#explore globe with e2e travel | Explore Tumblr Posts and Blogs

Visit Blog

Explore Tumblr blogs with no restrictions, modern design and the best experience.

Fun Fact

Tumblr.com is the 103rd most visited website in the world.

#explore globe with e2e travel

e2etravelandtour · 1 year

Video

Life in kalash مسکرائیے! دنیا کے سارے غم آپ کی ملکیت تھوڑی ہیں..😂 Contact us Right Now for checking such amazing point and explore the globe with 𝐄𝟐𝐄 𝐓𝐫𝐚𝐯𝐞𝐥 𝐀𝐧𝐝 𝐓𝐨𝐮𝐫.

#e2e #e2e travel and tour #e2etravel #e2e travel & tour #explore globe with e2e travel #e2e travel #e2e travel tour #kalash #kalash valley #kalash life #life in kalash

2 notes · View notes

entergamingxp · 4 years

Text

Mortal Engines-style game Last Oasis aims to solve the survival genre’s problems • Eurogamer.net

Remember the Mortal Engines film that came out a few years ago? Me neither, but something that could scratch that itch for massive roving machines is on its way, as Last Oasis is heading into early access this week – and I’ve had an early look via an online press demo.

First announced as part of the PC Gaming Show last year, Last Oasis is a post-apocalyptic MMO survival game with an enticing hook: you’re a nomad in a vast desert which can be traversed with rickety wooden walkers, sent out by society to collect resources and ensure humanity’s survival. The lore behind this explains that Earth’s rotation has stopped, meaning the planet is split into fiery desert and extreme cold, with a small sliver of hospitable land in the middle. As the sun moves, the nomads must also travel to avoid the burning rays. It’s a clever backstory, but is it enough to separate it from the crowd of other survival MMOs?

During the early stages, Last Oasis shares many of the mechanics you’d expect to see in survival games like Rust: harvesting wood, crafting better tools, and a tech tree that can be expanded with technology gathered from old wrecks and settlements. While ranged combat is an option on the walkers, we were also shown hand-to-hand melee, which aims to provide more depth than other survival games by tracking whether players click on the right or left-hand side of the screen, with melee hits corresponding to these in-game. As the same mechanic works for blocking, it means there’s some level of reflexive skill rather than just spamming – and a stamina bar means you’ll have to deploy your hits carefully.

Thankfully things get interesting quite early on – your first machine, an insect-style walker, doesn’t require too many materials and plays a key role in allowing you to explore the vast environment (and providing a valuable respawn point). Players load into hexagonal worlds called oases, which in turn connect to a bunch of others across the globe as part of a larger world map. To travel between these is quick, but requires water, a valuable resource which also powers the machines you use to climb over sand dunes and find more resources. Early-stage walkers can’t hold an awful lot of water, and therefore can’t take you very far, prompting players to search for ways to upgrade or swap their machines. You get the idea.

Donkey Crew plans on developing the game by adding more content, but also introducing temporary event maps such as Rupu dungeons which players will be able to explore for an hour. Rupu are the more basic monkey enemies, if you were wondering.

As all the tiles and servers are connected across the globe (allowing European and American players to intermingle, for instance) I was a little worried about potential latency problems, but Donkey Crew project lead Florian Hofreither assured me this wouldn’t be an issue.

“We don’t expect overly-large issues because we’ve been busy from day one making sure that performance is great,” he told me. “With all survival games out there, we’ve noticed that when lag comes in at crucial moments it’s just not a great experience. So we decided to cap our servers at 100 people per server, and doing our tests we’ve seen no issues.”

youtube

The walkers themselves are by far the most enticing aspect of Last Oasis: there’s something really satisfying about their movement, along with the clacking and groaning noises they produce. In total, there are 13 types of walker for players to choose from, some of which are better suited for certain tasks (such as attacking or moving cargo). All of them can be customised with extra parts at stationary trading posts – including slingshot cannons and darts, with options to power movement with either pedals or wings. The larger ones can provide useful shelter if attacking other players, or better stability and health for fighting massive monsters in hunting parties. Killing said creatures brings in some serious rewards – although you’ll have to put up with being shaken about, as unfortunately the big monster fight felt a little nauseating when watching the demo.

Here’s the big bug boi, called an Okkam, who caused all the trouble.

