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The Digital Museum of Digital Art is an artist led organization and platform for the display and exhibition of art in virtual reality. The Met collection of arms and armor is a modern one, formed through the activities and interests of curators, trustees, private collectors, and donors over the. Egypt's Sunken Cities. November 4, – April 14, Presented by. USBankWeb_Black · Tickets on sale now. Thank you, Kaywin Feldman. After 11 years.
By using Dilios' gift of storytelling, he was able to introduce fantasy elements into the film, explaining that "Dilios is a guy who knows how not to wreck a good story with truth. A scene during filming. Two months of pre-production were required to create hundreds of shields, spears, and swords, some of which were recycled from Troy and Alexander.
Creatures were designed by Jordu Schell and an animatronic wolf and thirteen animatronic horses were created. The actors trained alongside the stuntmen, and even Snyder joined in. Upwards of costumes were created for the film, as well as extensive prosthetics for various characters and the corpses of Persian soldiers.
Shaun Smith and Mark Rappaport worked hand in hand with Snyder in pre-production to design the look of the individual characters, and to produce the prosthetic makeup effects, props, weapons and dummy bodies required for the production. Butler said that while he did not feel constrained by Snyder's direction, fidelity to the comic imposed certain limitations on his performance.
Wenham said there were times when Snyder wanted to precisely capture iconic moments from the comic book, and other times when he gave actors freedom "to explore within the world and the confines that had been set. Visual effects supervisor Chris Watts and production designer Jim Bissell created a process dubbed "The Crush,"  which allowed the Meteor artists to manipulate the colors by increasing the contrast of light and dark. Certain sequences were desaturated and tinted to establish different moods.
Ghislain St-Pierre, who led the team of artists, described the effect: Bates said that the score had "a lot of weight and intensity in the low end of the percussion" that Snyder found agreeable to the film.
The heaviest borrowings are said to be from Elliot Goldenthal 's score for Titus. On August 3,Warner Bros. Pictures acknowledged in an official statement: Pictures has great respect for Elliot, our longtime collaborator, and is pleased to have amicably resolved this matter.
The official website was launched by Warner Bros. The "conceptual art" and Zack Snyder's production blog were the initial attractions of the site. In Januarythe studio launched a MySpace page for the film. A second trailer, which was attached to Apocalyptowas released in theaters on December 8, and online the day before.
Interactive Entertainment announced its intention to make a PlayStation Portable game, March to Glorybased on the film. Collision Studios worked with Warner Bros. On July 21,Warner Bros.
This new Blu-ray Disc is encased in a page Digibook and includes all the extras from the original release as well as some new ones. These features include a Picture-in-Picture feature entitled The Complete A Comprehensive Immersion, which enables the viewer to view the film in three different perspectives.
This release also includes a digital copy. TNT agreed to a three-year deal instead of the more typical five-year deal. The Meltdown for the biggest opening weekend in the month of March and for a Spring release. Jurassic Park but higher than Transformers. Once you make a great movie, word can spread very quickly. While it received a standing ovation at the public premiere,  it was panned at a press screening hours earlier, where many attendees left during the showing and those who remained booed at the end.
The site's critical consensus reads, "A simple-minded but visually exciting experience, full of blood, violence, and ready-made movie quotes. Scott of The New York Times describes as "about as violent as Apocalypto and twice as stupid," while criticizing its color scheme and suggesting that its plot includes racist undertones; Scott also poked fun at the buffed bodies of the actors portraying the Spartans, declaring that the Persian characters are "pioneers in the art of face-piercing", but that the Spartans had access to "superior health clubs and electrolysis facilities".
Comic Book Resources ' Mark Cronan found the film compelling, leaving him "with a feeling of power, from having been witness to something grand. The historical consensus, both among ancient chroniclers and current scholars, was that Thermopylae was a clear Greek defeat; the Persian invasion would be pushed back in later ground and naval battles. The Spartans' use of the narrow terrain, in those particular circumstances, is a military tactic known as " defeat in detail ".
Paul CartledgeProfessor of Greek History at Cambridge Universityadvised the filmmakers on the pronunciation of Greek names, and said they "made good use" of his published work on Sparta. He praises the film for its portrayal of "the Spartans' heroic code", and of "the key role played by women in backing up, indeed reinforcing, the male martial code of heroic honour", while expressing reservations about its "'West' goodies vs 'East' baddies polarization".
He suggests that the film's moral universe would have seemed "as bizarre to ancient Greeks as it does to modern historians". He remarks that SimonidesAeschylusand Herodotus viewed Thermopylae as a battle against "Eastern centralism and collective serfdom", which opposed "the idea of the free citizen of an autonomous polis ".
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Some passages from the Classical authors AeschylusDiodorusHerodotus and Plutarch are split over the movie to give it an authentic flavor. Aeschylus becomes a major source when the battle with the "monstrous human herd" of the Persians is narrated in the film. Diodorus' statement about Greek valor to preserve their liberty is inserted in the film, but his mention of Persian valor is omitted.
Herodotus' fanciful numbers are used to populate the Persian army, and Plutarch's discussion of Greek women, specifically Spartan women, is inserted wrongly in the dialogue between the " misogynist " Persian ambassador and the Spartan king. Classical sources are certainly used, but exactly in all the wrong places, or quite naively.
