![]() For example, the ball lightning melee will strike three times, while the chain lightning melee will strike more targets. While Amplified, various Warlock abilities change in functionality. However, Warlocks have an additional interaction with the Amplified buff when compared to other classes. The second is a chain lightning ability, which will create a web of lightning that zaps enemies. The first is a ball of lightning they can fire at enemy targets. Warlocks will also maintain their two separate Arc melee attacks. Warlocks are changing the least with Arc 3.0.Ĭhaos Reach and Stormtrance are both back, although the latter will be a combination of the Landfall and teleportation trees. Melee attacking a Jolted enemy also Blinds them. Lethal Current also enhances your Arc Staff Super, causing it to hit twice.
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If a Robot is sapped using the Red-Tape Recorder, the Red-Tape Recorder appears invisible.The Red-Tape Recorder does not glow when crit boosted.Removing the Red-Tape Recorder from built Dispensers or Teleporters immediately reactivates them, while they play their re-constructing animations.If the Red-Tape Recorder is placed on and removed from a building that is still under construction, it deals some damage to the building, making a contradiction of its description.If a Teleporter Entrance is sapped by the Red-Tape Recorder, and the Red-Tape Recorder is removed in-between upgrade animations, the arrow pointing to the Exit Teleporter is removed.If a sapped building does not start with full health or is damaged during the deconstruction process, it reaches 0 health before the deconstruction animation completes, which interrupts the animation and "snaps" it into the toolbox state. ![]() The Color of a Gentlemann's Business Pants Mouseover cells to preview the images on a dark background. The Red-Tape Recorder is set up for paint to be applied, but the ability to do so is disabled. Fixed the OnDestroyed output not getting fired when an object is destroyed by the Red-Tape Recorder.Converted the Red-Tape Recorder models to use the c_models system.shooting a Sentry the Spy sapped with a Revolver is now more effective). Decreased the damage penalty on Sentry Guns sapped by the Spy from -66% to -33% (i.e.Fixed an exploit with the Red-Tape Recorder and Sentry where the Sentry could build up a large amount of health.The Red-Tape Recorder no longer clears metal from Dispensers upon downgrade.Fixed buildings destroyed by the Red-Tape Recorder not always displaying a death notice.Fixed a bug where Dispensers sapped by a Red-Tape Recorder would continue to heal players.Fixed the Spy not holding Sappers correctly in third person.Fixed buildings not always being downgraded at the same rate by the Red-Tape Recorder.Made the Red-Tape Recorder in Genuine quality tradable and giftable.Added the Red-Tape Recorder to the item drop system.Fixed the Homewrecker not destroying Red-Tape Recorder Sappers in one hit.Fixed building health compounding after being downgraded.Increased The Red-Tape Recorder’s downgrade speed from 1.6 seconds to 3.0 seconds.The Red-Tape Recorder was added to the game.Strange Cosmetic Part: Freezecam Taunt Appearances Strange Part: Robots Destroyed During Halloween Strange Part: Unusual-Wearing Player Kills Strange Part: Medics Killed That Have Full ÜberCharge Strange Part: Kills While Explosive Jumping Only the first statistic counts towards the strange rank. ![]() The Red-Tape Recorder was later contributed to the Steam Workshop, at Valve's request. This item was awarded in Genuine quality to players who pre-purchased Sleeping Dogs on Steam before August 14, 2012, or Augin Europe. This weapon functions the same way as the default Sapper against robots in Mann vs. Dispensers and Teleporters are unaffected by this. Sapped Sentry Guns take 33% less damage from the Spy who applied the Sapper, for example when shooting it with a Revolver. It may play either a high-pitched rewind sound, a slightly lower-pitched rewind sound, high-pitched gibberish, a short recording in Cantonese, or a short recording in English. The type of sound produced is randomized. The Red-Tape Recorder has five different sounds for when it is sapping a building. If a Dispenser starts deconstructing to below its level 1 state, it loses any Metal stored within it. Destroying the Recorder allows the building to reconstruct, but not restore any lost levels, unless the building is in the middle of an upgrade animation, which allows it to continue upgrading to the next level. As a result, this destroys the building and leaves the toolbox behind as a large ammo pickup with no Metal, instead of dropping gibs. Instead of damaging enemy buildings, the Red-Tape Recorder reverses the building process any applicable upgrade animations are played in reverse, followed by the building packing itself up into a toolbox. Translated into English, these characters can be closely translated as "Anti-Turret (Device)" or "Anti-Sentry (Device)". It is a reel-to-reel tape recorder with three Chinese characters ("反炮塔", fǎnpàotǎ) on the front printed on a frayed, white label. The Red-Tape Recorder is a community-created promotional building weapon for the Spy. ![]() Work on up to 100 artboards of varying sizes in one file - named, organized, and viewed the way you want.