Rather promisingly, it seems the devs have gone to great efforts to dial back the sort of griefing that undermines other PvP survival games, while also maintaining some level of danger. Offline raiding isn’t an option, while player-clans are given incentives to protect players that come into their territory.

“The way it works is if you are on a region that is owned by a clan, then the clan will welcome you,” project lead Florian Hofreither said in response. “The reason is because a part of your resources goes to the clan as a passive income. However, that is only true if you stay alive – once you get murdered, the clan loses your bonus. It doesn’t affect you as a solo player, but the clan will try to make sure that as many players as possible stay alive on their territory. This is interesting because clans will never hunt in their own territory because they will damage themselves, and they would much rather hunt in the territory of enemy clans where they can damage them.”

If being an asshole really is your thing, however, there are still opportunities for you – a little like the way space is controlled in Eve Online, there are territories which are uncontrolled by clans where players can effectively become pirates and hunt other players without consequences. Well, unless that player has a bigger walker. But in theory, this means solo players should be able to avoid more hostile regions if they wish.

Overall, I’m still intrigued by the idea of roaming the wastes on the back of a crawling wooden structure (and the possibility of building a walker armada) – but I do have a couple of reservations. Namely, it’s difficult to see exactly how Last Oasis will work once handed over to a larger community, particularly as much of the game seems reliant on player-driven content. While we got a brief glimpse at the player-driven economy at a trading post, it’s hard to know exactly how this (or the endgame) will work out in practice until thousands of players get their hands on it. And although the devs emphasised it’s quick to travel and there are multiple biomes, I do wonder whether this game will end up feeling a little empty by virtue of being, well, a big old desert. Will there be enough to keep me entertained beyond constructing and driving my first few walkers? In any case, we’ll find out when Last Oasis enters Steam Early Access on 26th March, and as it develops over the coming years.

from EnterGamingXP https://entergamingxp.com/2020/03/mortal-engines-style-game-last-oasis-aims-to-solve-the-survival-genres-problems-%e2%80%a2-eurogamer-net/?utm_source=rss&utm_medium=rss&utm_campaign=mortal-engines-style-game-last-oasis-aims-to-solve-the-survival-genres-problems-%25e2%2580%25a2-eurogamer-net

0 notes

jaskaler-blog · 5 years

Text

11/12/18 - Research Proposal

My Object of Desire is a collection of Miniature Paintings from India. The British surgeon Thomas Holbein Hendley commissioned these paintings for his book “The Rulers of India and the Chiefs of Rajputana, 1550 to 1897”. They were given to the Oriental Museum by Hendley’s family in 1962. Rachel highlighted to me that they are grouped indiscriminately. The first set of miniature paintings are numbered DUROM.1962.251.a to DUROM.1962.251.j. Also included in my research are DUROM.1962.253.a - DUROM.1962.253.f. The next set are DUROM.1962.254.a, DUROM.1962.254.c (DUROM.1962.254.b does not exist). DUROM.1962.230 is a stand-alone miniature but not part of the book and of a Mughal emperor so whether or not it will be useful to my research is uncertain. The next set are DUROM.U208.A- DUROM.U208.D, DUROM.U208.E1, DUROM.U208.E2 (this is an ‘unidentified’ ink sketch on the back of a miniature painting), DUROM.U208.F - DUROM.U208.M. They appear to be grouped by region e.g. 1962.251 are rulers of the Birkaner State.

From the museum’s archives and some general research I have gathered that Dr Thomas Hendley first arrived in India in 1869. After developing an obsession for Indian art, he commissioned the book “The Rulers of India and the Chiefs of Rajputana, 1550 to 1897” which attempted to document previous and contemporary rulers of the then Rajputana area. These miniature paintings are the initial copies undertaken by Indian artists as they travelled the region. They range in size and shape but are generally oval. The 1962.251 series tend to be around 42mm wide and 53mm long, while the rest of the collection are slightly bigger and vary in size. The materials used are opaque water colour on paper. The purpose of these miniature paints is fascinating. They were copied again and thus further altered from their originals for Dr Hendley’s book, making them multifunctional. Their period (apart from the solitary Mughal emperor) is from 1850-1899.

