech series, mostly likely because the licenses that they play with aren't usually my thing. However, once in a while, an interesting figure pops up.
For the last little while, one of the more visually impressive sublines from the Revoltech is the Figure Complex: Amazing Yamaguchi line featuring various beloved X-Men characters sculpted by Yamaguchi Katsuhisa. I know a Wolverine and Magneto were released, and a Gambit will be released. I also believe the line has moved onto at least non-X characters with the recently solicited Iron Man.
Obviously, this figure is none of those - this is Psylocke.
For someone that likes figures and toys, it's surprising how few comics I've read. My introduction to the character was from the original Capcom Vs. Game, X-Men: Children of the Atom in all her uninhibited bouncy glory.
The character naturally has a long and storied past that I'd probably lose much sleep over if I actually tried to research. I believe that "too long, didn't read" version of it is that she is a mutant (duh) named Elizabeth "Betsy" Braddock, the sister of Captain Marvel. Through a series of events such as self sacrifice and transference of mental capacities, she ends up in a body of an Japanese woman who is the brain dead wife of the leader of the Hand, an assassin clan, and is brainwashed into become one of them. She develops Psionic powers (ability to form things out of mental energy, mostly for her being blades), and eventually breaks free of this brainwashing, and that, friends is the genesis of the X-Men character Psylocke.
None of that matters, of course. I bought the figure because the previews made her look really, really, good, and Psylocke herself being a very sharp character design with long flowing purple hair and her purple kind-of-there outfit. While it's been out for probably 6 months now, I only recently got mine because I insist that the guy who sold it to me bring it to me personally... even if I had to wait six months.
If you've never watched gameplay of Psylocke, just think slinky female ninja dressed in purple capable of making various energy things. And, as mentioned, the prototype pictures show cased that very well. So, how did it do?
Well, let's start from the top.
Psylocke comes with the figure, two face plates (one neutral, one smiling), a sheathed katana, an empty sheath, twin katanas, twin energy katanas, twin Psyblades, 4 sets of hands, a detachable sash, and a dynamic stand with both a peg connector, along with a clamp that I guess would give you a bit more height with your aerial stuff but I never actually used it. I personally would have like an additional angry/attacking face plate because as it is, she's a bit too serene looking.
Also kind of neat is that on the cardboard insert (and side flaps of the box) are full colour prints of I guess what comic art inspired this particular design.
The Revoltech joint system is a bit different from the Figma and Figuart systems.. at least I guess they are, and at the very least this one is.
Articulation is very, very, very good. I cannot emphasize how much you can get this figure to do despite it's small size. The trade off is that some of the joints look really weird when not positioned properly, specifically the shoulders and knees, which are double or triple joints depending on which one we're talking about. Whomever designed the tray for holding Psylocke really didn't do the figure any favours to say the least. However, the amount of knee bend and chest press that this figure more than overshadows this first impression issue, and that range or movement is something you want for a figure like Psylocke.
In addition to the aforementioned, all your standard points of articulation are present. Bonus ones include a toe swivel, articulation for her sash, thigh swivel, independent neck and head articulation, and hair that can be lifted to all for greater neck movement, with the latter head/neck related items allowing for some great crouching poses.
Sadly, while her shoulders worked out just fine despite their wonky appearance, her ass suffers from the dreaded "thigh separation" scenario where the movement of the legs creates an unsightly gap where the thigh meets the back of the body, particularly notable given that she doesn't wear pants. But, again, at least the trade off is great articulation.
Psylocke I guess would technically be the action figure (or at least middle of the pack Japanese figure) equivalent of a Butterface release. To be fair, it is generally what was promised on the box, so I don't really have anyone to blame but myself for buying her if this was the key aspect that ruins the experience for me. Both the prototype and the final item feature the same round almost featureless face with the undersized nose.
No it's other things that serve not only as a topic of discussion, but also kind of give you a feeling as to why Figma and Figuarts are kind of priced the way they are.
Psylocke has an MSRP of about 6,000 Yen, which is about the price of your run of the mill Figuart, with Figma coming in closer to what.. 7,000 if not more these days? The releases are about the same size, but lets remember that Figuarts have no stand and very few accessories, and clearly Psylocke destroys any run of the mill Figuart figure in terms of value.
Part of the pricing on everything is of course the cut paid for the actual license, but it's not like a Marvel license is particularly cheap. So what else is there?
It pretty much comes down to paint.
If you look closely, you'll probably notice that Psylocke has no paint whatsoever on her fleshy bits. Not only does this look a bit meh, but it makes photographing her a major pain in the ass, especially if you're trying to bring out details.. like her nose and eye sockets. You'll notice that the paint masking on her leg bands isn't bad, but there are more weak spots than on its Figma and Figuarts competitors, especially if we're talking about figure with a relatively simple colour scheme. Some minor paint issues were also spotted on her neck piece, but those are primarily paint transfers. There were also some areas with paint overspray, but it wasn't anything bootleg bad, just something worth noting.
Her translucent purple hair is also a big seller for this figure. The overall final product is pretty good, but if you look closely (and in the instance of the back of her head, not even that close), you'll notice some very rough spots that I don't know were a QC issue or a design flaw. By comparison, nothing this was spotted on either KOS-MOS or T-ELOS, both of which are at least 7 years older than Psylocke.
For what it is worth, her effect parts are very well done, particularly her Psiblades with the gradient from cold to warm Purple. The quality of the stand itself is, from my analysis, more solid than a Figma stand, mostly due to a combination of better plastic, a thicker arm, and better designed joints. There were also no issues with regards to rough plastic finishes other than the aformentioned hair problems.
One other issue that I read about was the face plate itself. Some owners seem to be indicating that due to the way the face is mounted on the head (friction based, one slot, straight above the face) the figure arrived with the socket on the hair already worn out and wouldn't hold the face in place, or would be in danger of doing so in the future. I didn't have that issue on mine, but I do understand where they're coming from with these statements.
I should probably also mention the eyes. Those who are familiar with the Hot Toys world will know the term PERS, which is their fancy term for eyes that can be moved on the sculpts to facilitate an even greater amount of posing. Amazingly this figure also features eyeballs that can be moved, though it's not as complicated as the PERS system. This is actually pretty neat given the size of the eyeballs, though you might want to ditch the included white pick in favour of a tiny screw driver or something to move the eyes as I believe the 90 degree bend actually makes it harder to manipulate the eyes into the right direction.
In the end, a very good release, and probably the best Psylocke action figure I've ever seen.. of course, the only others I have seen are the Marvel Legends one which again, aren't bad given the price. Those looking for a more legit comic sculpt need not apply here, naturally.
But there is no doubt that this is a sharp looking figure, and for the price it comes with quite a few goodies. It just lacks that final bit of spit polish that would push it from being very good to being outstanding. Still, if you like your ninjas purple and slinky, you can't go wrong.
NE corner of 21st and Prairie
"This playground is so poorly designed... equipment, while visually appealing, is way too dangerous one overall not incteresting for kids.. there was already one serious accident with a kid falling down from 10+ foot slide... additionally, all things are made from plastic/recycled rubber which gets insanely hot (and dangerous) with minimal sun, which is pretty much all the times as there is no shade on this playground. Overall - it is a really disappointing playground" -- Ania Pisarek via Google reviews
"Another way for the wealthy to enjoy the wealth. Privilege." -- Mercedes Gutierrez via Google reviews
Ivatt 2MT class 2-6-0 No 46512 entering Llynlcys with an up Llanfyllin to Oswestry service on the 11th February 1964. Artistically and visually it has all the elements and 'ingredients' for a splendid composition Vertical, parallel and diagonal lines and an arched bridge are the centrepiece while the train shot going away and about to go past the former abutments of the Crickheath Tramway and
under the road bridge are secondary. The engineman and the young girl waving to the cameraman all add to its character.
Crickheath Tramway
ORIGINALLY KNOWN AS THE PORTHYWAEN IRON RAILWAY.
The Montgomeryshire Canal's eastern section and the Ellesmere Canal met at "Porthywaen Lime Rocks", both being opened in 1797. To develop traffic, the Montgomeryshire Canal Company Act of 1794 authorised "That in case the Proprietor...of any Manor...containing...any quarries of Limestone or other stone...lying within a distance of Three Miles from the said Canal...shall find it expedient or necessary to make any Rail Way or Road for the purpose of conveying his...Limestone ..then it shall be lawful for him to make such Rail Way, Road, or Bridges, and Wharf". This tramway was one built under this clause by the Earl of Powys, from Crickheath Wharf (GR 32923234) generally westwards to the limestone quarries at Whitehaven. The opening date is unknown, Baxter has c1794, but this was before the canal was opened. W. Davies "General View of the Agriculture of North Wales," published in 1810 refers to the tramway and Christiansen & Miller have 1820 from Crickheath Wharf to Llynclys and on to Porthywaen about 1826.