Įdit object characteristics directly in the Appearance panel, eliminating the need to open fill, stroke, or effects panels.ĭraw behind, disregarding stacking order. ![]() Use perspective grids to draw shapes and scenes in accurate 1-, 2-, or 3-point linear perspective and create the look of realistic depth and distance.įully control variable-width strokes, arrowheads, dashes, and art brush scaling along a path. Interact with gradients directly on your objects and control the transparency of individual colors in gradients and gradient meshes. Used by design professionals worldwide, Adobe® Illustrator® CS5 software provides precision and power with sophisticated drawing tools, expressive natural brushes, a host of time-savers, and integration with Adobe CS Live online services.* CS Live services are complimentary for a limited time.Įxplore new paths with the essential vector toolĬraft vector assets for use in any design project, from logos and branding to graphics for advertising, packaging, and environments.ĭesign graphics for banners, web pages, and interactive experiences, or lay out your entire website.Ĭreate original graphics and motion paths for animation, and design artwork for broadcast graphics, titles, station IDs, and bumpers.Ĭreate distinctive designs with precise shape-building tools, fluid and painterly brushes, and advanced path controls.ĭesign beautiful text for virtually any media with professional controls for paragraph and character styles, support for OpenType®, transparent effects, and more. 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Provided to YouTube by Universal Music GroupLaugh Now Cry Later Drake Lil DurkLaugh Now Cry Later 2020 OVO, under exclusive license to Republic Records.Laugh Now Cry Later song by famous Singer Drake. He had everyone dancing with the release of "Tootsie Slide" in April, and enlisted Justin Bieber for a hilarious music video for his DJ Khaled collab "Popstar" in September. Where do these niggas be at when they say they doin all this and all that. Drake's "Laugh Now, Cry Later" lyrics are actually so meaningful.Īnd while Drizzy is king of bringing the party vibes, sometimes, he comes through with a tear-jerker. "Laugh Now Cry Later" features features rapper Lil Durk, and the music video for the track snapped up lots of attention because it was shot at the Nike World Headquarters. ' Laugh Now Cry Later ' is a song by Canadian rapper Drake, featuring vocals from American rapper Lil Durk. General CommentThe track Laugh Now Cry Later serves as the first single off Drakes upcoming studio album titled Certified Lover Boy.The track is a hip hop song which features production from Rogét Chahayed, Yung Exclusive, Cardo & G. I'm like DaBaby, I'm not just a rapper, you play with me. ![]() Point at the ngga who act like a killer, but you only one from the 'net. Im like DaBaby, Im not just a rapper, you play with me, you gon get stretched Ooh-oh Bring Drake to the hood, surround Drake around Dracs Even though I got a case, Ima do what it take And I. With star-studded appearances from all-star athletes like Kevin Durant, Odell Beckham Jr., and Marshawn Lynch, it was truly the song of the summer and video for champions. We in Atlanta, I buy her a wig, she tellin' me Tae is the best. It was released through Republic Records and OVO Sound as a single on August 14, 2020. The two artists wrote the song alongside producers Cardo, Rogt Chahayed, G. It was released on Augand is the first collaboration between Drake and Lil Durk. 'Cause we do not listen to rats We in Atlanta, I buy her a wig, she tellin' me Tae is the best Point at that nigga who act like a killer But you only one from the 'net I'm like DaBaby, I'm not just a rapper You play with me, you gon' get stretched Ooh-oh Bring Drake to the hood Surround Drake around Dracs Even though I got a case I'ma do what it. But there was one lyric from the song that especially had fans talking. Lil Durk Drake will 'Laugh Now Cry Later' with Lil Durk, according to their joint hit, which serves as the lead. "I'm in the trenches, relax/Can you not play that lil' boy in the club? 