Research on Dynamic Evolution Model and Method of Communication Network Based on Real War Game

Based on the data in real combat games, the combat System-of-Systems is usually composed of a large number of armed equipment platforms (or systems) and a reasonable communication network to connect mutually independent weapons and equipment platforms to achieve tasks such as information collection, sharing, and collaborative processing. However, the generation algorithm of the combat system in the existing research is too simple and not suitable for reality. To overcome this problem, this paper proposes a communication network generation algorithm by adopting the joint distribution strategy of power law distribution and Poisson distribution to model the communication network. The simulation method is used to study the operation under continuous attack on communication nodes. The comprehensive experimental results of the dynamic evolution of the combat network in the battle scene verify the rationality and effectiveness of the communication network construction.

Adatok Ii. Lajos magyar király páncélos ábrázolásaihoz

Most of the posthumous portraits of Louis II, who died in the battle of Mohács in 1526, show him in armour. In some pictures he is wearing fictitious armour, but in other portraits he is clad in the armour which until 1939 was believed to had once been his, but actually had been made in 1533 for the Polish king Sigismund II Augustus and is currently kept in the Hungarian National Museum. The author of the study has examined the latter group of artworks. She describes the armours of Louis II, some only mentioned in archival sources or historical works. Some items that can certainly or presumably be attributed to him are kept in museums abroad. The first paintings in which Louis II is wearing the gilded ornamental armour were painted by István Dorffmeister in the mid-1780s. Since at that time the armour was on display in one of the gala rooms fitted out in Vienna’s Kaiserliches Zeughaus in the 1760s, the study discusses the history of the imperial armour and weapon collections and the conception of the arms exhibition in the Zeughaus at that time. After the demolition of the Zeughaus in 1856, the armour was transferred, together with the rest of the imperial collection of armours and weapons, to the war museum wing of the newly built Arsenal. The armour was presented by the Austrian catalogues of the museum as belonging to Louis II, and some items had illustrations added to them. The armour was introduced in Pest in 1876 at a historical exhibition for charitable purposes, and later in 1896 at the Millennial Exhibition. The Hungarian press also devoted articles to it, and several scholarly papers were written about the armour.The prototypes for some of the 19th century artworks depicting Louis II in the Viennese armour – most of them local monuments preserving the memory of the battle – were István Dorffmeister’s paintings. His battle scene showing the death of Louis II appears in a sketch of an unrealized monument, dated 1846; in the picture painted on metal that adorned the monument in Mohács in the 1860s and on the bronze relief replacing it in the late 1890s. The antecedents to another group of representations must have been the 19th century Austrian and Hungarian descriptions and illustrations of the armour attributed to Louis II. The ruler wears this armour in several book illustrations and on the statue by Ferenc Vasadi on the Danubian facade of the Hungarian Parliament building.Although these artworks presenting Louis II in Sigismund II Augustus’ armour do not satisfy the iconographic criteria of historical authenticity, they were up-to-date for their time, for instead of depicting the fictitious, often waywardly fantastic armours of earlier centuries, they presented the portrayed person in an existing armour made in his own era, that is, with a historically authentic appearance.

Analisis Komposisi Soundtrack Epic “You See Big Girl” Karya Hiroyuki Sawano dalam Serial Animasi Attack on Titan

Action-fantasy are some movie genres that has the most expansive franchises in film industry and tend to use cinematic music to correlate the atmosphere and emotions of the movie’s imaginary universe. The analysis of You See Big Girlis due to its majestic cinematic music arrangement, its suitability in accompanying the battle scene, and also can be enjoyed as an independent track despite of its role in accompanying the scene. This qualitative descriptive research aims to analyze the musical composition technique by describing the epic musical element. This research contains of literature study, discography, and observation as the research methods, along with the approach of Lehman and Derrick Werlé’sexamine on epic music to analyze the epic element. The result shows that the You See Big Girl is one of the various epic music with the use of battle and war instrument, as well as tension built gradually from a section to the following by the use of polyrhythm, marcato accent, big crescendo, sequence, sudden silence to ends the musical phrase, ostinato, and abstract theme, to portray a majestic, vibrant, war and battle scene, and the greatness through the music. Keywords: analysis, composition, animation, epic soundtrack, You See Big Girl

THE COMB FROM THE HAYMANOVA MOHYLA AND THE SCYTHIAN MYTH OF A HERO FIGHTING A DRAGON

The article is devoted to the analysis of images on the bone comb from the Haymanova Mohyla mound (IV century BC). The images on it quite fully represent the myth of a Hero fighting a dragon, which is not known from narrative sources. The first large plate (the «male» side of the comb) depicts a battle scene with a consistently developing plot: the defeat of one hero — the triumph of the dragon — revenge and the victory of the second hero. It can be assumed that the characters in this scene are Targitaos and Kolaxais, known from the story of Herodotus. These Scythian heroes relate to Iranian Yima (Jamshid) and Θraētaona (Fereydun). The goddess is reproduced on the second large plate (the «female» side of the comb). Her iconographic image was borrowed from the ancient Greek Art, but it was perceived by the Scythians, probably as the goddess Api (Άπί), equivalent to the Iranian goddess Aredvi Sura Anahita. The general context of the images suggests that the Scythians were familiar with the Iranian prayers to this goddess with a request to bestow good luck in the fight against hostile creatures. The comb was certainly an important ritual and status attribute.

Battlefields

Chapter 4 explores the first battle scene in the Gideon narrative. First, the chapter examines how the story of the battle against the Midianites in Judg 7:16–22 is used in contemporary Christian children’s literature to show how Gideon is a model warrior because he trusted God. Next, the chapter turns to Judg 7:16–22, uncovering how these verses might contain some of the earliest materials about Gideon the “mighty warrior,” though they are now overlaid with a later theological retelling of the battle. Last, the chapter returns to the way that Gideon is rewritten as a model man who now acts according to the prevailing ideals for masculinity in some forms of present-day Christianity.

VIRTUAL RECONSTRUCTION APPLIED TO THE RECOVERY AND HERITAGE DISCLOSURE OF THE OLD VILLAGE OF BELCHITE

Virtual reconstruction allows recovering missing heritage whilst becoming a useful tool for documenting and disseminating, when physical reconstruction is non-viable. This article explains the application of new technologies of virtual reconstruction (modelling and photogrammetry) to the recovery of the historic-artistic heritage of the Old Village of Belchite, specifically applied to the case of the San Augustin’s Convent. This village was a battle scene in the Spanish Civil War in 1937 which has been abandoned since 1964. These days, it presents a state of ruin that increases exponentially over the time.

The Attalid victory at Magnesia on a lost plaque from Pergamon

This article explores the battle scene on a small bronze plaque recovered during the 19th-century excavation of Pergamon, initially published in 1913 and subsequently lost. It argues that the most likely identification of the scene is the Battle of Magnesia, fought in 190 BC. The scene features Attalid cavalry riding to the rescue of distressed Roman legionaries, both fighting in opposition to Antiochus the Great's heavy phalanx and Gallic cavalry. The heroics of the Attalid cavalry are central to the scene, and likely reflect a courtly narrative that gave Eumenes II and his small contingent outsized credit for the joint victory.