The line is shown on the 2" Ordnance Surveyors Drawings of 1827, east of the Oswestry to Welshpool turnpike and the 1830-1831 surveyed section west of the turnpike. Beginning at 'Crick Heath Wharf' on the Ellesmere Canal the route ran generally westwards to cross the Oswestry to Welshpool turnpike (A483) on the level and then the Llynclys to Porthywaen road (B4396) also on the level, continuing west to the Limestone Quarries where it split into two short branches. The line is next shown on the 1" OS map published on the 14th of June 1837 following the same route to terminate at 'White Haven' at GR 32723242 about one and a half miles from Crickheath.
The Oswestry & Newtown Railway received its Act on the 26th of June 1855 and was opened from Oswestry to Pool Quay on the 1st of May 1860. As the line crossed the tramway at Llynclys, a bridge was built to carry the tramway across at GR 32843240 under a clause in the Act ordering the company not to interfere with the gradient of the tramway. The O & NR received a further Act for a short branch from Llynlys Junction to the quarries at Porthywaen adjacent to Whitehaven on the 3rd July 1860 and the Act prohibited the company from altering or interfering with the line or level of the tramway. The line opened on the 1st of May 1861, removing some traffic from the tramway which however remained in use to carry stone and lime for distribution by a canal. The Porthywaen branch ran alongside but to the north of the western part of the tramway.
In 1862 at the suggestion of the O&NR, two public sidings were to be provided on their Porthywaen branch for use by the quarries lessees in substitution for the existing siding on the line at Llynclys, where a short tramway branch ran to an exchange siding, was accepted on the 25th June. The implication of this is that the branch was initially used exclusively by Thomas Savin and other lessees had to move stone and lime down the tramway for transhipment to the O&NR. It is unclear if the interchange siding at Llynclys was built, the earthworks are shown on the 1875 OS map, so perhaps it was, but its life would have been very short one or two years. The 1875 OS map shows the same basic tramway route as 1837, detailing the single siding that reversed to reach the wharf at Crickheath, the bridge across the Cambrian, and the unused earthworks of the short interchange siding at Llynclys. At Whitehaven, the tramway served a timber yard and then curved to run beneath the Porthywaen Branch before running through a loop to terminate further north than earlier at the end of an enlarged Whitehaven Quarry at GR 32683244. Leases located in Powysland Reference Library, Welshpool, by Davies filed under "Savin & Co, leases" indicate that Thomas Savin leased Porthywaen Quarry in 1881 and 1887 and the tramway is described in the leases.
The said Earl (of Powys) was the owner of an Iron Tramway which for many years past had been used for conveying limestone from the Porthywaen Lime Rocks to the Ellesmere Canal at a place called Crickheath Wharf... the said Tramway was not wholly carried over lands of the said Earl but passed in part over lands belonging to other persons and a yearly payment was made by the said Earl to each of them in respect of the loss of land and trespass occasioned thereby..." A letter dated the 23rd January 1897 from Powys Castle Estate Office to H.Le Neve Foster (a director of the Porthywaen Lime Co Ltd, then working the quarries) headed Crickheath Tramway states "I am as anxious as you are to get this matter settled. I hope to see Lord Powys's Solicitor on Monday..." A second letter dated 16th February 1897 from H. Le Neve Foster to E.D Nicholson, the secretary and general manager of the Porthywaen Lime Co Ltd who was then working the Porthywaen quarries includes "How is the Crickheath Railway doing? I presume you are working this now and by this means will be able to clear more stone at Pear Tree (Quarry) and at the same time push on with Nut Tree (presumably another quarry) " The implication is that the "matter" was the purchase or lease of the Crickheath Tramway from the Estate but this is not yet confirmed.
The 1901 OS map shows the siding at Crickheath Wharf had been converted into a loop whilst, at Whitehaven, the line crossed a standard gauge siding on the level before continuing beneath the Porthywaen Branch to a crusher in Whitehaven Quarry. The Tanat Valley Light Railway, authorised on the 4th of June 1899 and opened on the 5th of January 1904, branched from the Porthywaen Branch and the initial portion of the branch was then upgraded for passenger use. Signals were provided to protect the tramway crossing under the control of the signalman at Porthywaen Signal Box with an additional signal to control the mixed gauge track to Whitehaven crusher. The 1926 OS map shows these changes at Whitehaven with the tramway crossing the Tanat Valley line on the level before running as a three-rail line behind Porthywaen Signal Box, beneath the Porthywaen line and terminating at a modified crusher in Whitehaven Quarry.
The line later closed, probably following the bursting of a canal culvert over the Morda Brook about 1932, following which the canal was not restored. The track was lifted in 1939. In 1932 the Steetley Lime & Basic Co took over the quarry and the Porthywaen signal box was reduced to a ground frame probably in the early 1930s, both perhaps indicating the demise of the tramway. A photograph of Whitehaven quarry dated the 31st of July 1934 certainly appears to show the tramway in the quarry, out of use and overgrown. The Davies paper read in 1945 notes "has been disused for some years, but the embankment across the field from the Oswestry -Welshpool road to the railway near Llynclys Station can be plainly seen". Today (2015) the wharf at Crickheath alongside the partially filled canal lies on private land, the stone abutments of the bridge over the O&NR at Llynclys plus a short length of the tramway embankment westwards and the girder bridge (cast Brymbo 1861) carrying the road over the tramway as it approached Whitehaven, constructed by the Oswestry & Newtown Railway, remain. what may be the remains of the crossing gate guarding the tramway crossing the access road to Llynclys goods yard are buried in the hedge?
Source P. Teather.
Visually, in light conditions like these a stairway to heaven of sorts at the old Royal Cinema, Deal, Kent now an amusement arcade and snooker club. I saw my first X-rated film here, the horribly violent Death Wish starring Charles Bronson in about 1975 - I was fifteen years old but probably looked about eleven and a half. The bloke selling tickets took one look at me and said "are you eighteen?", thinking the game was up, but looking to save some face I replied "I'm seventeen" - the box office man turned to his colleague, a woman and said "he's seventeen, shall we let him in?" - they gladly took my money and I felt as if I'd scored a major victory.
Some time ago, I posted an image of my own adaptation of a Rubik's cube into a tactile cube for the blind.
Well, today I got this brand new Rubik's Cube. It's a cube that is intended for the blind and visually impaired, but can be solved by the sighted, too. It's got its usual coloured tiles with the addition of the 3D shapes on them, so it can be solved visually or just by touch. It's absolutely fantastic! And what I like most about it is that this cube can connect blind and sighted people in a fun activity!
Keep the comments clean! No banners, awards or invitations, please!
While not visually impressive, these red wine brownies made with an easy home-made mix taste ethereal and will delight any chocolate - or red wine - lover!
www.yummysmells.ca/2018/03/red-wine-brownies-with-icing.html
The most visually beautiful aspects of the Sainte-Chappelle, and considered the best of their type in the world, are its stained glass for which the stonework is a delicate framework, and rose windows added to the upper chapel in the 15th century. (Wikipedia)
My short travelogue on this wonderful chapel.
Visually parsing the more complex motion that will result from the easeInBounce above will likely require more time than the more simplistic easeInQuad curve. (Both these curves and their associated code can be found on easings.net.)
Designing Interface Animation: Meaningful Motion for User Experience, Head, Val, 2016. New York: Rosenfeld Media rosenfeldmedia.com/books/designing-interface-animation
37 – William E & Mary W Sawtelle Residence. 2082 S Harvard Blvd. 1907. Sumner P Hunt and Arthur Wesley Eager.
When architectural historians hear of a house designed by Hunt & Eager visually what comes to mind is what was known then as the “Elizabethan” style. Today we call it Tudor. But here is an anomaly in their repertoire. For the Sawtelle family, Hunt and Eager designed a mansion in a Prairie style with Mission Revival touches. The effect is striking and rare. Wm Sawtelle was a wealthy banker and landholder who donated the land for the Sawtelle Solder’s Home, and for whom the former city of Sawtelle was named, as well as a major street of his named.
West Adams Heights
“Nowadays we scarcely notice the high stone gates which mark the entrances on Hobart, Harvard, and Oxford streets, south of Washington Boulevard. For one thing, the traffic is too heavy, too swift; and then, again, the gates have been obscured by intrusions of shops and stores. At the base of the stone pillars appears the inscription “West Adams Heights.” There was a time when these entranceways were formidable and haughty, for they marked the ways to one of the first elite residential areas in Los Angeles. . . In the unplanned early-day chaos of Los Angeles, West Adams Heights was obviously something very special, an island in an ocean of bungalows—approachable, but withdrawn and reclusive—one of the few surviving examples of planned urban elegance of the turn of the century.”
- Carey McWilliams, “The Evolution of Sugar Hill,” Script, March, 1949: 30.
Today West Adams Heights is still obviously something special. The past sixty years, however, have not been kind. In 1963 the Santa Monica Freeway cut through the heart of West Adams Heights, dividing the neighborhood, obscuring its continuity. In the 1970’s the city paved over the red brick streets and removed the ornate street lighting. After the neighborhood’s zoning was changed to a higher density, overzealous developers claimed several mansions for apartment buildings. Despite these challenges, however, “The Heights,” as the area was once known, has managed to regain some of its former elegance.