My initial reaction to these discoveries was astonishment at the enormity of the task - India between 1550 – 1897 was a volatile country, with regions being drawn and redrawn and leaders succeeding as quickly as they were overthrown. Lands were united and divided in rapid succession. I also questioned the motives of Dr Hendley to wish to document and thus entrench the history of such a fluid region.

I went in to see Rachel with a few areas of interest but some concerns about each. My desire to study the miniature paintings originated from the object handling session where I was able to familiarise myself with them much more intimately. Rachel informed me that miniature portraits were supposed to be handled and not wall mounted. Through this handling I gained a new and true appreciation for them. I was able to hold them close to my eye and view previously concealed detail. From this point I was set on researching miniature paintings, but I was faced with a task of deciding from which period and region as they are an expansive art form.

My interest in Indian art is ubiquitous. It was heightened by attending the Empire of the Sikhs exhibition at SOAS over the summer. There was a focus on the regional rulers present before the arrival of the British, culminating in Maharaja Ranjit Singh. At this exhibition I saw my first ever miniature painting (though it was wall mounted). I was fascinated by the realisation that painting these portraits fractured religious boundaries. A painting of a Sikh maharaja had been painted by a Muslim artist using Hindu symbolism. This was captivating. As a result, when the subject of Indian miniatures arose in lectures my choice was clear. Furthermore, I was interested in discovering the motivations of Dr Hendley to consolidate the rulers of a region in this regimental way. The role of these paintings as guides for book illustrations was also a reason for my choice. After the initial lecture on the Westernisation of Eastern art, I recognised this transformation in the miniatures as they were placed into oval frames and different symbolism was adopted.

I met with Rachel at the Oriental Museum to assess the information already available on the paintings. It appeared from the online collection that there was a plethora of information, however, Rachel clarified that the information was mostly what was known of the objects at the time and only minimal research had been conducted on this specific series of miniature paintings since their arrival in 1962. Rachel gave me all the information that the museum has on these objects, approximately 30 pages of tables of descriptive information.

One discrepancy that was highlighted to me was the way the objects were catalogued. They are not all under a consistent numerical system. It may be that the portraits were divided up into groups, working from the book and then numbered differently. Hopefully once more information is known about the book the rational for this will be illuminated. Rachel informed me that little is known to the museum about the book. This peaked my interest and I am keen to follow this line of research and view a copy of the book.

I am keen to view an original copy of Dr Hendley’s book. This will this act as a valuable primary source to my research as I will be able to directly compare the miniature paintings in the Oriental Museum to their copies in the text. There are both 20th and 21st century copies of the text. A hard cover of the book was published in 2011 but is expensive to acquire. There is a copy of the book in the British Library which I will attempt to see over the Christmas holidays. An original from 1897 is also housed in the National Art library within the V&A. To gain some context of Dr Hendley’s book itself it would also be useful to read some articles in which it has been referenced. For example: ‘Sachdev, V. & Tillotson, G. Building Jaipur: The Making of an Indian City’. That a book of this time is still being used as a source could raise troubling questions as its reach and expertise is narrow, thus, understanding in which context it is referred to will be useful.

It would also be useful for me to comprehend the context and history of miniature paintings. For this studying Persian Miniatures through texts such as ‘Grabra, O. (1999), Mostly miniatures: An introduction to Persian Painting’ may be of use. It would also be useful for me to expand my knowledge of Indian art itself. For this, texts such as ‘Crill, R. (1990), Arts of India 1500-1900’ would be of use. Additionally, to explore the impact of empire on art: ‘King,C. & Dunbridge, N. (1999), Rabindranath Tagore: Making Modern Art in India before Independence’. ‘Mitter, P. (2001), Indian Art’ may also provide some relevant chapters. Finally, ‘Dimand, S. Persian and Indian Miniature Paintings’ is another article I will examine.

Comparing these miniatures with other Indian miniatures in the Oriental Museum’s collection such as ‘the Royal couple making love’ (DUROM.1976.291) would be a useful exercise. The varying use of colour and imagery would emphasise the functionality of this particular series of miniature paintings. This would illuminate the differences that are present in original, organic miniature paintings compared to those which were commissioned by foreigners.

I have contacted the V&A to be allocated a 90 minute session in which to observe the book. I have also enquired into whether there is anyone with expertise on the matter who could be of assistance while I am examining the object.