The Athenians were fighting a sea battle during this. It's about the romanticizing of the Spartan 'ideal', a process that began even in ancient times, was promoted by the Romans, and has survived over time while less and less resembling the actual historical Sparta. It's just in the visualization that it's crazy… I've shown this movie to world-class historians who have said it's amazing. They can't believe it's as accurate as it is. That's what I say when people say it's historically inaccurate".
He also describes the film's narrator, Dilios, as "a guy who knows how not to wreck a good story with truth". I took those chest plates and leather skirts off of them for a reason. They seemingly kill Sejanus and mourn Pollux, but celebrate as the Romans are driven from Athens. In the complex, they encounter an undead Sejanus, who has returned from Hades.
Egypt’s Sunken Cities
The Spartan kills Sejanus' priestesses, who were the source of his power, before killing Sejanus for good. The Spartan and Castor then continue to Rome and meet up with Electra, where they plan to assassinate Tiberius. The Spartan enters the Roman sewers and catacombs to infiltrate the city, while the others travel to the Colosseumwhere Tiberius is attending a gladiatorial contest. They plan to kill Tiberius by placing explosives under his platform.
After encountering and defeating the Minotaur in the sewers beneath Rome, The Spartan reaches the surface. However, the others are discovered and forced to detonate the bomb too early, missing Tiberius. The Spartan saves Electra and Castor from execution, and makes his way to Tiberius. However, Tiberius commits suicide out of fear of an unknown "master.
The handmaiden had revealed Ares' affair with Aphrodite to her husband, Hephaestus. Ares killed the handmaiden, but was banished by the other gods. Knowing Ares would want to kill the handmaiden's son out of spite, the gods decided to hide him among the humans.
He was thus left in Sparta as a baby and granted superhuman powers so as to protect himself should Ares ever locate him.
Unable to find the child, Ares manipulated Tiberius and orchestrated the Roman invasion of Greece, knowing the war would bring the child to the fore because of his abilities.
The death of The Spartan is the revenge which Ares seeks. Ares and The Spartan fight, with The Spartan killing the god. Our epic quest to stop Tiberius and the Roman Empire had ultimately drawn us to this moment. The Spartan had discovered his true identity, defeated the Empire, and battled a vengeful god to free his people. A warrior, a hero, a legend. Total Warrior is simply immense - nothing like this has been seen before on this technology.
We have warriors onscreen at once, all with full AI. We have no intrusive foggingno pop upand it runs at a smooth 60 fpswithpolys per frame in a kilometre-wide environment, all pre-rendered. The action is true many vs many - every enemy will hunt down and fight an ally, and vice versa.
This really is something else. However, the team quickly discovered that because of technical limitations, it was impossible to do a "true" Total War game on a console. In a interview with EurogamerCreative Assembly director Mike Simpson explained "we couldn't fit a Total War battlefield, with 10, guys, into any of the consoles. It just doesn't work. You can't fit a gallon into a pint pot, it doesn't go.
That's clearly been the main constraint. Designed by project lead Clive Gratton, the demo was created solely in order to determine whether it was possible for a console to handle hundreds of independently acting characters on-screen at once. The demo, which took six months to code, consisted of three-hundred Roman soldiers running over a hill with a castle in the background and the player character in the middle of the group. The demo ran at 60 fps and had a draw distance of meters, which was much deeper than Gratton had anticipated.
They wanted to use aspects of the Roman Empire they had ecountered in their research for Rome: Total Warbut hadn't used in the actual game. They then began to speculate as to who would be a good theoretical opponent for the Romans. Gratton was a fan of the mythology that has built up concerning the Battle of Thermopylaeand decided that the Spartans would be the perfect protagonists.
This also led the team into the realm of creating an ahistorical narrative, because " Thermopylae is a historical story which has almost crossed over into myth. Yes, there was an outnumbered battle there which helped save Greece from the Persiansbut the details have been lost.
Gratton explains; because of the success of the Total War brand, there are legions of fans who adore the historically accurate nature of those games - and we spent an amazing time in order to do that right.
But that led to pressure being exerted on Spartan's design. Some people were always going "That's not strictly historically accurate.
As if it's historically accurate, one man isn't going to kill tens of thousands of people by the time you've finished. That's not really a realistic premise for a game. The moment you make that decision that you can have myth and legend in a game, it frees you up to work out how you can do that in terms of gameplay.
According to Gratton, "a large chunk of this game is written in hand coded assembly language on the vector units. It's a miracle of technology! Gratton was also keen to point out that no middleware was used at any point during the production of the game, and that the technological innovations were all based upon gameplay decisions; not simply to be innovative for innovation's sake.
According to Gratton, after I'd sorted out the technical demo to make sure it actually could be done, I started researching combat using a sword against people. What makes that cool?
I'm into my third person slashers anyway, but I did some serious analysis into making every single hit with a weapon And giving you a buzz.
So I did a lot of work into the collision model - that is, the simplest, most fundamental underlying part of combat. I researched that, so you get a buzz every time you hit or kill someone. That's the core that underlies everything. If it's a duel against one person, even if they're weak, you get to choose. You smash them in the face, then give them a couple of stabs and then they're gone [ As the numbers dwindle, you're thinking of conserving your power-moves as there may be some rock-hard bastard around the corner or fifty people about to run out and attack you.
But there's loads of fun to be had with standard moves - not just dishing out masses of power moves - and having a fight against people. Even one person is a lot of fun. After you get into combat you see there's a lot of depth there, so if there's one grunt coming towards you, you might move back, so he misses, and you can kill him in one blow.
And you get a real pleasure.