The West Adams Heights tract was laid out in 1902, in what was then a wheat field on the western edge of town. Although the freeway now creates an artificial barrier, the original neighborhood boundaries were Adams Boulevard, La Salle Ave, Washington Boulevard, and Western Avenue. Costly improvements were integrated into the development, such as 75-food wide boulevards (which were some of the first contoured streets not to follow the city grid), lots elevated from the sidewalk, ornate street lighting, and large granite monuments with red-brass electroliers at the entrance to every street. These upgrades increased the lot values, which helped ensure the tract would be an enclave for the elite.
One early real estate ad characterized the neighborhood stating: “West Adams Heights needs no introduction to the public: it is already recognized as being far superior to any other tract. Its high and slightly location, its beautiful view of the city and mountains make t a property unequaled by any other in the city.”
The early residents’ were required to sign a detailed restrictive covenant. This hand-written document required property owners to build a “first-class residence,” of at least two stories, costing no less than two-thousand dollars (at a time when a respectable home could be built for a quarter of that amount, including the land), and built no less than thirty-five feet from the property’s primary boundary. Common in early twentieth century, another clause excluded residents from selling or leasing their properties to non-Caucasians.
By the mid 1930’s, however, most of the restrictions had expired. Between 1938 and 1945 many prominent African-Americans began to make “The Heights” their home. According to Carey McWilliams, West Adams Heights became known “Far and wide as the famous Sugar Hill section of Los Angeles,” and enjoyed a clear preeminence over Washington’s smart Le Droit Park, St. Louis’s Enright Street, West Philadelphia, Chicago’s Westchester, and Harlem’s fabulous Sugar Hill.
West Adams Heights, now also known as Sugar Hill, played a major role in the Civil Rights movement in Los Angeles. In 1938 Norman Houston, president of the Golden State Mutual Life Insurance Company, and an African-American, purchased a home at 2211 South Hobart Boulevard. Legal Action from eight homeowners quickly ensued. During that period, other prominent African-Americans began to make Sugar Hill their home – including actress Hattie McDaniels, dentists John and Vada Summerville, actress Louise Beavers, band leader Johnny Otis, and performers Pearl Baily and Ethel Waters, and many more. On December 6, 1945, the “Sugar Hill Cases” were heard before Judge Thurmond Clark, in LA Superior Court. He made history by become the first judge in America to use the 14th Amendment to disallow the enforcement of covenant race restrictions. The Los Angeles Sentinel quoted Judge Clark: “This court is of the opinion that it is time that [African-Americans] are accorded, without reservations and evasions, the full rights guaranteed them under the 14th Amendment.” Gradually, over the last century people of nearly ever background have made historic West Adams their home.
The northern end of West Adams Heights is now protected as part of the Harvard Heights Historic Preservation Overlay Zone (HPOZ). The Historic West Adams area of Los Angeles (which includes West Adams Heights) boasts the highest concentration of turn-of-the-century homes west of the Mississippi, as well as the highest concentration of National Historic Landmarks, National Register of Historic Places, National Historic Districts, State Historic Landmarks, Los Angeles Cultural-Historic Monuments, and Historic Preservation Overlay Zones in the city. The entirety of West Adams Heights should be nominated as a National Register Historic District, for the quality of homes, the prominence of the architects, notoriety of the people who lived in the neighborhood, and the role it played in civil rights.
Perhaps a quote adapted from a fireplace mantle in the Frederick Rindge mansion best symbolizes the optimism which exists in West Adams: “California Shall be Ours as Long as the Stars Remain.”
Last time I posted a photo of how I use Flickr despite visual impairment. You probably thought that the 800% magnification was HUGE. Well, it might seem huge to you, but that doesn't make it any less difficult to use for me. The truth is that a computer screen can be very difficult to use when you are visually impaired. So, at the moment, I'm learning to use a program called a Screen Reader. This wonderful tool translates everything on my screen into speech, so I can navigate my computer without using my sight. I'm using the fantastic program called NVDA (which stands for Non Visual Desktop Access), which is absolutely awesome! However, in order to be able to use it as quickly and as efficiently as possible, it's good to learn some keyboard shortcuts. This photo shows just a very small part of all the shortcuts that I'm currently learning and memorizing. Once I learn them, computer use will be so much easier! And I don't need screen magnification any more, since I can listen to the commands being read out loud by the program :-)
And today I'm starting another thing. As you might imagine, photos as visual objects are pretty much inaccessible for the blind and visually impaired. However, there is a way to make them a bit more accessible: text. So, I would like to ask you all for a big favour:
Please, make your beautiful work accessible for the blind and visually impaired, too! It will only take a minute of your time to provide a short description of every photo that you post. It doesn't have to be long. Just mark it with the name "Description of photo" or "Alternative text" (or in another way that clearly indicates that the text will provide a description of the photo) and then describe briefly what the photo represents. Perhaps describe some details, colours, light or things that stand out and make the photo special. This way, people who can't see your photos can still enjoy them by using Screen Readers or Braille Displays. Thank you!
Description of the photo:
The black-and-white photo shows a computer screen with a magnified table of Screen Reader commands.
Keep the comments clean! No banners, awards or invitations, please!
Grr!
(Description for visually impaired people follows.)
The image shows screenshots of both the "new new" Twitter web interface, and the UI of the new Twitter iPhone app. Both have a bar across the top of the screen with the Twitter logo etched into the middle of it. This is reminiscent of the public beta of Mac OS X 10.0, from September 2000, which had the Apple logo in the middle of the menubar rather than in its current (and also pre-OS X) position on the left side.
The image says "Hey Twitter, these (screenshots showing the Twitter logo in the middle of the respective bars) are the same as (screenshot of OS X Public Beta, showing similar logo in middle of menubar) which makes me (photo of angry-looking puppy)."
***UPDATE*** 7/2/13 Some things are meant to swim upstream. This is heading exactly that way, where it belongs. Thanks LC.
Holy shit. Bringin' the thunder.
email-- kinzco@domain900.net
"Hā" is the tale which is as old as the islands. It's an ancient, yet universal tale. It's the visually stunning story of a boy born in a distant paradise. He's nurtured by a village, learns the ways of his people, finds love by moonlight, and defends everything with heart-stopping bravery.
It is the spectacle of over a hundred performers from across the Pacific, drums, dance, all new music and special effects, a fire spewing volcano and a world renowned fire knife performance all happening in Polynesian cultural center.
The story:
Hā is about a polynesian boy called "Mana". Born just after his parents wash ashore, Mana begins a South Pacific odyssey that leads to becoming a warrior. In the process, he must prove his worthiness to wed the fair Lani by walking on fire. And, ultimately, he must battle to protect his new family from marauding invaders.
More from the source: www.polynesia.com/ha.html
January 2 2010, Laie, Oahu, Hawaii. The show takes place here.
Goal: Visually convey "new life in Christ" as stated in Romans 5-8
Audience: Members of Frisco Bible Church and visitors
Direction: Not much given ;o)
Project: New 10-message series
Other important info:
I don't typically buy anything from the Revoltech series, mostly likely because the licenses that they play with aren't usually my thing. However, once in a while, an interesting figure pops up.
For the last little while, one of the more visually impressive sublines from the Revoltech is the Figure Complex: Amazing Yamaguchi line featuring various beloved X-Men characters sculpted by Yamaguchi Katsuhisa. I know a Wolverine and Magneto were released, and a Gambit will be released. I also believe the line has moved onto at least non-X characters with the recently solicited Iron Man.
Obviously, this figure is none of those - this is Psylocke.
For someone that likes figures and toys, it's surprising how few comics I've read. My introduction to the character was from the original Capcom Vs. Game, X-Men: Children of the Atom in all her uninhibited bouncy glory.
The character naturally has a long and storied past that I'd probably lose much sleep over if I actually tried to research. I believe that "too long, didn't read" version of it is that she is a mutant (duh) named Elizabeth "Betsy" Braddock, the sister of Captain Marvel. Through a series of events such as self sacrifice and transference of mental capacities, she ends up in a body of an Japanese woman who is the brain dead wife of the leader of the Hand, an assassin clan, and is brainwashed into become one of them. She develops Psionic powers (ability to form things out of mental energy, mostly for her being blades), and eventually breaks free of this brainwashing, and that, friends is the genesis of the X-Men character Psylocke.
None of that matters, of course. I bought the figure because the previews made her look really, really, good, and Psylocke herself being a very sharp character design with long flowing purple hair and her purple kind-of-there outfit. While it's been out for probably 6 months now, I only recently got mine because I insist that the guy who sold it to me bring it to me personally... even if I had to wait six months.
If you've never watched gameplay of Psylocke, just think slinky female ninja dressed in purple capable of making various energy things. And, as mentioned, the prototype pictures show cased that very well. So, how did it do?
Well, let's start from the top.
Psylocke comes with the figure, two face plates (one neutral, one smiling), a sheathed katana, an empty sheath, twin katanas, twin energy katanas, twin Psyblades, 4 sets of hands, a detachable sash, and a dynamic stand with both a peg connector, along with a clamp that I guess would give you a bit more height with your aerial stuff but I never actually used it. I personally would have like an additional angry/attacking face plate because as it is, she's a bit too serene looking.
