![]() SW3 on – Changes caps lock key to a left control key.This is the default state of the caps lock key, works just like a regular caps lock key What is Colemak? You can read about it here This will change your key layout from QWERTY to Colemak at a firmware level What is Dvorak? You can read about it here This will change your key layout from QWERTY to Dvorak at a firmware level Additionally you can also change this using the 3 rd party app Karabiner ( ) You do not need to use Mac Mode on a Mac, you can also change these key mappings in keyboard settings in your operating system settings. This will swap the option/command key mappings (alt/win on a PC) at a firmware level This is the default state of the keyboard, typing will be in QWERTY layout ![]() SW1 off, SW2 off – Default QWERTY mode.What do these switches do and why would you want to use them? Use a pen or small screwdriver to flip the switches from off to on.Turn your keyboard over to locate the dipswitches.Warning: The dipswitch settings require a power cycle to initiate the new changes – it’s a good habit to always unplug the keyboard when making changes to the dipswitch to ensure that the changes made are reinitialized and working properly. Plug the USB type-A port end into the port on your computer.Plug the micro USB end into the port on the bottom of the keyboard. ![]()
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It bothers me because I feel as though I’m being verbally attacked because I enjoy a particular form of entertainment which, need I remind you, is fictional. I know I’ve spoken about this subject ad nauseam ever since Magical Girl Site first dropped at the start of the year, but seeing this happen literally every season just really gets on my nerves. The very same Seinen magazine that ran the likes of Akame Ga Kill! Zero and fucking Ubel Blatt of all things. ![]() Yes, the things that happened in the first episode of Goblin Slayer are pretty gruesome, but the series is based on an incredibly brutal series of Dark Fantasy Light Novels that received an equally gory Manga adaptation that ran in a Seinen magazine. You may not agree with the ideas of a particular work and maybe some of those ideas will even upset you, but not all art is made with you or your preferences in mind, and to expect otherwise is kinda dumb.Īnd before I wrap this up, I have one more thing to ask the people who’ve been attacking this series, its fans and its creators. It’s art and the purpose of art is to express and communicate ideas. Don’t.Īt the end of the day, Anime is fictional. ![]() Don’t make stupid, childish comments that the creators of the show should kill themselves because they animated a fictional thing that made you upset. Don’t tell people that they’re a bad person for liking it or that they shouldn’t enjoy the things that they enjoy. Heck, as a fan of the series who doesn’t agree with the recent negative criticism surrounding the show and who has no problem with its morally questionable content, I’m all for reading the opposite perspective and I’m always up for a mature discussion no matter what side of the table I happen to be on.īut don’t go around criticising the fans of the show for not agreeing with you or for not being offended by the things that offend you. If you want to discuss Goblin Slayer or any other show in a negative light, then you’re free to do so. I have no problem with someone negatively reviewing or discussing a series because it’s full of stuff that they don’t agree with morally or that makes them feel uncomfortable. You’re welcome to criticise the show for that and you’re also welcome to stop watching the show if you’re the kind of person that doesn’t mind dropping stuff. You saw a thing you don’t like and you got triggered. I’m sorry, but who the hell do you people think you are? What gives you the right to tell anyone what they should or shouldn’t be watching? Who made you the judge of what is morally acceptable and what isn’t? What do morals even have to do with liking a fictional Anime series in the first place? ![]() It’s happened to everyone at some point or another and is a perfectly normal and healthy reaction that is, more often than not, completely justified.īut what I don’t understand is when people feel the need to start telling people who enjoy the series and don’t have a problem with the questionable elements of its story that they’re “bad people” and that they “shouldn’t be watching or supporting” a show that they love. I completely understand if someone see’s something terrible happen in a show, such as over the top violence or rape, and it makes them feel angry. Everyone is different and questionable themes and story elements can make certain viewers uncomfortable. It happened with Happy Sugar Life. And now it’s happening again with Goblin Slayer and it’s honestly become so tiring at this point. It seems that every season, like clockwork, a particular show comes out and does something that riles people up to the point that they end up having a genuine hatred for it and feel the need to act as though they’re morally superior than those who don’t agree with them. Regardless of whether or not you know about Goblin Slayer and the controversy surrounding its first episode, I’m so goddamn sick and tired of this shit and I feel I need to say something about it. Or maybe you have absolutely no idea what I’m talking about and I’ve simply been incredibly unlucky and have just happened to stumble upon a ton of these kinds of comments. Perhaps you, the person reading this, are one of these people. People have even gone as far as saying that the show has no right to exist at all. ![]() So unless you’re completely out of the loop of the weekly phenomenon that is seasonal Anime, you’ve probably heard of a show that started airing a few days ago called Goblin Slayer.