There are many avenues which my research may take. My initial interest lay in the concept of investigating an investigative piece. Whether this book which attempted to document regional rulers can be construed as art is an intriguing question and one that my research could undertake to answer. The book itself was attempting to document and discover, mirroring my current undertaking and the concept of illustrations as an art form is debated.

I could use these miniature paintings as a stepping stone to investigate the art form more expansively. Their scope is massive; differing culturally, thematically and chronologically. My interest in Mughal and Persian miniature painting would complement this path of research. The multitude of symbolism present in miniature paintings was highlighted to be both at the exhibition mentioned above and in lectures.

I am however keen to continue investigating Dr Hendley’s book itself. The motivations and desires behind its creation are fascinating when gleamed alongside the contemporaneous struggle for domination by the British Empire. I would be intrigued to research the scope of this book - are there others of its kind? How and why was it funded? Did it serve a purpose at the time beyond Dr Hendley’s fascination? The desire to understand and document the fluid and disorganised regional rulers of this foreign land is intriguing and indicative of a people who thought themselves superior.

Alternatively, my research could undertake a more artistic evaluation of the physical differences between the miniatures in the Oriental Museum, the paintings in the book and the originals (if any are known). Comparing these would raise numerous questions about how art evolves and transforms with the movement of people and goods. The evolution of the portraits and the shifts in colour and shape would provide a plethora of research options.

After the object handling session and the subsequent realisation that miniature paintings (in their frequent role as illustrations to text) are supposed to be handled, I wished to further investigate this concept. As art resurfaced across the globe, our interaction with it was also altered. Paintings in the west are most commonly wall hung. The intimate experience of handling the paintings and bringing them close to the eye is therefore lost – this is a concept I would be keen to research.

I could also use these miniatures to investigate the nature of the original paintings that these miniatures were painted from. The answer to the question is not known to the Oriental Museum and it is likely to have been a range of paintings. After consulting with Rachel I understand that they too would have likely been miniature paintings as this was the predominate art form of the time. Whether any of these survive is a tantalising question.

I will begin by viewing the book as this will help me to decide which of the above avenues of research I am most interested in. Hopefully, with the help of an expert in Indian miniature paintings or of India at this time I will gleam which avenue will provide me with the most expansive research opportunities.

0 notes

jimmiegoransson-blog · 6 years

Photo

New Post has been published on http://www.travel.boozted.com/2018/09/25/top-10-destinations-to-travel-for-2018-%e2%9c%85-best-travel-guides/

Top 10 Destinations To Travel For 2018 ✅ Best Travel Guides

youtube

– Top 10 Destinations To Travel For 2018. – On our beautiful blue planet, there are more than 57 million square miles of land to explore. If that number boggles your mind a bit, you’re not alone. With so many scenic, historic and culturally significant possibilities to choose from, it can be tough to narrow down the list of places to see before we reach the end of the road.

– If you’re looking for inspiration for some destinations with the most wow-factor, read on. Our world holds so many pleasant surprises around every corner. Here are ten guaranteed mesmerizing journeys to make the most of your days on this mortal coil. – Welcome to Travel Guides Channel. Where you’ll find inspiring travel guides and tips about destinations across the globe. We’ll be traveling around the world to help you find and plan the ultimate adventure.

– Click Subscribe and come travel with us! http://bit.ly/2MzkdtP

Visit our blog and follow Us on Social media: – Blogger: https://thebeststravelguides.blogspot.com/ – Twitter: http://bit.ly/2KEbC7d – G+: http://bit.ly/2no9OG6 – Facebook: http://bit.ly/2MfJX18 – Instagram: – Thank you for watching our Video #BEST#TRAVEL#GUIDES

#africa travel #asia travel #Best Travel Guides #booking #europe travel #flights #hotel #top 10 #top 10 destinations to travel #travel #travel guide #world travel guides #Travel &amp; Events

0 notes

therefractory · 7 years

Quote

We have to re-examine the idea that we enjoy an unfettered liberty to travel at will or for pleasure. We have to rethink the impulse that says that a holiday from work – or retirement from work – is an open sesame to exploring the world. We should learn from Henry David Thoreau that one can travel as much – and develop as much as a human being – in one’s own locality as in the far-flung and exotic corners of the globe.

Mass tourism is at a tipping point – but we’re all part of the problem | Martin Kettle

0 notes

e2etravelandtour · 1 year

Text