Magic clip elements are a popular feature in modern web design that allows for the smooth and seamless transition between different sections of a webpage. These elements, also known as scroll-triggered animations, add a touch of interactivity and dynamism to a website, capturing the attention of visitors and enhancing their user experience. One of the key benefits of using magic clip elements is their ability to create a sense of continuity and flow as users scroll down a webpage. These elements typically involve the animation of certain page elements, such as images, text, or backgrounds, that are triggered when they come into view. The animation can be as simple as a fade-in effect or as elaborate as a complex 3D transition. By incorporating magic clip elements into a webpage, designers can draw attention to important information or key sections of a website, improving the overall user engagement and directing the user's focus.
The latest one, The Curse of the Pharaohs, is the best yet.
It can feel like busywork given how many times Assassin s Creed Origins has asked us to perform these exact same objectives in service of other storylines. Released in March of 2018, the expansion takes our protagonist, Bayek of Siwa, to Thebes home to the great temples of Luxor and Karnak and to the Theban Necropolis, including the famed Valley of the Kings.
By incorporating magic clip elements into a webpage, designers can draw attention to important information or key sections of a website, improving the overall user engagement and directing the user's focus. These animations can also help break up large blocks of content and make the webpage more visually appealing and engaging. Implementing magic clip elements requires some technical knowledge and coding skills.
Game Review: Assassin’s Creed – The Curse of the Pharaohs
In the spring, the Nile Scribes invited guest blogger Emily Hotton to tell us how Egypt is represented in the latest installment of the Assassin’s Creed franchise: Origins. The game developers recently added a new expansion called “The Curse of the Pharaohs” featuring the afterlife worlds of four Egyptian royals. This week, we are pleased to welcome Emily Hotton back for a review of the expansion.
Promotional poster for ACO: The Curse of the Pharaohs (Photo: Ubisoft)
Guest Scribe: Emily Hotton
In my previous two reviews of Ubisoft’s 2017 addition to the Assassin’s Creed franchise, Origins (read Review #1 and Review #2), I praised and criticised the base game and the Discovery Tour in equal measure. I enjoyed this installment of the franchise immensely and respected the time and effort the developers and consultants gave towards perfecting the finished product. That appreciation, however, was nearly shattered with the release of the largest expansion to the game to date: “The Curse of the Pharaohs”.
Released in March of 2018, the expansion takes our protagonist, Bayek of Siwa, to Thebes: home to the great temples of Luxor and Karnak and to the Theban Necropolis, including the famed Valley of the Kings. Bayek is drawn to Thebes due to rumours that the kings of old are reawakening, mysteriously massacring the innocent citizens of the city. In order to stop this otherworldly phenomenon, Bayek must travel to the afterlives of each of the resurrected pharaohs through their tombs in the Valley of the Kings in order to save Thebes from this “curse”.
The city of Thebes as it was reimagined during the Ptolemaic Period (Photo: Ubisoft)
I was somewhat disappointed that a large expansion was playing into one of the biggest cliches of ancient Egypt in popular culture. Since the discovery of Tutankhamun’s tomb (KV 62) in 1922 by Howard Carter, the stereotype of the mummy’s curse has been irrevocably interwoven with ancient Egypt’s portrayal in popular media. The base game and its first expansion, “The Hidden Ones,” avoided the stereotype and instead stuck to a storyline delicately interwoven with the main franchise’s overarching plot. Like the decision to make Bayek a Medjay or choosing the decline of the Ptolemaic dynasty as the setting, I feel this decision to perpetuate the false notion of the “curse of the mummy” was made to draw attention to the game instead of focusing on educating those unfamiliar with Egyptian histor y.