'Cause we do not listen to rats," Durk rapped on Drake's song. Here Are the Lyrics to Drake’s ‘Laugh Now Cry Later,’ Feat. Many listeners believed the line was written about Tekashi 6ix9ine, though neither rapper has confirmed that claim. Despite the drama surrounding that line, Drizzy's "Laugh Now Cry Later" lyrics are a whole vibe, reminding the listener to live in the moment and save their worries for later. You can see the lyrics and video for yourself below. ' Laugh Now Cry Later ' is a song by Canadian rapper Drake featuring American rapper Lil Durk. The licensee will be responsible for obtaining all waivers, permissions or approvals from the WGA, DGA, SAG, AFTRA, and the American Federation of Musicians and will pay all re-use fees required by applicable collective bargaining agreements or individual agreements or as otherwise required by law. Notwithstanding the foregoing, the license will require the licensee to indemnify Disney, its agents, employees, representatives, affiliates, parent and subsidiary corporations, and to hold Disney harmless from any and all loss, cost, damage, liability and expense, including attorneys’ fees arising out of any claim whatsoever, in connection with the licensee’s use of the licensed content. Ph: (818) Library (Still Images – Archive)Ĭoordinator, Photography Licensing & Libraryįx: you license a film clip, still image, sound bite, screenplay excerpt, thematic element, or poster, our license will cover use of the licensed content for the media, term, and territory to which both parties have agreed, for a negotiated fee. We also represent other collections like British Movietone News. Our archive includes all of the B-Roll shot by ABC NEWS dating back to 1964. 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![]() Give the crack to the kids who the hell cares Pull the trigger kill a nigga he’s a hero My stomach hurts so I’m lookin’ for a purse to snatch ![]() I’m tired of bein’ poor and even worse I’m black Is life worth living should I blast myself? ![]() I see no changes wake up in the morning and I ask myself Still, the misery and inequity (“Take the evil out the people, they’ll be acting right / ‘Cause both black and white is smoking crack tonight” and “It ain’t a secret, don’t conceal the fact / The penitentiary’s packed and it’s filled with blacks) lyrically represented in “Changes” signaled awareness, even as it signaled a discouraging reality. It was entirely about the problematic conditions that could lead someone like Shakur – a targeted black man in “post-racial America” – to consider committing such an act. Then there’s “Changes,” built atop a depressive anger that Shakur never shied from touching: “I see no changes, wake up in the morning and I ask myself / Is life worth living, should I blast myself?” Manifestly, the 1998 track wasn’t really about suicide. Moreover, the denouement of “Neighbors” (Cops bust in with the army guns / No evidence of the harm we done) censures the foolishness of both a notional “post-racial society” and racial profiling through narrative humor. All three cuts have ironically become anthems of hope or humor – especially “Alright,” which, despite its canonical role as a serious review of police brutality and communal black solidarity, rouses a crowd of smiling faces like no other. In this way, Shakur’s track is not dissimilar to its politically charged successors like Kendrick Lamar’s “Alright” or, more recently (and perhaps subtly), “Neighbors” by J. Today, Tupac Shakur’s posthumous single “Changes,” featuring Talent (via Death Row in 1998), should be observed as one of hip-hop’s most successful political statements, not because it’s especially radical in its words on police brutality, drugs and gang violence, but because the track was, from music to lyrics, accessible to those who needed it – people unconcerned with the politics challenged by unapologetic MCs.Ĭonsider “Changes” as late-20th century memorabilia, the variety that sparks dramatized car sing-a-longs or kid recollections of cleaning the house on a Saturday morning, yearning to enjoy the sun’s warmth outside. Posing as an even larger threat were conscious raps with cleaner pop hooks – these were the tracks given airtime on mainstream radio, reaching the masses without (too many) bars falling victim to censorship. All the while, the video was capable of prompting nostalgia within those who experienced American society while racist politics faced a growing threat: hip-hop that told people to fuck the police and fight the power, courtesy of acts like N.W.A and Public Enemy. The War on Drugs is very alive and even more underdiscussed regardless of what any convoluted, regressive thinker insists, Jay Z’s arresting critique is necessary and relevant.