Īnd if you keep up with the general opinions surrounding currently airing Anime, you’ve also likely seen that a large number of Anime fans have been quick to mount the high horse of moral superiority once again and start attacking the show, its fans and the people that created it. Wavelength and frequency do not depend on intensity, and intensity does not depend on wavelength/frequency. Intensity is separate from these, as it has to do with the amplitude of the wave (under the wave model) or the number of photons transmitted (under the particle model). If wavelength increases, then frequency decreases and vice versa. However, P bi becomes comparable to P SRH at 0.50 sun and eventually becomes 1.7 times larger than P bi at 1 sun.Wavelength and frequency have an inverse relationship, as indicated by the equation. With increase in light intensity, the dominance of P SRH over P bi decreases, but P SRH remains 2.2 times larger than P bi at 0.18 sun. At 0.01 sun, P SRH is 7.1 times larger than P bi at the MPP, and accordingly FF is mostly determined by P SRH. It is straightforward to see that the difference between generated power ( P gen) and power losses ( P SRH and P bi) is the power output delivered by the OSC at each light intensity. All powers are normalized by P sq that is defined as the product of J sc and V oc. For quantitative comparison between the contributions of J SRH and J bi to the maximum power, we show powers resulted from each current component in Fig. Results of such shifts are apparent changes in squareness of the J– V curves at the maximum power points (MPPs). On the contrary, the knee points of J bi– V curves move to the upper left direction in response to light-intensity increase. In the case of J SRH- V curves, the knee points move to the lower right direction with increase in light intensity. The most prominent discrepancy between J SRH and J bi variations is the systematic shift of knee points. ![]() Figure 7a,b show the variations of J SRH and J bi that are normalized by J gen with respect to applied voltages normalized by V oc. Next, we extended the analysis of J SRH and J bi variations to identify the origin of the FF variation in Fig. Accordingly, V oc variations with respect to light intensity is consistent with the SRH recombination up to 0.18 sun, but with the bimolecular recombination at higher light intensities as shown in Fig. 6d show that a dominant current-loss mechanism switches from SRH to bimolecular recombination at around 0.18 sun. Systematic variations in recombination currents at V oc in Fig. However, the contributions of J bi and J SRH become comparable at 0.18 sun. On the contrary, J SRH dominates over J bi at 0.01 sun and determines J rec. At 1 sun, V oc is determined mostly by J bi because of their dominance in exponentially increasing currents as shown in Fig. In these figures, currents and applied voltages are normalized by J gen and V oc, respectively, to emphasize systematic changes in J SRH and J bi, and their contributions to V oc. 2b, we show two recombination current components separately with respect to applied voltage in Fig. To manifest the origin of V oc variation in Fig. Simulation results were sensitive to defect densities, and simultaneous agreement to 10 measured J–V curves was possible only with the defect density of \(5 \times 10^\). To elucidate the origin of such variations, we performed extensive simulation studies including Shockley–Read–Hall (SRH) recombination losses. ![]() ![]() Unlike J sc that showed quasi-linear monotonic increase, V oc and FF showed distinctive non-monotonic variations. All three conventional parameters, short-circuit currents ( J sc), open-circuit voltage ( V oc), and Fill factor (FF), representing OSC performance evolved systematically in response to light intensity increase. We investigated the variation of current density–voltage ( J–V) characteristics of an organic solar cell (OSC) in the dark and at 9 different light intensities ranging from 0.01 to 1 sun of the AM1.5G spectrum. ![]() For example, the Four of Spades might be moved from a free cell onto either the Five of Hearts or the Five of Diamonds at the bottom of a pile. When moving a card from a free cell to the tableau, it can only be placed either into a vacant column or onto the lowermost card in a pile that is next-in-rank and of the opposite (red or black) color. ![]() Any single card may be moved to an empty free cell. In the first 4 columns, piles of 7 cards are dealt, and in the remaining 4 columns, piles of 6 cards are dealt.Ī card may be moved by the player back and forth between the tableau and the free cell area. ![]() When the game starts, all 52 cards are dealt face-up into the 8 columns in the tableau. The goal of FreeCell is to build up all 4 of the suits in the foundation, each in order from Ace to King. The most popular version played today is the Classic version. Originally, the game had several different variants. Working at the University of Illinois, he programmed the first computerized version of the game in 1978. Paul Alfille is credited with the invention of FreeCell. From low to high, card ranks run in order from Ace, to Two, to Three, and so on up to Ten, Jack, Queen, and finally King. You can play this deal from the top menu (choose "Numbered Games").īoth ranks and suits of cards are important in FreeCell. A rare example of a deal that is considered to be unsolvable is deal number 11982 from Windows 95's version of FreeCell. The only real difference is that in FreeCell, they are built by alternate (red and black) colors, while in Baker's Game cards are built by suit.