![]() One of the major mechanisms of the stereotype embodiment is the reduction of perceived control, as older adults who feel more in control are able to offset the ‘negative’ effects of the stereotypes. The ‘counterclockwise’ experiment and the role of perceived control 14 Similarly, during a 6-year study conducted in Germany, age stereotypes from older adults were a significantly better predictor of health than vice versa. 13 In another study conducted with a large sample of young and middle-aged men, people with negative age stereotypes demonstrated higher chances than average to experience a cardiovascular event over the next four decades. These health advantages remained after adjusting for baseline functional health and other relevant variables. 12 Participants with more positive self-perceptions of ageing at baseline had better functional health over the course of the study and lived an average of 7.5 years longer than those with more negative self-perceptions of ageing. 11 The long-term effects of these self-perceptions were demonstrated by a pair of studies based on data from the Ohio Longitudinal Study of Ageing and Retirement, in which participants aged 50 or older at baseline were followed for over two decades. Stereotypical images of ageing are recalled and used as they were initially learned, and there is evidence to suggest that as a person ages these stereotypes may become a self-perception. These terms prime implicit and explicit stereotypes of older adults in both older and younger cohorts. The development of research on ageing stereotypes focuses as well on including negative attributes (eg, being ‘forgetful’, ‘weak’, ‘rigid’), 9 10 as well as positive characteristics (eg, being ‘warm’). Like any label, the term ‘elderly’ tends to confound a population that can be very different from each other-for example, the 92-year-old yogi versus the wheelchair user patient with dementia, indiscriminately ascribing a lack of personal control and both physical and mental decline, essentially similar to chronic illness labels. Research has increasingly turned to improving well-being in later life, including investigations about how to preserve physical and cognitive functioning, as well as psychological health, although further investigations are warranted. 4 There is a need to develop innovative ideas that can enable older adults to remain independent and in good health given the increased longevity of older adults. 3 In OECD (Organisation for Economic Co-operation and Development) countries, the average life expectancy has exceeded 80 years, which is an increase of 10 years since 1970. The percentage of the total population that is over the age of 65 is projected to increase from 15% to 24% between 20. ![]() 1 Similarly, the US Census Bureau 2 reported that between the years 20, the rate of growth for the nation’s 65-and-older sector surpassed the rate of increase of the entire population. In the European Union, the ratio of people over age 65 to those between ages 15 and 64 is projected to increase from 25.4% to 53.5% between 20. The need for a new active ageing paradigm Every participant will be assessed for medical, cognitive, psychological and age appearance at four time points: at the time of recruitment, after the intervention (ie, after a week for the no-treatment group) and again after 6 and 12 months. Ninety participants will be randomly allocated to one of these three conditions. This ‘counterclockwise’ intervention will be tested as a randomised control trial comprised of the experimental (‘counterclockwise’) group, an active control group (same activities, no time manipulation) and a no-treatment group. The week-long residential programme is designed to prime this perception by incorporating a completely retrofitted physical environment, as well as providing opportunities to engage in social activities that would have been common in the late 1980s. Participants will be instructed and helped to relive their younger selves, acting as i f they are living in the year 1989. This study replicates in large part the original 1979 ‘Counterclockwise’ experiment by Ellen Langer and will involve a group of older adults (aged 75+) taking part of a 1-week retreat outside of Milan, Italy.
