Chroma Blast [hacked]
Kody Coste
Each episode (mission) is relatively short, which means that you can easily blast through one in a short time and either stop there or tackle another. The actual turn-based battles are simple enough. Each character gets two actions: a move and attack (or special power). However, the unique part of this combat system is the Teamwork ability. Rather than attacking, you can choose to enter a Teamwork stance. This allows that character to act as a catapult launches other characters forward to battle or initiate a team attack. A team attack works when multiple characters Teamwork together and another starts an attack. This could be unarmed or with a weapon and deals extra damage to the enemy looks cool and helps generate fans. All of this works together seamlessly to create a battle system that sees you using a small toolset to its fullest every time.
Getting three colours out of a three-colour eInk panel is not hard, as I figured out rather quickly. Getting working greyscale turned out to be very very hard. The problem is that using low voltage does not move black particles very much as they are larger. Using high voltage moves yellows as well, so all greys end up poisoned by yellow. This gives photos a rather strong sepia effect. The first photo on the right shows what that looked like. Cute, but not what I wanted. It took a few weeks of experimentation to figure out how to get better greys. The solution was all about timing the pulses. In the simple black-and-white screens, two short pulses had almost the same effect as one longer pulse. In the Black/White/Yellow screen, this is no longer the case. We can also take advantage of inertia. If we start the yellow particles moving AWAY from the screen, we can give a short pulse to move blacks up to the top, and hope that the inertia of the yellows moving down keeps them from moving up too much. Repeat a few times, and you can get relatively good yellow-free greys. It all sounds nice and easy as I explain it, but it took a long time for me to figure this all out. The second photo on the right shows what it looks like now - perfect achromatic greys. A full screen update with these waveforms takes about 52 seconds, which is pretty good for the picture quality obtained! Partial update for just black and white mode takes half a second. This i used for the download progress bar that shows up on top of the screen at download time.
Think of chroma as color purity or intensity, unhampered by black, grey, or white. Colors can be described as 'high chroma' (intense, bright, or punchy) or 'low chroma' (dull, grey, muddy, or washed out). Chroma is an inherent characteristic of a pigment. It is an important factor to take into account when color mixing. By adding Yellow Ochre (low chroma) to Phthalocyanine Green (high chroma), I can knock down the overall chroma of the mixture, thereby leaving you with a more earthy green for foliage. By adding Ultramarine Blue to Vivianite, I can punch up the chroma.
Chroma is different from (and often confused with) saturation. Saturation is reduced when you dilute a color while chroma is not. Again, chroma is about purity of color, or the absence of white or black from it. If you dilute a high chroma color with water, the dilution will still be high chroma. Whereas a low chroma color diluted will still be just as grey, but less diluted.
Often times, people can mistakenly conclude that they can make a color more intense by adding black, confusing "dark" with "chroma". Similarly, people will add white to "brighten" a color, when they are really trying to punch up the chroma. Adding white will just give a color a more pastel effect, or make it more opaque.
Generally, synthetic pigments and the most prized natural pigments (Lapis Lazuli) are the highest chroma colors on the artist's palette. Indeed, high chroma colors have historically been the holy grail for artists because they cannot be mixed while low chroma colors can.
This can be a confusing concept at first, so here is a hack: If it looks like a color Lisa Frank would use, then it is high chroma. If there is anything grey, earthy, or subdued about a color, it is lower chroma.
Noting a color's value range will help you make good selections for creating the lights and darks of your composition, and keep your colors looking the way you intend. You can certainly add black to a color with a limited value range to make it darker, but you will be making a chroma sacrifice as well as it will grey considerably. A color with a naturally wide value range will maintain much of its intensity at its most concentrated.
For example, Violet Hematite has a low chroma, moderate transparency, moderate-to-wide value range, intense tinting strength, is rather staining, disperses readily, a strong tendency to variegate, moderate-to-low granulation, and very little texture. A whole cocktail of traits expressed at different places in their range.
The standalone Zbig Software was available on the market since 1998 as a chroma key/compositing program and as a plug-in for many standard programs, (Fusion, Illusion and others)
A unique feature of Zbig Software is the automatic and dynamic application of background color reflections onto the composed foreground, resulting in an extremely convincing composition.
Brightness and Luminance is useless or even misleading in my eyes.
At best, we can calculate a proxy of achromatic. But then it needs to be simple and robust and not suggest some arbitrary weights up to the sixth decimal place resulting from fitting exercises. That is nonsense in my eyes. Also, complex models that make our lives harder are not helping us in the end.
That all applies to all other colour-appearance scales.
In the case of the present experiment, for example, there was only one very simple image configuration: a simple portrait. Undoubtedly, more complex images, smaller areas of flesh, variations in viewing and adaptation conditions, and variations in the luminances and chromaticities of surrounding image areas, to name only a few factors, will exhibit an influence on the choice of optimum flesh reproduction.^12
Waiting just one square south of 'J' is a boss robot, a Cosmo-Bot. I put up Armorplate, Enchanted Blade and Magic Screen beforehand. It is very similar to a Mega-Bot, and may sometimes appear with a few Mega-Bots to help it out. It has also four attacks per round, any of which may be a phaser bolt, a physical attack, a phasma cannon blast, or a spectral ray attack. Ryu casting Create Life to summon a Godzylli has the effect I wanted, as the Cosmo-Bot spent all of its attacks on the impervious Godzylli. That buys the party time to kill it off, after killing a Mega-Bot during the previous round.
The Dark Savant favours the use of spells like Mind Flay and Psionic Blast. He can shoot projectiles from his glove that can critically hit their targets. He can make use of his chroma glove so as to paralyze multiple party members. The Savant Kui-Sa' Kas can attack with spears that can paralyze or drain stamina. They can also critically hit, and cast Psionic Blast. This battle reveals the benefits of maxing out my Mind Control skills for all party members while I had the chance. Mind Control, plus Magic Screen, means that I pretty much always resist Psionic Blast when cast by any of the Kui-Sa' Kas. The Dark Savant, however, casts Mind Flay and Psionic Blast at a much higher level. So once in a while, his spells will end up turning a party member insane or his chroma glove will paralyze a party member or two. As long as I have characters who can cast Sane Mind and Cure Paralysis and keep the party in the fight without getting overwhelmed, I should be fine and eventually prevail. Everyone advances to their 32nd level.
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