![]() It’s a bit heinous to see that on a remaster. I should lastly mention the price you’ve got to spend $50 to buy this game on the Switch. Playing it handheld is such a hassle due to resolution scaling and overall blurriness ![]() This overall does make high-speed racing pretty difficult since you might find that (for example) you can barely make out whether it’s a median strip or small car ahead, and may accidentally take out an innocent driver in the process. Not only that, but entrances to shortcuts can look like smudges, even if they’re ahead of you, so you’ll just have to rely on the on-screen navigator. For example, if you were using a high-speed vehicle in a race, you immediately notice that traffic signs are very hard to read, which can make finding your way a little difficult. ![]() However, I suppose the reason for that is the resolution scaling drops down at high speeds to prevent grievances like that, which can make it even more blurry. In terms of other areas, I found no issue with the frame rate, which was a pleasant surprise given that it’s an open world, high-speed racing game on a system like the Switch. It does need to be said that in its undock variant the game looks very blurry, which can make it pretty hard to read the onscreen text or tell where you are on the minimap. Of course, graphics aren’t the reason to buy a Switch, but for its handheld capability. On those systems, you’ll definitely see graphical improvements, but as is Switch fashion it doesn’t look that fantastic. It is important to note that even though we finally got the remastered edition on the Nintendo Switch, it has been released for PC, PS4, and Xbox One for a while now. Turtle Beach VelocityOne Flightdeck HOTAS review - The sky is not the limit, it’s just the beginning The idea was to learn the roads since you decided the route to win your race (and sure, you get given directions on where to go, but half the fun was picking your own route). You were encouraged to drive through the streets of Paradise City at insane speeds, build up your boost meter by driving recklessly (i.e wrong side of the road, too close to people, ramming other racers off the road), crash through billboards, and explore every shortcut and corner of the map. Paradise was the pinnacle of the series and fully incorporated what the other Burnout games had utilised. But, even those don’t quite hit the same way Burnout Paradise (and the series as a whole) does since nothing beats creating huge car accidents and having total disregard for the other racers (I know NFS Payback has that mechanic, but I never felt it was quite as good). Nowadays, you’ve got plenty of other games that are of the same genre, like Need For Speed Payback, Forza Horizon 4, and The Crew games. Paradise is a fan favorite, where we first got the opportunity in the Burnout series to enjoy free roam, open-world driving. Let me run a short refresher of the game for those new to the Burnout series (completely understandable, since we haven’t had a new one since 2011’s Burnout Crash!). Even if I didn’t drop as many hours into this one as I did the others in the series, I still felt that wave of nostalgia flood over me. The Burnout series is a relic in time a time when you’d just get home from school, skip the homework, and just race fast cars, force everyone else off the road and break every possible driving law until you get called for dinner. I kind of forgot this one existed since I didn’t play it nearly as much as I did Burnout 2: Point of Impact or Burnout 3: Takedown. Boot up your Nintendo Switch, load Burnout Paradise, and hear that title screen song nothing quite beats hearing Guns N Roses’ Paradise City once more.
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![]() This is a classic example of the general human tendency of underestimating how important the social situation really is in determining behavior. One way that our attributions may be biased is that we are often too quick to attribute the behavior of other people to something personal about them rather than to something about their situation. Let’s consider some of the ways that our attributions may go awry. In fact, causal attributions, including those relating to success and failure, are subject to the same types of biases that any other types of social judgments are. ![]() However, although people are often reasonably accurate in their attributions-we could say, perhaps, that they are “good enough” (Fiske, 2003)-they are far from perfect. Because successful navigation of the social world is based on being accurate, we can expect that our attributional skills will be pretty good. In relation to our preceding discussion of attributions for success and failure, if we can determine why we did poorly on a test, we can try to prepare differently so we do better on the next one. We have seen that person perception is useful in helping us successfully interact with others.