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![]() Color IDs require precise numbers, so hard/crisp edges are necessary. You'll need to do this for all color areas in your custom sprite.Īlso remember to turn off feathering and antialiasing and any other source of blur. The main hat part must have R=2 G and B can be any number. So in your Color IDs layer, the main hat part should be colored something like (2,0,0) or (2,255,255) or (2,155,89) or (2,33,44). In your custom sprite, you have to match these color areas via the red channel. In this example, the main hat part has a color ID of 2. When you click an area on a sprite, the sidebar will show you the corresponding color ID (the circled number on the left). You need to use the Palette Editor as a reference. However, a Color IDs layer is still necessary. You're allowed to submit Highlights and Shadows instead of a single Base Colors layer, although my create_sprite.py script will process that differently. Their mother, the Queen Nancy, was the Skullgirl seven years ago. She is the younger of the two Canopy Kingdom princesses, her older sister being Parasoul. See my replies below for example submissions. Umbrella Renoir (JP: Umburera Runowru) is a downloadable playable character in Skullgirls 2nd Encore. So I guess it's not important to stay consistent with them in your submissions. For existing characters, you can reference the Palette Editor (click on a sprite and you'll see the corresponding color ID as a circled number in the sidebar).ĥ.2.0 update: Apparently, official color IDs can change. Skullgirls: Umbrella This content requires the base game Skullgirls 2nd Encore on Steam in order to play. Step 4 requires a bit of coordination since all sprites of a single character would need matching color areas and matching color IDs. Here are some sample PSD files of sprites I've converted: Google Drive Folder I will input it into create_sprite.py and upload the result to the Palette Editor.Īlternatively, instead of raw.png and base.png, you may submit a highlights layer ( highlight.png) and a shadows layer ( shadow.png). ![]() ![]() Submit the layers ( raw.png, line.png, base.png, and area.png) in a reply to this post.If you're picky about color IDs, encode them in the red channel.if the hat and the skin are both colored #A1B2C3 in your area.png submission, then the hat will always be skin-colored in the Palette Editor no matter what.) If colors match in this color map, they will match forever.Different items/materials/areas should be different colors.Using the base colors layer, create the color areas layer ( area.png).For other tools, turn off anti-aliasing and feathering. Use the pencil tool instead of the brush. Using the raw image, create the base colors layer ( base.png).The script only reads the alpha channel here it does not use any color information.If using selections, turn on anti-aliasing. Using the raw image, create the linework layer ( line.png).So now that I've got the process down, I'm opening submissions. I figured out a method to turn normal sprites into palettized sprites (sprites readable by the Palette Editor) a while ago, around the time Annie was announced. ![]() ![]() Though that film takes artistic liberties and creates new conventions for the "Blair Witch" universe to play in, it is clear that it is a direct continuation and heavily influenced by the maddening magic of the original's breathtaking ending. He enlists three of his friends to join him in setting out to find her-including one friend who is, shocker, a documentary filmmaker-and they end up in a terrifying mess that harkens back to the film that started it all. In director Adam Wingard's continuation, lead character James is Heather's younger brother, who becomes obsessed with finding her in the Black Hills forest after seeing a clip of what appears to be lost footage of Heather's potential last moments in the Rustin Parr house in 1999. Naturally, it just doesn't suit the story, and ultimately none of these endings ended up making it anywhere but the special features section. It fundamentally changes the film's conclusion, because it insinuates that the source of all this horror has been human, not supernatural. This ending actually does have an effect on the film's plot in the viewer's eyes, because it allows them to assume that Mike is somehow involved in what went on leading up to this point, and that he plans to attack Heather in some way. The final alternate ending flips the script a bit and features Mike facing Heather in the basement, staring her down menacingly. In fact, the general consensus is that these two alternate endings don't actually bring any clarity or closure for the audience. Again, this is a more violent approach, but does nothing for the story, nor does it tie things together at the end. The second alternate ending sees Mike hanged in the basement rather than waiting in the corner for his own punishment to be carried out. That's the only time the children are actually seen or heard in any capacity in the movie, so while it's a fun theory to conceptualize-when revenge is warranted, it's usually a pretty compelling idea, and this would be a pretty unexpected way to utilize that trope-it doesn't exactly come together in the greater context of the entire film and the lore. One of the scariest scenes in the film is when the group finds their tent surrounded by what sounds like small children, who then start to shake the tent violently before the trio takes off into the dark forest like bats out of hell. This theory supposes that the kids Parr killed were behind everything. The last of the lesser theories is one of the least likely, but it is certainly a fun one to think about. Mike does destroy the group's map in a moment of delirious rage, but considering the kind of person his character is, it seems like it was probably just that: a moment of terror and confusion, especially considering how Mike is the first character to start to panic when they start feeling lost. It's kind of a bold theory, considering we don't ever really get any inkling on what they could have against Heather in a way that would make them compelled to do something so sinister to her. One of the more popular lesser theories is that Mike and Josh are the killers, and they were in on it together. Makes sense as to why they heard him screaming in the distance the night before, and if you believe that the Blair Witch's power of manipulation is as strong as legend claims, it's safe to assume he pulled out his own teeth at her behest. When Heather opens the bundle, she finds a pile of bloody teeth inside, which one could gather belong to Josh. ![]() The night after Josh disappears, Heather and Mike hear his agonizing cries far off in the distance-or at least someone they're convinced is Josh-and the next morning, they find a bundle of sticks held together with a ripped piece of his flannel shirt. ![]() The theory even holds water when it goes back further in the timeline. This concept also supposes that Josh's screams on the night Heather and Mike find the Rustin Parr house were a ploy to get the director and the sound guy into the house-meaning he was under the Blair Witch's spell like Rustin Parr was. This idea stems from the fact that Rustin Parr also claimed that a woman instructed him to perform his killings, a woman speculated to be the Blair Witch. The second theory-the still plausible but not the numero uno theory-supposes that the perspective change is actually from Heather to Josh, her and Mike's missing friend. |