Īlmost all FreeCell games are winnable. It's a modification of the solitaire game called Baker's Game. The key to scoring high in this game is to finish it quickly.Classic FreeCell is played with one 52-card deck of standard playing cards. You also score points for how much time you have remaining, with each second you have remaining when the level is complete being worth 50 points. ScoringĮach card moved from the tableau to a foundation is worth 10 points for a maximum base score of 520 points. Try to leave most of the free cells empty most of the time other than when you need to briefly use them to re-organize other cards. Try to uncover the Aces quickly and create open columns on the tableau early. Once a cell does not contain any cards in it you can then use the cell again. Cards in the cells can be moved to the foundation piles or back to the tableau piles, if possible. The top card of any tableau pile can also be moved to any Free Cell.Įach Free Cell may contain only one card. Only one card at a time can be moved (but you can move group of cards in the proper sequence if you have enough free cells and/or empty tableau piles).Įmpty columns on the tableau can be filled by any card or any sequential run of cards which alternates suit colors. You can build tableau piles down in descending order while alternating colors. ![]() Top cards of tableau piles and cards from the Free Cells are always available for play. When no possible moves remain an End Game button appears at the bottom of the game. In the bottom right corner there are 4 buttons to control which card designs are used, turn autoplay to foundations on or off, control sound, and control game music. The buttons underneath the score pause the game, restart the game, and undo moves. Underneath it is the remaining time and current score. The right column contains the game controls.Īt the top right corner there is a full screen button. The object of the game is to build up all 52 cards on foundations from Ace to King by suit. There are Four Free Cells (top left) and four foundation piles (top right). This is a no frills game of Freecell solitaire with a single level and a 10 minute time limit.Īll cards from 1 deck are dealt into 8 tableau piles. Play Freecell Solitaire Card Game Online for Free With No App Download Dealing You can either use the smaller letters to write words, names, titles, or sentences or use the huge letters to print one initial per page. It will download with a transparent background unless you added a background image. Play around with the letters until you are satisfied with the layout and then download the page. You can decide if the letters overlap or not and how close they will be. Drag the letters in the correct order to write your title, name, or word. You simply select the letter or number that you want from any of the bubble letter designs and click on it and the free bubble letter font will appear on your page. With our free bubble letter generator, you don’t need to know how to draw bubble letters. They are available in four different colors. You can also use the bubble letter maker to add balloon letters and numbers. If you want bubble letters to copy and paste then see the bubble writing generator above. You can only download these letters as an image or a PDF. When satisfied, download with a transparent background. Drag each letter to the desired location. Click on any initial to add it to your canvas. Select either letters or numbers and symbols. You can print large full-page printable letters for each letter in the ABC. ![]() If you are looking for individual letters, then see the alphabet of bubble letters below. The bubble font generator is useful when you want to create bubble words. There are many kinds of bubble letter fonts available with letters and numbers. Write anything you want – letters, words, or sentences. Move the letters around to overlap or not. In essence, drawing bubble letters is fun because it’s a creative playground where imagination knows no bounds, offering endless possibilities for expression, experimentation, and enjoyment.Use our free bubble letter generator to create bubble text from the font designs available. It’s a chance to lose yourself in the rhythm of drawing curves and contours, allowing your imagination to run wild and bringing your artistic visions to life. Moreover, the process of drawing bubble letters can be meditative and relaxing, offering a welcome escape from the stresses of everyday life. ![]() Whether you’re doodling your name, crafting a message, or designing graffiti-style artwork, bubble letters provide a versatile canvas for showcasing your creativity and unique personality. ![]() Instead, it’s about embracing the joy of free-flowing lines and experimenting with different sizes, shapes, and embellishments.Īnother aspect that makes drawing bubble letters enjoyable is the opportunity for personalization and self-expression. ![]() You don’t need advanced drawing techniques or intricate details to create eye-catching bubble letter designs. Their cartoonish appearance encourages experimentation and allows for a wide range of interpretations, from bold and chunky to elegant and flowing.įurthermore, the simplicity of bubble letters makes them accessible to artists of all skill levels, from beginners to seasoned professionals. Trust me when I say drawing bubble letters can be an amazingly fun experience for several reasons.įirstly, the exaggerated outline and rounded shapes of bubble letters offer a whimsical and playful aesthetic that instantly injects fun into the creative process. Here is our complete guide on how to draw any bubble letter that you want! Either a 7 of Spades or Clubs from the stock pile can be placed on top of it. For example, let’s say there is an 8 of Hearts in the third column of the tableau. Stock pile cards can be placed below a card in the tableau if that card is of the opposite color and a number one rank higher.Specifically, the first column has 1 card, the second column has 2 cards and so on until the seventh column, which has 7 cards. ![]() The tableau is the group of cards with the seven columns, with the last card of each column turned facing up, and with each column having an additional card.
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