The heavens declare the glory of God, and the expanse proclaims the work of his hands.įor the choir director. The heavens are telling of the glory of God And the expanse is declaring the work of His hands.įor the choir director. The heavens are telling of the glory of God And the expanse is declaring the work of His hands. The heavens are telling of the glory of God And their expanse is declaring the work of His hands.įor the choir director. The heavens are telling of the glory of God And their expanse is declaring the work of His hands. The heavens tell of the glory of God And their expanse declares the work of His hands.įor the choir director. The heavens declare the glory of God And the firmament shows His handiwork.įor the music director. The heavens declare the glory of God and the firmament sheweth his handywork. The heavens declare the glory of God the skies proclaim the work of His hands. The heavens declare the glory of God, and the sky above proclaims his handiwork.įor the choirmaster. The heavens declare the glory of God the skies proclaim the work of his hands. With a PS4 and PS5 version with PSVR support coming in the future.For the director of music. Andrewįirmament is out now on PC storefronts. Firmament Walkthrough Part 5: First Spire St.Firmament Walkthrough Part 4: Third Upgrade.Firmament Walkthrough Part 3: Second Upgrade.Firmament Walkthrough Part 2: First Upgrade.Firmament Walkthrough Part 1: Waking Up.We hope that you find this information useful to you in some shape or form.Ĭheck out our full line up of Firmament guides: The Swan is a hub world, and while the Mentor has a few comments here and there, it isn’t a place of importance until the end of the game.Īnd that’s the end of the first part of our Firmament walkthrough. Please note that we will not be covering the Swan in this Walkthrough guide. The door will close and off we go to the Swan. There is only one destination active right now, and that is the Swan. Once inside you can select your destination within the realm. You’ll need to touch them for them to be part of your network. This is important because this is how you add more Conveyance Pods to the network. Socket into the sphere and it tells you you’re at the Curievale Bluff. More importantly, you can use it to return to the hub world – The Swan. ![]() This will allow you to fast travel between various points within the realm. Take in the sights and feel that cold mountain air.Ī little further down the path, you’ll find a large spherical Conveyance Pod. Use your Adjunct to activate it and watch the walls go down.Ĭongratulations, you are now out and into the world. The third and final Socket is located on top of the wall, close to the ceiling. You are going through a couple of more rooms to familiarize yourself with the tool. ![]()
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![]() Volleyball hand signals are our secret code on the court. If you enjoyed these tips and would like to keep it close to you at any time, just save this pin to your Pinterest Volleyball Training Board. Too high or too low. Too high signals will look odd and uncomfortable.If you're exaggerated or demonstrative, you may appear to be overbearing. Too casual or exaggerated. You don't want to appear disinterested in the match.The correct call would be "touch", not "touch" followed by "out". A good example would be a ball touched by a player and landing out of bounds on the same side of the net. This will also confuse people and make you look uncertain of your call. Double signaling. Don't show two different signals for the same fault.Always use the 1-2-3 method for your signal sequence. This is confusing for both players and coaches. Simultaneous volleyball hand signals. Don't blow the whistle and signal at the same time.Always blow the whistle first then look around for assistance. Worry about whether the ball was "in' or "out" later. Don't hold your whistle if you are unsure of the outcome. For example, as soon as you see the ball hit the floor, blow the whistle.Late whistle. Since the whistle is the first step in the signal sequence, make sure the whistle is blown immediately when a fault has been committed or when the ball hits the floor. ![]() Show the fault and if necessary, the player at fault hold the fault signal briefly.