Also kind of neat is that on the cardboard insert (and side flaps of the box) are full colour prints of I guess what comic art inspired this particular design.
The Revoltech joint system is a bit different from the Figma and Figuart systems.. at least I guess they are, and at the very least this one is.
Articulation is very, very, very good. I cannot emphasize how much you can get this figure to do despite it's small size. The trade off is that some of the joints look really weird when not positioned properly, specifically the shoulders and knees, which are double or triple joints depending on which one we're talking about. Whomever designed the tray for holding Psylocke really didn't do the figure any favours to say the least. However, the amount of knee bend and chest press that this figure more than overshadows this first impression issue, and that range or movement is something you want for a figure like Psylocke.
In addition to the aforementioned, all your standard points of articulation are present. Bonus ones include a toe swivel, articulation for her sash, thigh swivel, independent neck and head articulation, and hair that can be lifted to all for greater neck movement, with the latter head/neck related items allowing for some great crouching poses.
Sadly, while her shoulders worked out just fine despite their wonky appearance, her ass suffers from the dreaded "thigh separation" scenario where the movement of the legs creates an unsightly gap where the thigh meets the back of the body, particularly notable given that she doesn't wear pants. But, again, at least the trade off is great articulation.
Psylocke I guess would technically be the action figure (or at least middle of the pack Japanese figure) equivalent of a Butterface release. To be fair, it is generally what was promised on the box, so I don't really have anyone to blame but myself for buying her if this was the key aspect that ruins the experience for me. Both the prototype and the final item feature the same round almost featureless face with the undersized nose.
No it's other things that serve not only as a topic of discussion, but also kind of give you a feeling as to why Figma and Figuarts are kind of priced the way they are.
Psylocke has an MSRP of about 6,000 Yen, which is about the price of your run of the mill Figuart, with Figma coming in closer to what.. 7,000 if not more these days? The releases are about the same size, but lets remember that Figuarts have no stand and very few accessories, and clearly Psylocke destroys any run of the mill Figuart figure in terms of value.
Part of the pricing on everything is of course the cut paid for the actual license, but it's not like a Marvel license is particularly cheap. So what else is there?
It pretty much comes down to paint.
If you look closely, you'll probably notice that Psylocke has no paint whatsoever on her fleshy bits. Not only does this look a bit meh, but it makes photographing her a major pain in the ass, especially if you're trying to bring out details.. like her nose and eye sockets. You'll notice that the paint masking on her leg bands isn't bad, but there are more weak spots than on its Figma and Figuarts competitors, especially if we're talking about figure with a relatively simple colour scheme. Some minor paint issues were also spotted on her neck piece, but those are primarily paint transfers. There were also some areas with paint overspray, but it wasn't anything bootleg bad, just something worth noting.
Her translucent purple hair is also a big seller for this figure. The overall final product is pretty good, but if you look closely (and in the instance of the back of her head, not even that close), you'll notice some very rough spots that I don't know were a QC issue or a design flaw. By comparison, nothing this was spotted on either KOS-MOS or T-ELOS, both of which are at least 7 years older than Psylocke.
For what it is worth, her effect parts are very well done, particularly her Psiblades with the gradient from cold to warm Purple. The quality of the stand itself is, from my analysis, more solid than a Figma stand, mostly due to a combination of better plastic, a thicker arm, and better designed joints. There were also no issues with regards to rough plastic finishes other than the aformentioned hair problems.
One other issue that I read about was the face plate itself. Some owners seem to be indicating that due to the way the face is mounted on the head (friction based, one slot, straight above the face) the figure arrived with the socket on the hair already worn out and wouldn't hold the face in place, or would be in danger of doing so in the future. I didn't have that issue on mine, but I do understand where they're coming from with these statements.
I should probably also mention the eyes. Those who are familiar with the Hot Toys world will know the term PERS, which is their fancy term for eyes that can be moved on the sculpts to facilitate an even greater amount of posing. Amazingly this figure also features eyeballs that can be moved, though it's not as complicated as the PERS system. This is actually pretty neat given the size of the eyeballs, though you might want to ditch the included white pick in favour of a tiny screw driver or something to move the eyes as I believe the 90 degree bend actually makes it harder to manipulate the eyes into the right direction.
In the end, a very good release, and probably the best Psylocke action figure I've ever seen.. of course, the only others I have seen are the Marvel Legends one which again, aren't bad given the price. Those looking for a more legit comic sculpt need not apply here, naturally.
But there is no doubt that this is a sharp looking figure, and for the price it comes with quite a few goodies. It just lacks that final bit of spit polish that would push it from being very good to being outstanding. Still, if you like your ninjas purple and slinky, you can't go wrong.
There are three Ashfords, really. The modern newtown, Swindonesque newbuilds stretching into the countryside; the Victorian railway town, all neat rows of brick buit houses and the station, and then there is the old town, timber-framed houses along narrow lanes, with St Mary standing towering above all but the modern office blocks.
The west end church was given over to a Christmas Fayre, but is also used now as a concert venue, while under the tower westwards is still in use as a church, with many of its ancient features left alone by the Victorians.
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A stately church in a good position set away from the hustle and bustle of this cosmopolitan town. The very narrow tower of 1475 is not visually satisfactory when viewed from a distance but its odd proportions are hardly noticed when standing at its base. The church is very much the product of the families who have been associated with it over the centuries and who are commemorated by monuments within. They include the Fogges and the Smythes. The former is supposed to have wanted to create a college of priests here, but by the late fifteenth century such foundations were going out of fashion and the remodelling of the church undertaken by Sir John Fogge may have just been a philanthropic cause. Unusually, when the church was restored in 1860 the architect Ewan Christian kept the galleries (he usually swept them away), but Christ Church had yet to be built and the population of this growing town would have needed all the accommodation it could get. Even in 1851 1000 people had attended the church in a single sitting. The pulpit, designed by Pearson, was made in 1897.
www.kentchurches.info/church.asp?p=Ashford+1
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THE TOWN AND PARISH OF ASHFORD
LIES the next adjoining to Hothfield eastward. It is called in Domesday both Estefort and Essetesford, and in other antient records, Eshetisford, taking its name from the river, which runs close to it, which, Lambarde says, ought not to be called the Stour, till it has passed this town, but Eshe or Eschet, a name which has been for a great length of time wholly forgotten; this river being known, even from its first rise at Lenham hither, by the name of the Stour only.
A small part only of this parish, on the east, south and west sides of it, containing the borough of Henwood, alias Hewit, lying on the eastern or further side of the river from the town, part of which extends into the parish of Wilsborough, and the whole of it within the liberty of the manor of Wye, and the borough of Rudlow, which adjoins to Kingsnoth and Great Chart, are in this hundred of Chart and Longbridge; such part of the borough of Rudlow as lies adjoining to Kingsnoth, is said to lie in in jugo de Beavor, or the yoke of Beavor, and is divided from the town and liberty by the river, near a place called Pollbay; in which yoke there is both a hamlet and a green or common, of the name of Beavor; the remainder of the parish having been long separated from it, and made a distinct liberty, or jurisdiction of itself, having a constable of its own, and distinguished by the name of the liberty of the town of Ashford.
ASHFORD, at the time of taking the general survey of Domesday, was part of the possessions of Hugo de Montfort, who had accompanied the Conqueror hither, and was afterwards rewarded with this estate, among many others in different counties; in which record it is thus entered, under the general title of his lands:
¶Maigno holds of Hugo (de Montfort) Estefort. Turgisus held it of earl Godwin, and it is taxed at one suling. The arable land is half a carucate. There is nevertheless in demesne one carucate, and two villeins having one carucate. There are two servants, and eight acres of meadow. In the time of king Edward the Confessor, it was worth twenty five shillings; when he received it, twenty shillings; now thirty shilling.
The same Hugo holds Essela. Three tenants held it of king Edward, and could go whither they would with their lands. It was taxed at three yokes. The arable land is one carucate and an half. There are now four villeins, with two borderers having one carucate, and six acres of meadow. The whole, in the reign of king Edward the Confessor, was worth twenty shillings, and afterwards fifteen shillings, now twenty shillings.
Maigno held another Essetisford of the same Hugo. Wirelm held it of king Edward. It was taxed at one suling. The arable land is four carucates. In demesne there are two, and two villeins, with fifteen borderers having three carucates. There is a church, and a priest, and three servants, and two mills of ten shillings and two pence. In the time of king Edward the Confessor it was worth seventy shillings, and afterwards sixty shillings, now one hundred shillings.
