Starward Industries has been secretly at work on The Invincible for quite some time now, but today's reveal has confirmed that the game is targeting PC, PS5, and Xbox Series X for a release in the latter half of next year, with plans to upgrade development to Epic's Unreal Engine 5. "Without CD Projekt’s appetite to dream big we wouldn’t be where we are today." Marek Markuszewski All this has come together in The Invincible, creating a fresh and unique retro-futuristic visual style." "On top of that, we actually researched the original designs of spacesuits and clothing used during the Cold War, as well as spaceships, vehicles, various tools and devices manufactured in the Soviet Union. "The first of them is atompunk aesthetics, explored very widely in comic books, cinema and television, with inspiration from classic works of people like Chris Foss, Chesley Bonestell, or Syd Mead." "In turning the descriptions and vibes into interactive visuals, we’ve largely worked with two sources," he tells me. You'll be stepping in the shoes of an astronaut caught amidst this analogue future, with Markuszewski promising a cinematic story that places a premium on atmosphere, artistic stylism, and player agency. Used by permission.Set on the planet Regis III, The Invincible takes place in a world where the Cold War never ended, robbing humanity of its digital revolution while superpowers continue to obsess over the space race, and thus take their rivalry to the stars. Bierley, The Works of John Philip Sousa (Westerville, Ohio: Integrity Press, 1984), 43. At first Sousa thought “The Invincible Eagle” would surpass “The Stars and Stripes Forever” as a patriotic march, although he nearly entitled it “Spirit of Niagara.” It outlived a march entitled “The Electric Century” by Sousa’s rival, Francesco Fanciulli, whose band also played at the Exposition. The march was dedicated to the Pan-American Exposition, held in Buffalo in the summer of 1901. Sousa’s attention while he was supplying the accompaniment of flutes, oboes, bassoons and piccolos, but it was not until he had picked out the march on a violin on his fingers, put his notebook in his pocket, his violin in his case and his cigar back in his mouth that he finally turned toward me and casually remarked that it was a very dark night outside.” Sousa’s famous march, “The Invincible Eagle,” took form. looked on from over the top of a magazine and listened with enthusiasm as Mr. Sousa’s pencil traveled faster and faster, and page after page of the notebook were turned back, each filled with martial bars. Sousa furrowed his brow and from his pursed lips came a stirring air-rather a martial blare, as if hidden trombones, tubas, and saxophones were striving to gain utterance. Now Mr. Quarter notes and sixteenth notes followed in orderly array. Breves and semi-breves appeared on the page’s virgin surface. Sousa drew a notebook from his pocket, still humming to himself. Notebook and pencil met. Gradually the circumference of his pencil’s arcs diminished and Mr. Sousa began to describe circles in the air with a pencil, jerking back and forth in his seat meanwhile. Suddenly and without previous warning Mr. At intervals the engine whistled as if in pain. At the further end of the car a porter diligently brushed cushions. Sousa sat in his chair in the dimly lit Pullman. Outside the coach the lights of towns along the route flashed by like ghosts fluttering at the window panes.The night was dark and the few stars above twinkled fitfully. It was a train between Buffalo and New York. Blanche Duffield, soprano of the Sousa Band in 1901, witnessed the creation of this march, and she provided this rare description of Sousa composing:
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