Īlthough, one shouldn’t expect anything less than well-versed street smarts from a crack dealer-turned-bestselling rapper-slash-multimillionaire – indeed, for the delivery of this message, Jay Z was the perfect man. In a quick three minutes and 58 seconds, Jay Z’s script dismantled the United States’ prohibition campaign from its conception during the Nixon administration to the systemically oppressive role it continues assuming half a century later. The clip was called “The War on Drugs Is an Epic Fail,” and that kind of title was explicit enough for everyone to grasp the entertainment mogul’s general argument, whether they knew anything about drug war or not. Late last year, the New York Times published an op-ed short film written and narrated by Jay Z. ![]() Relate to agents that can talk and act successfully. We analyze the ingredients necessary for successful grounding in this setting, and how each of these factors (and their previous actions) present within it allows better predictions of agent behavior and dialogue. Including location descriptions and the objects (and affordances of those objects) and characters In particular, we show that ground-ing on the details of the local environment, We show that in addition to using past dialogue, these models are able to effectively use the state given by the Training state-of-the-art generative and retrieval models in this setting. In it, agents can both perceive, emote and act whilst conductingĭialogue with other agents models and humans can both act as characters within the game. We introduce a large-scale crowdsourced text adventure game as a research platform for studying grounded dialogue. That can both talk and act, interacting either with other models or with humans. The LIGHT project is a large-scale fantasy text adventure game research platform for training agents We rely on reader donations to keep the magazine and site going, and would like to keep the site paywall free, but WE NEED YOUR FINANCIAL SUPPORT to continue quality coverage of the science fiction and fantasy field.LIGHT Learning in Interactive Games with Humans and Text While you are here, please take a moment to support Locus with a one-time or recurring donation. ![]() This review and more like it in the October 2018 issue of Locus. Lovers of fantastic art and its antecedents will enjoy all the eye candy on view. If this book leads readers to search out other reproductions and connections, it will have done its job. The wealth of artwork and information here must be applauded. Among the many titles: The Art of Decadence: European Fantasy Art of the Fin-de-Siecle, Avant-Garde Graphics in Russia, The World of Mucha, and William Morris: Father of Modern Design and Pattern. The Japanese text appears on colorful pages filled with steampunk motifs, with the English translation set at the bottom of the page in a smaller typeface.Įditor Hiroshi Unno has helmed many retrospective art books for PIE International featuring artwork from 19th- and early 20th-century artists. The engravings, illustrations, paintings, comic strips, and book covers are reproduced here to good effect, although some of the elaborate gold-bedecked covers for the works of Jules Verne produced by the publisher Hetzel in the early years of the 20th-century misfire. This crammed-full collection links modern fantastic art to ancestors in the 19th-century schools of Romanticism, Pre-Raphaelite, Art Nouveau, and the early 20th-century movements of Art Deco, Comics Art, and popular illustration. Turner, Arthur Rackham, Albert Robida, and J.J. Among them are Gustave Dore, Honore Daumier, Gustave Courbet, Ilya Repin, Caspar David Friedrich, Eugène Delacroix, William Heath Robinson, Richard Dadd, Winsor McCay, Charles Robinson, Théodore Géricault, William Blake, J.M. However, most of the art is accessible and fascinating in its variety.įine artists mix with illustrators and genre artists. “Turner’s Rain, Steam and Speed: The Great Western Railway” suffers from being split across two pages. Another problem emerges with two-page spreads: J.M.W. Despite the matte paper, the color reproduction is excellent for the most part, and most of the out-of-copyright art is featured at good size, although some of the details suffer in images such as “Little Nemo in Slumberland”. The unusual format – softcover with dust jacket presentation – is standard for this Japanese publisher and does not diminish the book’s good-to-excellent production values. It is also, for a softcover book, a bit pricey at $49.95. ![]() At 360 pages, this book is jam-packed with artwork. At the very least, you’ll want to make a list of some of the artists featured here to investigate further. It’s a pleasure to flip through, dip into, and use for inspiration. The Art of Fantasy, Sci-Fi and Steampunk is a delightful book crammed full of beautiful images and surprising artistic connections that will take you on an art history journey through the precursors of fantasy, sci-fi, and steampunk art. |
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