Spider Tank: One of the WORF M Plan weapons is a quadrupedal
The series started as a straight clone of Ace Combat, though one with somewhat more realistic leanings. City on the Water: The mega floats in Lethal Skies. Hyperspace Arsenal: Played straight in the PS1 installments. This is downplayed in MAX and Lethal Skies, as the planes can load up to 16 missiles maximum, and running out of them is a very real possibility during missions. On the other hand, Vulcan ammo is unlimited. Just Plane Wrong: The first game features the F 22 as a selectable plane, but it’s codenamed „Superstar“ and looks completely different from the real thing. Strange http://www.prism-dm.co.uk/blog/if-youre-wondering-what-the-latest-craze-is-all-about/, as Air Combat, released a year prior, features an accurately named and modeled F 22. Macross Missile Massacre: Lethal Skies introduce multi warhead missiles. Depending on how many targets the player is locked on, the warheads may either split among multiple targets or converge on a single one. Ocean Punk: The setting of Lethal Skies. Old School Dogfight: While Lethal Skies depict missile behaviours somewhat more accurately than other console flight games (missiles actually lead the target rather than tracking the exhaust), their range and power is greatly reduced to allow for traditional dogfights to be the focus. Spiritual Successor: The Uchuu Daisensou (released in Europe as Space War Attack), a flight based riff on the Earth Defense Force formula done using the Lethal Skies engine. Recycled Soundtrack: Lethal Skies 2 recycle several tracks from Sidewinder MAX and at least one from an unrelated flight game published by Asmik Ace, Super Air Diver. Spider Tank: One of the WORF M Plan weapons is a quadrupedal mech equipped with missile launchers and an artillery cannon.
Morphesis most often works serially on images and themes as varied as the Passion of Christ (influenced by his Eastern Orthodox heritage), nude torsos (inspired by Rembrandt and Soutine) and universal symbols of mortality such as skulls and roses. After a period of working abstractly, Morphesis turned to more specific religious iconography, encouraged by his Greek Orthodox upbringing in his native Philadelphia. He captures the Crucifixion through repeated images on panels layered with paint, charcoal, slabs of wood, fabric, cardboard, gold leaf, scrawled words and phrases, building the surfaces until the paintings appear as low reliefs. Morphesis’s paintings of the Passion are grounded in art history sharing aspects of the Velasquez Christ on the Cross and Giovanni Bellini’s Pieta but are made undeniably modern by his sensuous, textured surfaces.
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