Ĭommon errors with volleyball hand signals.Award the point by indicating the next team to serve hold that signal briefly.Some signals require you to indicate the player at fault. Always use the hand or arm on the side of the team that committed the fault. Some volleyball hand signals require two hands When a signal requires only one hand, use the hand that corresponds to the side of the team at fault. As a second referee, you repeat that signal. The first referee will then confirm your decision, award a point and signal which team will serve next. First, use the hand signal that corresponds to the fault you whistled. As a second referee, the signal sequence is different. Second referee sequence As a second referee, there are specific faults to whistle. This signal shows the teams which team will serve next. As a first referee, when you see the ball is out of play or there is a fault, always whistle first. Whistle, award the point, signal the nature of the fault. Especially as a second referee you may want to increase the whistle tone to get attention when attention is elsewhere. ![]() Multiple quick whistles are commonly used to stop play for game interruptions such as an injury or errant ball on the court. For game interruptions such as a substitution or timeout, usually best to use a longer whistle tone. For common play-ending situations and faults, usually best to use a louder whistle. Use different tones and volumes for different situations. Be sure to use a good quality whistle that can be heard over the participant and spectator noise. The whistle should be blown with authority and should be loud and crisp. The whistle indicates you have something to communicate. The whistle stops the rally and draws attention to you. Whistle immediately when a fault has been identified, or the ball is otherwise out of play. Practice in front of a mirror and live match situations. ![]() This expertise will only occur with repetition. This may be something you need to experiment with senior referees in your area. You may need to adjust your signals to best fit your stature. QSV may require UEFI/BIOS configuration to enable it (in most cases you need to enable “Multi-Monitor” or “Internal Graphics” setting)You can try QSV if you have performance problems with x264.Due to the low quality of early iterations of QSV, Intel Core-i-CPU 4xxx (Haswell) or newer is recommended. Intel HD Graphics GPU on Intel Core-i-CPU 2xxx (Sandy Bridge) or newer. Available only on systems with processors that support Intel QSV. QSV aka Intel Quick Sync Video has medium quality and performance.Currently, all consumer-level hardware encoders are provided by certain GPUs, as listed below. They offer minimal performance impact in exchange for a reduction in quality at the same bitrates as NVENC or software ( x264) encoding using the default preset of veryfast. They can be a last resort if NVIDIA NVENC H.264 or software encoding ( x264) is not possible. Hardware encoders (except the NVIDIA NVENC H.264) are generally recommended for local recordings, but not streaming. This is why “veryfast” is recommended as the best balance between quality and performance. All other presets after 3rd have a big difference in performance but almost have not any difference in quality. “ultrafast” has the best performance and worst quality, and “placebo” has the worst performance(very high load of the processor) and best quality.īut in fact, only the first 3 are useful for streaming purposes and have a significant difference in quality. They are arranged in ascending order of quality and descending of performance, i.e. But keep in mind what x264 is the most processor-intensive encoder and you need a good processor to use x264 without lags in processor-intensive games. x264 is recommended to use for the best quality if NVIDIA NVENC H.264 is not available on your hardware.NVIDIA NVENC H.264 is the best encoder in terms of quality and performance (as of 2020).Twitch, YouTube, etc.)Įncoders and Quality Presets Recommended encoders: Setup of video and audio options which are meet the recommendations of your streaming platform (eg.Getting and entering of your credentials for streaming service (URL and Stream key).The process of OBS setup for streaming can be divided into two main stages: Intel GPU drivers are usually available from your motherboard manufacturer, but can also be found here.Please make sure to use the latest drivers for your GPU: YouTube (streaming guide about this platform coming soon).We also recommend you read tutorials with specific instructions for your live streaming video platform: This streaming guide is about general OBS settings. ![]() In this tutorial we’ll tell you about OBS settings and features, which are you need to know to perform your live streams. 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They are also used by the general public in household and community settings as perceived protection against both infectious diseases and particulate air pollution and to contain the wearer's exhaled virus laden droplets. Cloth face masks are only recommended for use by healthcare workers as a last resort if supplies of surgical masks and respirators are exhausted. In healthcare settings, they are used on sick patients as source control to reduce disease transmission through respiratory droplets, and by healthcare workers when surgical masks and respirators are unavailable. Like surgical masks, and unlike respirators, cloth face masks do not provide a seal around the face, and prior