Robert de Montfort, grandson of Hugh abovementioned, favouring the title of Robert Curthose, in opposition to king Henry I. to avoid being called in question upon that account, obtained leave to go on a pilgrimage to Jerusalem, leaving his possessions to the king; by which means this manor came into the hands of the crown. Soon after which it seems to have come into the possession of a family, who took their name from it. William de Asshetesford appears by the register of Horton priory to have been lord of it, and to have been succeeded by another of the same name. After which the family of Criol became owners of it, by whom it was held by knight's service of the king, in capite, by ward to Dover castle, and the repair of a tower in that castle, called the Ashford tower. (fn. 1) Simon de Criol, in the 27th and 28th year of Henry III. obtained a charter of free warren for this manor, whose son William de Criol passed it away to Roger de Leyborne, for Stocton, in Huntingdonshire, and Rumford, in Essex. William de Leyborne his son, in the 7th year of king Edward I. claimed and was allowed the privilege of a market here, before the justices itinerant. He died possessed of this manor in the 3d year of Edward II. leaving his grand-daughter Juliana, daughter of Thomas de Leyborne, who died in his father's life-time, heir both to her grandfather and father's possessions, from the greatness of which she was stiled the Infanta of Kent, (fn. 2) though thrice married, yet she died s. p. by either of her husbands, all of whom she survived, and died in the 41st year of Edward III. Upon which this manor, among the rest of her estates, escheated to the crown, and continued there till king Richard II. vested it, among others, in feoffees, for the performance of certain religious bequests by the will of king Edward III. then lately deceased; and they, in compliance with it, soon afterwards, with the king's licence, purchased this manor, with those of Wall, and Esture, of the crown, towards the endowment of St. Stephen's chapel, in the king's palace of Westminster, all which was confirmed by king Henry IV. and VI. and by king Edward IV. in their first years; the latter of whom, in his 7th year, granted to them a fair in this town yearly, on the feast of St. John Port Latin, together with all liberties, and to have a steward to hold the court of it, &c. In which situation they continued till the 1st year of Edward VI. when this collegiate chapel was, with all its possessions, surrendered into the king's hands, where these manors did not continue long; for that king, in his 3d year, granted the manor of Esshetford, with that of Wall, and the manor of Esture, to Sir Anthony Aucher, of Otterden, to hold in capite; and he, in the 2d and 3d of Philip and Mary, sold them to Sir Andrew Judde, of London, whose daughter and at length heir Alice, afterwards carried them in marriage to Thomas Smith, esq. of Westenhanger, commonly called the Customer, who died possessed of them in 1591, and lies buried in the south cross of this church, having had several sons and daughters, of, whom Sir John Smythe, of Ostenhanger, the eldest, succeeded him here, and was sheriff anno 42 Elizabeth. Sir Thomas Smith, the second son, was of Bidborough and Sutton at Hone, and ambassador to Russia, of whom and his descendants, notice has been taken in the former volumes of this history; (fn. 3) and Henry, the third son, was of Corsham, in Wiltshire, whence this family originally descended, and Sir Richard Smith, the fourth, was of Leeds castle. Sir John Smythe, above-mentioned, died in 1609, and lies buried in the same vault as his father in this church, leaving one son Sir Thomas Smythe, of Westenhanger, K. B. who was in 1628 created Viscount Strangford, of Ireland, whose grandson Philip, viscount Strangford, dying about 1709, Henry Roper, lord Teynham, who had married Catherine his eldest daughter, by his will, became possessed of the manors of Ashford, Wall, and Esture. By her, who died in 1711, he had two sons, Philip and Henry, successively lords Teynham; notwithstanding which, having the uncontrolled power in these manors vested in him, he, on his marriage with Anne, second daughter and coheir of Thomas Lennard, earl of Sussex, and widow of Richard Barrett Lennard, esq. afterwards baroness Dacre, settled them on her and her issue by him in tail male. He died in 1623, and left her surviving, and possessed of these manors for her life. She afterwards married the hon. Robert Moore, and died in 1755. She had by lord Teynham two sons, Charles and Richard-Henry, (fn. 4) Charles Roper, the eldest son, died in 1754 intestate, leaving two sons, Trevor-Charles and Henry, who on their mother's death became entitled to these manors, as coheirs in gavelkind, a recovery having been suffered of them, limiting them after her death to Charles Roper their father, in tail male; but being infants, and there being many incumbrances on these estates, a bill was exhibited in chancery, and an act procured anno 29 George II. for the sale of them; and accordingly these manors were sold, under the direction of that court, in 1765, to the Rev. Francis Hender Foote, of Bishopsborne, who in 1768 parted with the manor of Wall, alias Court at Wall, to John Toke, esq. of Great Chart, whose son Nicholas Roundell Toke, is the present possessor of it; but he died possessed of the manors of Ashford and Esture in 1773, and was succeeded in them by his eldest son John Foote, esq. now of Bishopsborne, the present owner of them. There are several copyhold lands held of the manor of Ashford. A court leet and court baron is regularly held for it.
THE TOWN OF ASHFORD stands most pleasant and healthy, on the knoll of a hill, of a gentle ascent on every side, the high road from Hythe to Maidstone passing through it, from which, in the middle of the town, the high road branches off through a pleasant country towards Canterbury. The houses are mostly modern and well-built, and the high-street, which has been lately new paved, is of considerable width. The markethouse stands in the centre of it, and the church and school on the south side of it, the beautiful tower of the former being a conspicuous object to the adjoining country. It is a small, but neat and chearful town, and many of the inhabitants of a genteel rank in life. Near the market place, is the house of the late Dr. Isaac Rutton, a physician of long and extensive practice in these parts, being the eldest son of Matthias Rutton, gent of this town, by Sarah his wife, daughter of Sir N. Toke, of Godinton. He died in 1792, bearing for his arms, Parted per fess, azure, and or, three unicorns heads, couped at the neck, counterchanged; since which, his eldest son, Isaac Rutton, esq. now of Ospringeplace, has sold this house to Mr. John Basil Duckworth, in whom it is now vested. In the midst of it is a large handsome house, built in 1759, by John Mascall, gent. who resided in it, and died possessed of it in 1769, and was buried in Boughton Aluph church, bearing for his arms, Barry of two, or, and azure, three inescutcheons, ermine; and his only son, Robert Mascall, esq. now of Ashford, who married the daughter of Jeremiah Curteis, esq. is the present owner, and resides in it. At the east end of the town is a seat, called Brooke-place, formerly possessed by the family of Woodward, who were always stiled, in antient deeds, gentlemen, and bore for their arms, Argent, a chevron, sable, between three grasshoppers, or; the last of them, Mr. John Woodward, gent. rebuilt this seat, and died possessed of it in 1757; of whose heirs it was purchased by Martha, widow of Moyle Breton, esq. of Kennington, whose two sons, the Rev. Moyle Breton, and Mr. Whitfield Breton, gent. alienated it to Josias Pattenson, esq. the second son of Mr. Josias Pattenson, of Biddenden, by Elizabeth, daughter and coheir of Felix Kadwell, esq. of Rolvenden; he married Mary, daughter of Mr. Henry Dering, gent. of this parish, and widow of Mr. John Mascall above-mentioned, by whom he has no issue, and he is the present owner of this seat, and resides in it. There have been barracks erected lately here, which at present contain 4000 soldiers. The market is held on a Saturday weekly, for the sale of corn, which is now but little used; and a market for the sale of all sorts of fat and lean stock on the first and third Tuesday in every month, which has been of great use to prevent monopolies. Two fairs are annually held now, by the alteration of the stile, on May 17, and Sept. 9, and another on Oct. 24; besides which, there is an annual fair for wool on August 2, not many years since instituted and encouraged by the principal gentry and landholders, which promises to prove of the greatest utility and benefit to the fair sale of it. That branch of the river Stour which rises at Lenham, runs along the southern part of this parish, and having turned a corn mill belonging to the lord of this manor, continues its course close at the east end of the town, where there is a stone bridge of four arches, repaired at the expence of the county, and so on northwards towards Wye and Canterbury. On the south side of the river in this parish, next to Kingsnoth, within the borough of Rudlow, is the yoke of Beavor, with the hamlet and farm of that name, possessed in very early times, as appears by the register of Horton priory, by a family of that name, one of whom, John Beavor, was possessed of it in the reign of Henry II. and was descended from one of the same furname, who attended the Conqueror in his expedition hither. The parish contains about 2000 acres of land, and three hundred and twenty houses, the whole rental of it being 4000l. per annum; the inhabitants are 2000, of which about one hundred are diffenters. The highways throughout it, which not many years ago were exceeding bad, have been by the unanimity of the inhabitants, which has shewn itself remarkable in all their public improvements, a rare instance in parochial undertakings, and by the great attention to the repairs of them, especially in such parts as were near their own houses, are now excellent. The lands round it are much upon a gravelly soil, though towards the east and south there are some rich fertile pastures, intermixed with arable land, and several plantations of hops; but toward the west, the soil is in general sand, having much quarrystone mixed with it, where there is a great deal of coppice wood, quite to Potter's corner, at the boundary of this parish.
