![]() ![]() ![]() See the keyboard settings, Terrain Editor tab (not sure if these are defaults or if I customised them): Add Metal Spot: m Remove Metal Spot: b Add Landing Zone: g Remove Landing Zone: j Even the coolest planets people have made are still limited by the editor, and maybe it will always be a limiter, but I really want to better than it is now. ![]() I want to be able to make cool planets that add twists to the game. Maybe I'm just bad at it, but other people I've talked to have had trouble too. Overall I just want the System Editor to be useful for more than just placing and changing the size of planets. I want the north and south to be the same, and the dividing line in the equator, or something along those lines. Right now, the planets are symmetrical only in 1 way, and it just kinda smashes it together. I can see how it would affect to metal/landing/CSG but you have to start completely over. It's really weird how once you transition to "advanced edit" mode on a planet, you can't go back. You can only grow, shrink rotate, and move up and down, but not across the planet, which makes it harder for fine tuning. It would make placing them so much easier.īeing able to move CSG elements. Same as the landing zoneīe able to select multiple or groups of CSG elements. You can edit CSG but it is hard to control and place. As of now, you just randomly generate seeds and hope it looks OK. I can drag and plop in planets fine, but I can't do anything on a smaller scale, like making a planet that's equally symmetrical.īasically, here are the things I would like in the editor:Ībility to edit actual terrain. I claim that the concept of national cinema is a fictional construct precariously built upon the denial of the regional cinematic sphere.I am just at my wit's end with the System Editor. By unveiling these cinematic links, the previously unquestioned history of quintessential national cinema is reassessed. It is a new attempt to reconstruct East Asian film history. agencies helped to initiate the first postwar inter-Asian film studio network. While providing financial aids to film industries and supporting the cultural elite, U.S. I argue that the emergence of these motion picture studios was the offspring of the Cold War and American hegemony. More specifically, my aim is to elucidate the extent to which postwar film studios aspired to rationalize and industrialize the system of mass-production by way of co-producing, expanding the market, and co-hosting film festivals. This dissertation explores the ways in which postwar East Asian cinema was shaped by the practice of transnational collaborations and competitions between newly independent and still existing colonial states at the height of Cold War cultural politics. Rather than placing the onus of bearing meaning (in the sense of national identity as it is mediated by cinema) on woman - whether she is icon, archetype, or star, the article argues that Irma Vep places this onus on the male Français de souche (Franco French) director, and that the film is less about remaking the past than it is about acknowledging the present, specifically the effects of emerging global orders on France and other first-world film industries. This article addresses the implications of the direction to ‘play’ oneself by focusing on a nexus of three overlapping problematic issues: Irma Vep and Musidora as national icon, classical female actors as cinematic archetypes, and Cheung as a transnational star. New-wave director René Vidal (Jean-Pierre Léaud) asks his star Maggie (Maggie Cheung) to keep her performance simple, not to act so much as to be herself, echoing Assayas's own direction that Cheung ‘just play herself’ in his film. #Unable to use shadowplay on planetary annihilation titan serialThe film's comedy pivots on the casting of a Hong Kong star in the lead role in a highly disunified remake of Louis Feuillade's silent serial Les Vampires (1915–1916), which had just been restored and released on video in tandem with the 1995 centenary of French cinema. Olivier Assayas's 1996 film Irma Vep is a comedy about French filmmaking in an era when first-world conceptions of ‘film auteurs’ and ‘national cinemas’ had long since been destabilized by the complexities of postcolonial nationalisms, television coproductions, and unprecedented global flows of people and capital. ![]()
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