to the 2019 COVID-19 outbreak were generally not authorized by institutions for protection from sub-HEPA particle size (less than 0.3 um) Influenza Like Illness (ILI). Cloth face masks contrast with surgical masks and respirators such as N95 masks, which are made of nonwoven fabric formed through a melt blowing process, and are regulated for their effectiveness based upon efficiency of minimum particle size filtered and/or maximum penetrating particle (MPP) size, along with other criteria such as outer splash/spray protection, inner splash/spray absorption, contaminant accumulation and shedding, air flow, and inflammability. Prior to the COVID-19 pandemic, reusable cloth face masks were predominantly used by healthcare workers in developing countries and were especially prominent in Asia. Centers for Disease Control and Prevention on using and making cloth masks during the COVID-19 pandemic See also: Face masks during the COVID-19 pandemic Guidance from the U.S. Launderable cloth electret filters were also being developed. During the COVID-19 pandemic, their use in developed countries was revived due to shortages, as well as for environmental concerns and practicality. In the 1960s they fell out of use in the developed world in favor of disposable surgical masks with an electret (electrically charged) filter material, but cloth masks persisted in developing countries. They are used by the general public in household and community settings as protection against both infectious diseases and particulate air pollution.Ĭloth face masks were routinely used by healthcare workers starting from the late 19th century until the mid 20th century. Because they are less effective than N95 masks, surgical masks, or physical distancing in protecting the wearer against viruses, they are not considered to be personal protective equipment by public health agencies. When more effective masks are not available, and when physical distancing is impossible, cloth face masks are recommended by public health agencies for disease "source control" in epidemic situations to protect others from virus laden droplets in infected mask wearers' breath, coughs, and sneezes. ![]() A cloth face mask is a mask made of common textiles, usually cotton, worn over the mouth and nose. ![]() At the center of the documentary is Flawless Sabrina, the organizer of the pageant and a prominent figure in the early ball scene, an underground subculture of pageant-style competitions started by queer people of color. More than two decades before Jennie Livingston’s “Paris Is Burning” brought New York City drag balls to the masses, director Frank Simon profiled contestants in the 1967 Miss All-America Camp Beauty Pageant, which attracted the likes of Andy Warhol as a judge. Somehow, the cat-and-mouse romance makes for the film’s most progressive moment, when the noticeably unladylike Daphne - likely a result of Lemmon’s resistance to being coached onset by the high-wire performer and drag artist Barbette - contemplates whether the much older suitor may just be her prince charming. Jerry (Lemmon) then ends up with millionaire problems of his own, as one of the seaside resort’s male audience members begins courting the double bass player’s female persona, Daphne. Their plan starts to get more complicated when Joe (Curtis), or Josephine in drag, falls for the troupe’s glamorous lead singer, Sugar Kane (Monroe), and begins moonlighting as a fictional, emotionally stunted millionaire to win her heart. Snatched.In Billy Wilder’s “Some Like It Hot,” Tony Curtis and Jack Lemmon play opposite Marilyn Monroe as musicians who don drag to elude the mob and join an all-female band headed to Miami. The New York Times said of Milstead's '80s films: "Those who could get past the unremitting weirdness of Divine's performance discovered that the actor/actress had genuine talent, including a natural sense of comic timing and an uncanny gift for slapstick." He was also described as "one of the few truly radical and essential artists of the century… was an audacious symbol of man's quest for liberty and freedom." Since his death, Divine has remained a cult figure, particularly with those in the LGBT community.ĭisclosure as Edna Turnblad (archive footage)īEAT. In the 1970s, Milstead made the transition to theater and appeared in a number of productions, including Women Behind Bars and The Neon Woman, while continuing to star in such films as Polyester, Lust in the Dust and Hairspray. ![]() These films have since become cult classics. ![]() Concurrent with his acting career, he also had a successful career as a disco singer during the 1980s, at one point being described as "the most successful and in-demand disco performer in the world."