I like the flare effects, but it is a little difficult to tell from where on the model they emanate. It almost looks like they should be canceling each other out. What you would want, I believe, is for them to be offset around the center of gravity.
To me, they look like they're near the front. It looks to me that they should be opposing as they are, and position is being controlled by varying the ratio between the motors: IE turn one up and the other down. I think that would give better stability, I get the impression they are forward of the center of gravity by a good distance. Two motors controlling as opposed to four. I dunno, they look fine to me.
At the point the frame is taken Shes aiming the Navarro at the door so all the maneuver thusters are firing to stablize it. just not all at full power.
Perspective, folks. Perspective...
To me it looks like the flares comes from the front left corner (straight out) and back right corner of the craft (also straight out). Just what's needed for max. spin of the craft.
(A bit of whimsy on request. If you like, you may imagine it sung by Lynn to Jerry Reed's Westbound And Down.)
Westbound and down, plasma jets a-firin'.
Blastin' for home, don't want any delay!
We've got a long way to go, and I can't wait to get there.
We're westbound and glad to get away.
Gonna keep an open throttle, gonna let her go all out.
I'm primed to leave, of that there is no doubt.
Ain't got the nerve to take it lazy, 'cause the people here are crazy,
I still don't know what all this was about!
Westbound and down, plasma jets a-firin'.
Blastin' for home, don't want any delay!
We've got a long way to go, and I can't wait to get there.
We're westbound and glad to get away.
Westbound and down, plasma jets a-firin'.
Blastin' for home, don't want any delay!
We've got a long way to go, and I can't wait to get there.
We're westbound and glad to get away.
We're blasting out of Roma, and we're not goin' slow.
I've learned some things I didn't want to know.
Their prince was sick and he was kooky, their cops are awful spooky,
And life's cheap here no matter where you go.
Westbound and down, plasma jets a-firin'.
Blastin' for home, don't want any delay!
We've got a long way to go, and I can't wait to get there.
We're westbound and glad to get away.
Lynn showing off again, and Acantha isn't able to SEE it. Lynn is going to be so disappointed her 'sister' didn't get to enjoy it ("How's my ion cloud taste, shorty?!" :-D )
Hopefully, Lynn will get her chance. Once Acantha gets fixed up, and has a little time to recuperate a bit, Lynn can show her around New Troy. I wonder if they can sneak away from Noctis! (But then again, who says Noctis wouldn't be up for it?) :-D
I doubt Ada's taking her time in the Dart either, and she's got a neural interface for piloting, so actually her takeoff might've been much more precipitous.
I think Lynn is trying to shut TeeDee up. TeeDee is playing the meat doesn't know how to do work shtick and Lynn isn't putting up with it. You go girl.
now to be mean , " the evil duo " switch to Ada, Noctus, Acantha, an dart leaving,,, then to Julia an Mariko get to the door,, now Kyle and finally Mr. black an Connie ..
and poof they all exit at the same time...
BTW, I just wanted to say how awesome your set models are.
People don't generally get how much freakin' WORK it is to make realistic sets, and most render comics wind up with empty, utterly clean sets that don't seem like anybody actually uses these places or like anybody had to build 'em.
But your sets are just goddamn gorgeous, filled with details and greebles that the plot didn't demand, scuffed where they ought to be scuffed and dirty where they ought to be dirty and with the paint peeling where it ought to be peeling and they're better than most Hollywood productions. These sets are places people built, and people used, and where people live.
It probably buys you a lot of suspension-of-disbelief for the spots where your plot needs it, when the places where it takes place look so totally detailed and spot-on.
But suspension-of-disbelief aside, these are goddamn gorgeous and represent an ungodly amount of just plain detail-oriented patient work.
CentComm (Black as her heart is to her characters) does an AWESOME job bringing her images to life (before killing off her characters :-P). She works REALLY hard at it, and far too often we just take it for granted (she does it ALL the time, after all). So thank you Morituri for making me think about it again and realize just how much hard work CentComm (and Tokyo Rose too) put into making this comic one of the best on the web! :-)
Objection! Presumes facts not in evidence! ^_^ All we know for certain is that his computer avatar (or a cunning simulation) was speaking just after the Aeneas reboot and the hacking of the Apocalypse Node. (I agree, however, that his odds are good.)
Nice jet flares of the guidance rockets, CentComm.
'_F' not 'T'
Thank you.
To me it looks like the flares comes from the front left corner (straight out) and back right corner of the craft (also straight out). Just what's needed for max. spin of the craft.
Gil, what are you waiting for? (grin)
To our evil duo, as much as we love this strip, thank you for the light-hearted page! It somehow seems... right.
Westbound and down, plasma jets a-firin'.
Blastin' for home, don't want any delay!
We've got a long way to go, and I can't wait to get there.
We're westbound and glad to get away.
Gonna keep an open throttle, gonna let her go all out.
I'm primed to leave, of that there is no doubt.
Ain't got the nerve to take it lazy, 'cause the people here are crazy,
I still don't know what all this was about!
Westbound and down, plasma jets a-firin'.
Blastin' for home, don't want any delay!
We've got a long way to go, and I can't wait to get there.
We're westbound and glad to get away.
Westbound and down, plasma jets a-firin'.
Blastin' for home, don't want any delay!
We've got a long way to go, and I can't wait to get there.
We're westbound and glad to get away.
We're blasting out of Roma, and we're not goin' slow.
I've learned some things I didn't want to know.
Their prince was sick and he was kooky, their cops are awful spooky,
And life's cheap here no matter where you go.
Westbound and down, plasma jets a-firin'.
Blastin' for home, don't want any delay!
We've got a long way to go, and I can't wait to get there.
We're westbound and glad to get away.
Well done, Gil!
Okay, that . . . was pretty great! :-D
(I like the motion blur effects!)
...bang.. "ow" ...slam... "oof" ...(sharp angled turn) grab... "LYNN!!!"
"Damnfool hot roddin' kids."
@alt text: so true...
and poof they all exit at the same time...
People don't generally get how much freakin' WORK it is to make realistic sets, and most render comics wind up with empty, utterly clean sets that don't seem like anybody actually uses these places or like anybody had to build 'em.
But your sets are just goddamn gorgeous, filled with details and greebles that the plot didn't demand, scuffed where they ought to be scuffed and dirty where they ought to be dirty and with the paint peeling where it ought to be peeling and they're better than most Hollywood productions. These sets are places people built, and people used, and where people live.
It probably buys you a lot of suspension-of-disbelief for the spots where your plot needs it, when the places where it takes place look so totally detailed and spot-on.
But suspension-of-disbelief aside, these are goddamn gorgeous and represent an ungodly amount of just plain detail-oriented patient work.
Maxus: (Hmm... That exhaust nearly knocked me off my feet. My record still stands, though. Still un-de-feeted)