The church, which is dedicated to St. Mary, is a large handsome building, consisting of three isles, with a transept, and three chancels, with the tower in the middle, which is losty and well proportioned, having four pinnacles at the top of it. There are eight bells in it, a set of chimes, and a clock. In the high chancel, on the north side, is the college John Fogge, the founder of the college here, who died in 1490, and his two wives, the brasses of their figures gone; but part of the inscription remains. And formerly, in Weever's time, there hung up in this chancel six atchievements, of those of this family whose burials had been attended by the heralds at arms, and with other ceremonies suitable to their degrees. Underneath the chancel is a large vault, full of the remains of the family. On the pavement in the middle, is a very antient curious gravestone, having on it the figure in brass of a woman, holding in her left hand a banner, with the arms of Ferrers, Six masctes, three and three, in pale; which, with a small part of the inscription round the edge, is all that is remaining; but there was formerly in brass, in her right hand, another banner, with the arms of Valoyns; over her head those of France and England quarterly; and under her feet a shield, being a cross, impaling three chevronels, the whole within a bordure, guttee de sang, and round the edge this inscription, Ici gift Elizabeth Comite D' athels la file sign de Ferrers . . . dieu asoil, qe morust le 22 jour d'octob. can de grace MCCCLXXV. Weever says, she was wife to David de Strabolgie, the fourth of that name, earl of Athol, in Scotland, and daughter of Henry, lord Ferrers, of Groby; and being secondly married to John Malmayns, of this county, died here in this town. Though by a pedigree of the family of Brograve, she is said to marry T. Fogge, esq. of Ashford; if so, he might perhaps have been her third husband. Near her is a memorial for William Whitfield, gent. obt. 1739. The north chancel belonged to Repton manor. In the vault underneath lay three of the family of Tuston, sometime since removed to Rainham, and it has been granted to the Husseys; Thomas Hussey, esq. of this town, died in 1779, and was buried in it. In the south chancel are memorials for the Pattensons, Whitfields, and Apsleys, of this place; and one for Henry Dering, gent. of Shelve, obt. 1752, and Hester his wife; arms, A saltier, a crescent for difference, impaling, on a chevron, between three persons, three crosses, formee; and another memorial for Thomasine, wife of John Handfield, obt. 1704. In the north cross are several antient stones, their brasses all gone, excepting a shield, with the arms of Fogge on one. At the end is a monument for John Norwood, gent. and Mary his wife, of this town, who lie with their children in the vault underneath. The south cross is parted off lengthways, for the family of Smith, lords of Ashford manor, who lie in a vault underneath. In it are three superb monuments, which, not many years since, were beautified and restored to their original state, by the late chief baron Smythe, a descendant of this family. One is for Thomas Smith, esq. of Westenhanger, in 1591; the second for Sir John Smythe, of Ostenhanger, his son, and Elizabeth his wife; and the third for Sir Richard Smyth, of Leeds castle, in 1628: all which have been already mentioned before. Their figures, at full length and proportion, are lying on, each of them, with their several coats of arms and quarterings blazoned. In the other part of this cross, is a memorial for Baptist Pigott, A. M. son of Baptist Pigott, of Dartford, and schoolmaster here, obt. 1657, and at the end of it, is the archbishop's consistory court. In the south isle is a memorial for Thomas Curteis, gent. obt. 1718, and Elizabeth his wife; arms, Curteis impaling Carter. Under the tower is one for Samuel Warren, vicar here forty-eight years, obt. 1720. The three isles were new pewed and handsomely paved in 1745. There are five galleries, and an handsome branch for candles in the middled isle; the whole kept in an excellent state of repair and neatness. There was formerly much curtious painted glass in the windows, particularly the figures of one of the family of Valoyns, his two wives and children, with their arms. In the south window of the cross isle, and in other windows, the figures, kneeling, of king Edward III. the black prince, Richard, duke of Gloucester, the lord Hastings. Sir William Haute, the lord Scales, Richard, earl Rivers, and the dutchess of Bedford his wife, Sir John Fogge, Sir John Peche, Richard Horne, Roger Manstone, and—Guildford, most of which were in the great west window, each habited in their surcoats of arms, not the least traces of which, or of any other coloured glass, are remaining throughout this church. Sir John Goldstone, parson of Ivechurch, as appears by his will in 1503, was buried in the choir of this church, and gave several costly ornaments and vestments for the use of it.
Also adding this to BeYond Layers week of colour March 24th, 2012 - RAINBOW SATURDAY!
Beauty in the eyes of the slow shutter, enjoy the beauty around you.
The color of the object illuminated partakes of the color of that which illuminates it.
Leonardo da Vinci
The whole world, as we experience it visually, comes to us through the mystic realm of color.
Hans Hofmann
It is not the form that dictates the color, but the color that brings out the form.
Hans Hofmann
I don't typically buy anything from the Revoltech series, mostly likely because the licenses that they play with aren't usually my thing. However, once in a while, an interesting figure pops up.
For the last little while, one of the more visually impressive sublines from the Revoltech is the Figure Complex: Amazing Yamaguchi line featuring various beloved X-Men characters sculpted by Yamaguchi Katsuhisa. I know a Wolverine and Magneto were released, and a Gambit will be released. I also believe the line has moved onto at least non-X characters with the recently solicited Iron Man.
Obviously, this figure is none of those - this is Psylocke.
For someone that likes figures and toys, it's surprising how few comics I've read. My introduction to the character was from the original Capcom Vs. Game, X-Men: Children of the Atom in all her uninhibited bouncy glory.
The character naturally has a long and storied past that I'd probably lose much sleep over if I actually tried to research. I believe that "too long, didn't read" version of it is that she is a mutant (duh) named Elizabeth "Betsy" Braddock, the sister of Captain Marvel. Through a series of events such as self sacrifice and transference of mental capacities, she ends up in a body of an Japanese woman who is the brain dead wife of the leader of the Hand, an assassin clan, and is brainwashed into become one of them. She develops Psionic powers (ability to form things out of mental energy, mostly for her being blades), and eventually breaks free of this brainwashing, and that, friends is the genesis of the X-Men character Psylocke.
None of that matters, of course. I bought the figure because the previews made her look really, really, good, and Psylocke herself being a very sharp character design with long flowing purple hair and her purple kind-of-there outfit. While it's been out for probably 6 months now, I only recently got mine because I insist that the guy who sold it to me bring it to me personally... even if I had to wait six months.
If you've never watched gameplay of Psylocke, just think slinky female ninja dressed in purple capable of making various energy things. And, as mentioned, the prototype pictures show cased that very well. So, how did it do?
Well, let's start from the top.
Psylocke comes with the figure, two face plates (one neutral, one smiling), a sheathed katana, an empty sheath, twin katanas, twin energy katanas, twin Psyblades, 4 sets of hands, a detachable sash, and a dynamic stand with both a peg connector, along with a clamp that I guess would give you a bit more height with your aerial stuff but I never actually used it. I personally would have like an additional angry/attacking face plate because as it is, she's a bit too serene looking.
Also kind of neat is that on the cardboard insert (and side flaps of the box) are full colour prints of I guess what comic art inspired this particular design.
The Revoltech joint system is a bit different from the Figma and Figuart systems.. at least I guess they are, and at the very least this one is.
Articulation is very, very, very good. I cannot emphasize how much you can get this figure to do despite it's small size. The trade off is that some of the joints look really weird when not positioned properly, specifically the shoulders and knees, which are double or triple joints depending on which one we're talking about. Whomever designed the tray for holding Psylocke really didn't do the figure any favours to say the least. However, the amount of knee bend and chest press that this figure more than overshadows this first impression issue, and that range or movement is something you want for a figure like Psylocke.
In addition to the aforementioned, all your standard points of articulation are present. Bonus ones include a toe swivel, articulation for her sash, thigh swivel, independent neck and head articulation, and hair that can be lifted to all for greater neck movement, with the latter head/neck related items allowing for some great crouching poses.
Sadly, while her shoulders worked out just fine despite their wonky appearance, her ass suffers from the dreaded "thigh separation" scenario where the movement of the legs creates an unsightly gap where the thigh meets the back of the body, particularly notable given that she doesn't wear pants. But, again, at least the trade off is great articulation.
Psylocke I guess would technically be the action figure (or at least middle of the pack Japanese figure) equivalent of a Butterface release. To be fair, it is generally what was promised on the box, so I don't really have anyone to blame but myself for buying her if this was the key aspect that ruins the experience for me. Both the prototype and the final item feature the same round almost featureless face with the undersized nose.
No it's other things that serve not only as a topic of discussion, but also kind of give you a feeling as to why Figma and Figuarts are kind of priced the way they are.
Psylocke has an MSRP of about 6,000 Yen, which is about the price of your run of the mill Figuart, with Figma coming in closer to what.. 7,000 if not more these days? The releases are about the same size, but lets remember that Figuarts have no stand and very few accessories, and clearly Psylocke destroys any run of the mill Figuart figure in terms of value.
Part of the pricing on everything is of course the cut paid for the actual license, but it's not like a Marvel license is particularly cheap. So what else is there?
It pretty much comes down to paint.
If you look closely, you'll probably notice that Psylocke has no paint whatsoever on her fleshy bits. Not only does this look a bit meh, but it makes photographing her a major pain in the ass, especially if you're trying to bring out details.. like her nose and eye sockets. You'll notice that the paint masking on her leg bands isn't bad, but there are more weak spots than on its Figma and Figuarts competitors, especially if we're talking about figure with a relatively simple colour scheme. Some minor paint issues were also spotted on her neck piece, but those are primarily paint transfers. There were also some areas with paint overspray, but it wasn't anything bootleg bad, just something worth noting.