īorn in Baltimore, Maryland, into a conservative, wealthy middle class family, he became involved with John Waters and his acting troupe, the Dreamlanders, in the mid-1960s and starred in a number of Waters's early films such as Mondo Trasho, Multiple Maniacs, Pink Flamingos and Female Trouble. He was often associated with independent filmmaker John Waters and starred in ten of Waters's films, usually in a leading role. Even so, he considered himself to be a character actor and performed male roles in a number of his later films. Described by People magazine as the "Drag Queen of the Century", Divine often performed female roles in both cinema and theater and also appeared in women's clothing in musical performances. ![]() Divine (19 October 1945 – 7 March 1988), né Harris Glenn Milstead, was an American actor, singer and drag queen. ![]() Spectrum disorder frequently co-occur to make comorbid diagnoses of autism spec. Opmental disorder) or global developmental delay. These disturbances are not better explained by intellectual disability (intellectual devel. Symptoms cause clinically significant impairment in social, occupational, or other important areas of current functioning.ġ2. Symptoms must be present in the early developmental period (but may not becomeįully manifest until social demands exceed limited capacities, or may be masked byġ1. Visual fascination with lights or movement).ġ0. Sponse to specific sounds or textures, excessive smelling or touching of objects, The environment (e.g., apparent indifference to pain/temperature, adverse re. Hyper- or hyporeactivity to sensory input or unusual interest in sensory aspects of Strong attachment to or preoccupation with unusual objects, excessively circum-ĩ. Highly restricted, fixated interests that are abnormal in intensity or focus (e.g., With transitions, rigid thinking patterns, greeting rituals, need to take same route orĨ. ![]() Verbal or nonverbal behavior (e.g., extreme distress at small changes, difficulties Insistence on sameness, inflexible adherence to routines, or ritualized patterns of Motor stereotypies, lining up toys or flipping objects, echolalia, idiosyncraticħ. ![]() Stereotyped or repetitive motor movements, use of objects, or speech (e.g., simple Least two of the following, currently or by historyĦ. Restricted, repetitive patterns of behavior, interests, or activities, as manifested by at In sharing imaginative play or in making friends to absence of interest in peers.ĥ. Deficits in developing, maintaining, and understanding relationships, ranging, for ex-Īmple, from difficulties adjusting behavior to suit various social contexts to difficulties Gestures to a total lack of facial expressions and nonverbal communication.Ĥ. Malities in eye contact and body language or deficits in understanding and use of Deficits in nonverbal communicative behaviors used for social interaction, ranging,įor example, from poorly integrated verbal and nonverbal communication to abnor Interests, emotions, or affect to failure to initiate or respond to social interactions.ģ. Deficits in social-emotional reciprocity, ranging, for example, from abnormal socialĪpproach and failure of normal back-and-forth conversation to reduced sharing of Texts, as manifested by the following, currently or by history (examples are illustrative,Ģ. Persistent deficits in social communication and social interaction across multiple con. Global developmental delay, or another mental disorder.ġ. The symptoms are not attributable to another medical or neurological condition or to lowĪbilities in the domains of word structure and grammar, and are not better explained byĪutism spectrum disorder, intellectual disability (intellectual developmental disorder), The onset of the symptoms is in the early developmental period (but deficits may notīecome fully manifest until social communication demands exceed limited capacities).Ĩ. Tion, social relationships, academic achievement, or occupational performance, indi-ħ. The deficits result in functional limitations in effective communication, social participa. Multiple meanings that depend on the context for interpretation).Ħ. Nonliteral or ambiguous meanings of language (e.g., idioms, humor, metaphors, Difficulties understanding what is not explicitly stated (e.g., making inferences) and Nonverbal signals to regulate interaction.ĥ. Difficulties following rules for conversation and storytelling, such as taking turns inĬonversation, rephrasing when misunderstood, and knowing how to use verbal and Ing differently to a child than to an adult, and avoiding use of overly formal language.Ĥ. ![]() The listener, such as speaking differently in a classroom than on a playground, talk. Impairment of the ability to change communication to match context or the needs of Information, in a manner that is appropriate for the social context.ģ. Deficits in using communication for social purposes, such as greeting and sharing Persistent difficulties in the social use of verbal and nonverbal communication as manifested by all.Ģ. |
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