Her translucent purple hair is also a big seller for this figure. The overall final product is pretty good, but if you look closely (and in the instance of the back of her head, not even that close), you'll notice some very rough spots that I don't know were a QC issue or a design flaw. By comparison, nothing this was spotted on either KOS-MOS or T-ELOS, both of which are at least 7 years older than Psylocke.
For what it is worth, her effect parts are very well done, particularly her Psiblades with the gradient from cold to warm Purple. The quality of the stand itself is, from my analysis, more solid than a Figma stand, mostly due to a combination of better plastic, a thicker arm, and better designed joints. There were also no issues with regards to rough plastic finishes other than the aformentioned hair problems.
One other issue that I read about was the face plate itself. Some owners seem to be indicating that due to the way the face is mounted on the head (friction based, one slot, straight above the face) the figure arrived with the socket on the hair already worn out and wouldn't hold the face in place, or would be in danger of doing so in the future. I didn't have that issue on mine, but I do understand where they're coming from with these statements.
I should probably also mention the eyes. Those who are familiar with the Hot Toys world will know the term PERS, which is their fancy term for eyes that can be moved on the sculpts to facilitate an even greater amount of posing. Amazingly this figure also features eyeballs that can be moved, though it's not as complicated as the PERS system. This is actually pretty neat given the size of the eyeballs, though you might want to ditch the included white pick in favour of a tiny screw driver or something to move the eyes as I believe the 90 degree bend actually makes it harder to manipulate the eyes into the right direction.
In the end, a very good release, and probably the best Psylocke action figure I've ever seen.. of course, the only others I have seen are the Marvel Legends one which again, aren't bad given the price. Those looking for a more legit comic sculpt need not apply here, naturally.
But there is no doubt that this is a sharp looking figure, and for the price it comes with quite a few goodies. It just lacks that final bit of spit polish that would push it from being very good to being outstanding. Still, if you like your ninjas purple and slinky, you can't go wrong.
I don't typically buy anything from the Revoltech series, mostly likely because the licenses that they play with aren't usually my thing. However, once in a while, an interesting figure pops up.
For the last little while, one of the more visually impressive sublines from the Revoltech is the Figure Complex: Amazing Yamaguchi line featuring various beloved X-Men characters sculpted by Yamaguchi Katsuhisa. I know a Wolverine and Magneto were released, and a Gambit will be released. I also believe the line has moved onto at least non-X characters with the recently solicited Iron Man.
Obviously, this figure is none of those - this is Psylocke.
For someone that likes figures and toys, it's surprising how few comics I've read. My introduction to the character was from the original Capcom Vs. Game, X-Men: Children of the Atom in all her uninhibited bouncy glory.
The character naturally has a long and storied past that I'd probably lose much sleep over if I actually tried to research. I believe that "too long, didn't read" version of it is that she is a mutant (duh) named Elizabeth "Betsy" Braddock, the sister of Captain Marvel. Through a series of events such as self sacrifice and transference of mental capacities, she ends up in a body of an Japanese woman who is the brain dead wife of the leader of the Hand, an assassin clan, and is brainwashed into become one of them. She develops Psionic powers (ability to form things out of mental energy, mostly for her being blades), and eventually breaks free of this brainwashing, and that, friends is the genesis of the X-Men character Psylocke.
None of that matters, of course. I bought the figure because the previews made her look really, really, good, and Psylocke herself being a very sharp character design with long flowing purple hair and her purple kind-of-there outfit. While it's been out for probably 6 months now, I only recently got mine because I insist that the guy who sold it to me bring it to me personally... even if I had to wait six months.
If you've never watched gameplay of Psylocke, just think slinky female ninja dressed in purple capable of making various energy things. And, as mentioned, the prototype pictures show cased that very well. So, how did it do?
Well, let's start from the top.
Psylocke comes with the figure, two face plates (one neutral, one smiling), a sheathed katana, an empty sheath, twin katanas, twin energy katanas, twin Psyblades, 4 sets of hands, a detachable sash, and a dynamic stand with both a peg connector, along with a clamp that I guess would give you a bit more height with your aerial stuff but I never actually used it. I personally would have like an additional angry/attacking face plate because as it is, she's a bit too serene looking.
Also kind of neat is that on the cardboard insert (and side flaps of the box) are full colour prints of I guess what comic art inspired this particular design.
The Revoltech joint system is a bit different from the Figma and Figuart systems.. at least I guess they are, and at the very least this one is.
Articulation is very, very, very good. I cannot emphasize how much you can get this figure to do despite it's small size. The trade off is that some of the joints look really weird when not positioned properly, specifically the shoulders and knees, which are double or triple joints depending on which one we're talking about. Whomever designed the tray for holding Psylocke really didn't do the figure any favours to say the least. However, the amount of knee bend and chest press that this figure more than overshadows this first impression issue, and that range or movement is something you want for a figure like Psylocke.
In addition to the aforementioned, all your standard points of articulation are present. Bonus ones include a toe swivel, articulation for her sash, thigh swivel, independent neck and head articulation, and hair that can be lifted to all for greater neck movement, with the latter head/neck related items allowing for some great crouching poses.
Sadly, while her shoulders worked out just fine despite their wonky appearance, her ass suffers from the dreaded "thigh separation" scenario where the movement of the legs creates an unsightly gap where the thigh meets the back of the body, particularly notable given that she doesn't wear pants. But, again, at least the trade off is great articulation.
Psylocke I guess would technically be the action figure (or at least middle of the pack Japanese figure) equivalent of a Butterface release. To be fair, it is generally what was promised on the box, so I don't really have anyone to blame but myself for buying her if this was the key aspect that ruins the experience for me. Both the prototype and the final item feature the same round almost featureless face with the undersized nose.
No it's other things that serve not only as a topic of discussion, but also kind of give you a feeling as to why Figma and Figuarts are kind of priced the way they are.
Psylocke has an MSRP of about 6,000 Yen, which is about the price of your run of the mill Figuart, with Figma coming in closer to what.. 7,000 if not more these days? The releases are about the same size, but lets remember that Figuarts have no stand and very few accessories, and clearly Psylocke destroys any run of the mill Figuart figure in terms of value.
Part of the pricing on everything is of course the cut paid for the actual license, but it's not like a Marvel license is particularly cheap. So what else is there?
It pretty much comes down to paint.
If you look closely, you'll probably notice that Psylocke has no paint whatsoever on her fleshy bits. Not only does this look a bit meh, but it makes photographing her a major pain in the ass, especially if you're trying to bring out details.. like her nose and eye sockets. You'll notice that the paint masking on her leg bands isn't bad, but there are more weak spots than on its Figma and Figuarts competitors, especially if we're talking about figure with a relatively simple colour scheme. Some minor paint issues were also spotted on her neck piece, but those are primarily paint transfers. There were also some areas with paint overspray, but it wasn't anything bootleg bad, just something worth noting.
Her translucent purple hair is also a big seller for this figure. The overall final product is pretty good, but if you look closely (and in the instance of the back of her head, not even that close), you'll notice some very rough spots that I don't know were a QC issue or a design flaw. By comparison, nothing this was spotted on either KOS-MOS or T-ELOS, both of which are at least 7 years older than Psylocke.
For what it is worth, her effect parts are very well done, particularly her Psiblades with the gradient from cold to warm Purple. The quality of the stand itself is, from my analysis, more solid than a Figma stand, mostly due to a combination of better plastic, a thicker arm, and better designed joints. There were also no issues with regards to rough plastic finishes other than the aformentioned hair problems.
One other issue that I read about was the face plate itself. Some owners seem to be indicating that due to the way the face is mounted on the head (friction based, one slot, straight above the face) the figure arrived with the socket on the hair already worn out and wouldn't hold the face in place, or would be in danger of doing so in the future. I didn't have that issue on mine, but I do understand where they're coming from with these statements.
I should probably also mention the eyes. Those who are familiar with the Hot Toys world will know the term PERS, which is their fancy term for eyes that can be moved on the sculpts to facilitate an even greater amount of posing. Amazingly this figure also features eyeballs that can be moved, though it's not as complicated as the PERS system. This is actually pretty neat given the size of the eyeballs, though you might want to ditch the included white pick in favour of a tiny screw driver or something to move the eyes as I believe the 90 degree bend actually makes it harder to manipulate the eyes into the right direction.
In the end, a very good release, and probably the best Psylocke action figure I've ever seen.. of course, the only others I have seen are the Marvel Legends one which again, aren't bad given the price. Those looking for a more legit comic sculpt need not apply here, naturally.
But there is no doubt that this is a sharp looking figure, and for the price it comes with quite a few goodies. It just lacks that final bit of spit polish that would push it from being very good to being outstanding. Still, if you like your ninjas purple and slinky, you can't go wrong.
Almost visually similar to the European version... except that its front turn signals are relocated to the grille, and has red rear turn signals integrated to its tail lamps.
Cineaste365 (February 7, 2014 - DAY 118) - Visually stylish and cool, “Tokyo Drifter” was an avante garde film that was ahead of its time!
Each time I have watched “Tokyo Drifter”, it’s one of those films that I never grown tired of watching. When I was younger, I used to equate “Tokyo Drifter” almost like a James Bond film. Stylish in presentation, suave protagonist that is always calm, cool, collected and great with a gun and isn’t afraid in getting into a brawl.
Granted, the film is a yakuza story after all, but what I enjoyed about this film is its presentation that is so awkward and sometimes unusual, but in a very cool way!
For example, the introduction of the film is shown in black and white. But the contrast of the black and white is done in a way that looks nothing like your typical B&W film and then he spots a toy gun in red, how often do you see a gangster film with this type of artistic presentation. Never.
Another scene features an accidental shooting as one of Otsuka’s gang member’s girlfriend is shot and killed. Typically, you would see the girl shot, perhaps a closeup of the face and then the character falling to the ground. For Suzuki, we get a shot from high above. She gets up, feels the shot, rips the top of her dress up, falls and dies and then we get a close up shot as we see the blood flowing down the top of her breast.
Another shot features Tetsu walking through a snowy path with his light blue suit, on white snow but on the right is a red mailbox. There are several of these artistic shots that I absolutely love looking at.
And then you have the action, from the perfectly posed Tetsu shooting off his gun at an enemy to a scene where the enemy thinks they got him down, but then he starts singing or whistling his “Tokyo Nagaremono” song and eventually escapes death.
This is your bonafide anti-hero and while he looks like a normal guy, it’s how he’s characterized. Cool, focused and no matter if he gets shot, hit and falls on the ground multiple times…his suit is still pristine and he’s still singing before kicking some ass!
Even the other characters have their own distinction. Otsuka is shown primarily with the camera focused on his sunglasses, his henchman Tatsuzo, known as the Viper, is often seen with his silencer, Keiichi the loner is seen with his forest green jacket and Umetani, a friend of Kurata is seen with his suit and leather gloves.
And the set design, while the same set is used, Suzuki and his art director went for creative lighting in order to continue to give this impressive visual style despite the studio cutting their budget in hopes that Suzuki would not be so creative and kept to traditional filmmaking.
Overall, “Tokyo Drifter” is a film that is worth the purchase, mainly for those who love classic Japanese cinema, especially the gangster films. But in this case, it’s not your typical banal yakuza film, it’s stylish, visually creative and surreal and it’s a wonderful film from filmmaker Seijun Suzuki.
Recommended!
I don't typically buy anything from the Revoltech series, mostly likely because the licenses that they play with aren't usually my thing. However, once in a while, an interesting figure pops up.
For the last little while, one of the more visually impressive sublines from the Revoltech is the Figure Complex: Amazing Yamaguchi line featuring various beloved X-Men characters sculpted by Yamaguchi Katsuhisa. I know a Wolverine and Magneto were released, and a Gambit will be released. I also believe the line has moved onto at least non-X characters with the recently solicited Iron Man.
Obviously, this figure is none of those - this is Psylocke.
For someone that likes figures and toys, it's surprising how few comics I've read. My introduction to the character was from the original Capcom Vs. Game, X-Men: Children of the Atom in all her uninhibited bouncy glory.
The character naturally has a long and storied past that I'd probably lose much sleep over if I actually tried to research. I believe that "too long, didn't read" version of it is that she is a mutant (duh) named Elizabeth "Betsy" Braddock, the sister of Captain Marvel. Through a series of events such as self sacrifice and transference of mental capacities, she ends up in a body of an Japanese woman who is the brain dead wife of the leader of the Hand, an assassin clan, and is brainwashed into become one of them. She develops Psionic powers (ability to form things out of mental energy, mostly for her being blades), and eventually breaks free of this brainwashing, and that, friends is the genesis of the X-Men character Psylocke.
None of that matters, of course. I bought the figure because the previews made her look really, really, good, and Psylocke herself being a very sharp character design with long flowing purple hair and her purple kind-of-there outfit. While it's been out for probably 6 months now, I only recently got mine because I insist that the guy who sold it to me bring it to me personally... even if I had to wait six months.
If you've never watched gameplay of Psylocke, just think slinky female ninja dressed in purple capable of making various energy things. And, as mentioned, the prototype pictures show cased that very well. So, how did it do?
Well, let's start from the top.
Psylocke comes with the figure, two face plates (one neutral, one smiling), a sheathed katana, an empty sheath, twin katanas, twin energy katanas, twin Psyblades, 4 sets of hands, a detachable sash, and a dynamic stand with both a peg connector, along with a clamp that I guess would give you a bit more height with your aerial stuff but I never actually used it. I personally would have like an additional angry/attacking face plate because as it is, she's a bit too serene looking.
Also kind of neat is that on the cardboard insert (and side flaps of the box) are full colour prints of I guess what comic art inspired this particular design.
The Revoltech joint system is a bit different from the Figma and Figuart systems.. at least I guess they are, and at the very least this one is.
Articulation is very, very, very good. I cannot emphasize how much you can get this figure to do despite it's small size. The trade off is that some of the joints look really weird when not positioned properly, specifically the shoulders and knees, which are double or triple joints depending on which one we're talking about. Whomever designed the tray for holding Psylocke really didn't do the figure any favours to say the least. However, the amount of knee bend and chest press that this figure more than overshadows this first impression issue, and that range or movement is something you want for a figure like Psylocke.
In addition to the aforementioned, all your standard points of articulation are present. Bonus ones include a toe swivel, articulation for her sash, thigh swivel, independent neck and head articulation, and hair that can be lifted to all for greater neck movement, with the latter head/neck related items allowing for some great crouching poses.
Sadly, while her shoulders worked out just fine despite their wonky appearance, her ass suffers from the dreaded "thigh separation" scenario where the movement of the legs creates an unsightly gap where the thigh meets the back of the body, particularly notable given that she doesn't wear pants. But, again, at least the trade off is great articulation.
Psylocke I guess would technically be the action figure (or at least middle of the pack Japanese figure) equivalent of a Butterface release. To be fair, it is generally what was promised on the box, so I don't really have anyone to blame but myself for buying her if this was the key aspect that ruins the experience for me. Both the prototype and the final item feature the same round almost featureless face with the undersized nose.
No it's other things that serve not only as a topic of discussion, but also kind of give you a feeling as to why Figma and Figuarts are kind of priced the way they are.
Psylocke has an MSRP of about 6,000 Yen, which is about the price of your run of the mill Figuart, with Figma coming in closer to what.. 7,000 if not more these days? The releases are about the same size, but lets remember that Figuarts have no stand and very few accessories, and clearly Psylocke destroys any run of the mill Figuart figure in terms of value.
Part of the pricing on everything is of course the cut paid for the actual license, but it's not like a Marvel license is particularly cheap. So what else is there?
It pretty much comes down to paint.
If you look closely, you'll probably notice that Psylocke has no paint whatsoever on her fleshy bits. Not only does this look a bit meh, but it makes photographing her a major pain in the ass, especially if you're trying to bring out details.. like her nose and eye sockets. You'll notice that the paint masking on her leg bands isn't bad, but there are more weak spots than on its Figma and Figuarts competitors, especially if we're talking about figure with a relatively simple colour scheme. Some minor paint issues were also spotted on her neck piece, but those are primarily paint transfers. There were also some areas with paint overspray, but it wasn't anything bootleg bad, just something worth noting.
Her translucent purple hair is also a big seller for this figure. The overall final product is pretty good, but if you look closely (and in the instance of the back of her head, not even that close), you'll notice some very rough spots that I don't know were a QC issue or a design flaw. By comparison, nothing this was spotted on either KOS-MOS or T-ELOS, both of which are at least 7 years older than Psylocke.
For what it is worth, her effect parts are very well done, particularly her Psiblades with the gradient from cold to warm Purple. The quality of the stand itself is, from my analysis, more solid than a Figma stand, mostly due to a combination of better plastic, a thicker arm, and better designed joints. There were also no issues with regards to rough plastic finishes other than the aformentioned hair problems.
One other issue that I read about was the face plate itself. Some owners seem to be indicating that due to the way the face is mounted on the head (friction based, one slot, straight above the face) the figure arrived with the socket on the hair already worn out and wouldn't hold the face in place, or would be in danger of doing so in the future. I didn't have that issue on mine, but I do understand where they're coming from with these statements.
I should probably also mention the eyes. Those who are familiar with the Hot Toys world will know the term PERS, which is their fancy term for eyes that can be moved on the sculpts to facilitate an even greater amount of posing. Amazingly this figure also features eyeballs that can be moved, though it's not as complicated as the PERS system. This is actually pretty neat given the size of the eyeballs, though you might want to ditch the included white pick in favour of a tiny screw driver or something to move the eyes as I believe the 90 degree bend actually makes it harder to manipulate the eyes into the right direction.
In the end, a very good release, and probably the best Psylocke action figure I've ever seen.. of course, the only others I have seen are the Marvel Legends one which again, aren't bad given the price. Those looking for a more legit comic sculpt need not apply here, naturally.
But there is no doubt that this is a sharp looking figure, and for the price it comes with quite a few goodies. It just lacks that final bit of spit polish that would push it from being very good to being outstanding. Still, if you like your ninjas purple and slinky, you can't go wrong.