Ba-birds, representations of the human soul in ancient Egypt, are seen flying through Nefertiti’s Afterlife (Photo: Ubisoft)
What Was Well Done
(1) Entering the Afterlife
Bayek enters the afterlives of Nefertiti (1353-1336 BC), Akhenaten (1353-1336 BC), Tutankhamun (1332-1323 BC), and Ramesses II (1279-1213 BC) in order to end their terrorizing in the living world.In general, I found the process of entering the afterlife to be a well-rendered experience. It plays appropriately into the themes of the Underworld Books which dictate the soul’s journey into the afterlife. The one criticism I have was the use of false doors: while universal in tomb architecture of the Old Kingdom, false doors do not appear in the royal tombs in the Valley of the Kings as they do in the game. Regardless of this fact, the false doors do work quite well to transport Bayek from the realm of the living to the dead.
False door leading to the afterlife in the rear of Tutankhamun’s in-game tomb (KV 62). (Photo: Ubisoft)
After Bayek makes his way through the false door, he finds himself in a long chamber with water flowing across a narrow walkway dotted with waterlilies and pads – the Lake of Flowers. On either side stand tall, intimidating statues – presumably representing the 42 Judges of the Dead. Powerful voices echo through the chamber, both male and female. Initially, I thought the recited lines were those of the well-known Negative Confession and this was the weighing of the heart against the feather of Ma’at before Osiris and the 42 Judges. But, listening closely, I realized the judges were accusing Bayek of transgressions: “Have you killed the innocent; the weak? Murdered for your cause! Avenge yourself; burn with rage! Cause terror in the hearts of innocents?” The effect was even more dramatic than the “I have not” confession formula featured in the Weighing of the Heart scene. I adore this adaptation – while not replicating the exact Negative Confession uttered by the deceased, you are given strong admonishments from powerful voices as you progress through the hall to the afterlife.
Waterlily path, where the Bayek hears the judgments of the gods. (Photo: Ubisoft)
(2) Tutankhamun’s Tomb
As with the base game, the attention to detail in the expansion is phenomenal. There is intention behind the placement of every object, and wall scene. For example, Tutankhamun’s tomb is filled to the brim with royal funerary grave goods, while the others are mostly empty – picked clean in antiquity. This reflects reality: Tutankhamun’s tomb, though still looted at least twice in antiquity, was promptly resealed and eventually lost after the stairs were mistakenly buried.The one criticism I have for Tutankhamun’s tomb is the entrance: it should have been inaccessible from the surface due to the Ramesside workmen’s huts which blocked the stairs until Carter’s rediscovery of the tomb in the 1920s.
Treasury room in the tomb of Tutankhamun (Photo: Ubisoft)
Another detail worth mentioning were the thrones of the pharaohs within their afterlives. Each throne has a famous scene depicted on the back of the seat – though I would say the scene from Tutankhamun’s throne is most recognizable. The throne bears the same scene found on one of his many funerary chairs. The throne (JE 62028) made its home in the Egyptian Museum, but will soon be displayed together with the entire Tutankhamun collection in the Grand Egyptian Museum which is currently under construction at Giza.
This is where this add-on gets to really commit to the idea of Egyptian mythology, and it makes good on the opportunity. Every afterlife setting is splendidly unique, but there are constants that tie them all together. The enemy guards are jackals instead of humans. Unsettling ba-birds (ostensibly birds with human heads) flock to most every edifice. Giant scorpions rove freely, acting as passive guardians of the land.
Designers need to use JavaScript libraries or custom code to detect scroll events and trigger the animations accordingly. However, there are also pre-designed templates and plugins available that make it easier for designers to add these effects to their websites without extensive coding. While magic clip elements can greatly enhance user experience and add visual appeal to a website, it is important to use them judiciously. Overusing animations can be distracting and may slow down the overall performance of the webpage, leading to a negative user experience. It is essential to strike a balance between aesthetics and functionality when implementing these effects. In conclusion, magic clip elements bring a touch of magic and interactivity to web design by seamlessly animating page elements as users scroll down a webpage. These elements enhance the user experience, draw attention to important information, and add visual interest to the website. However, it is crucial to use these effects carefully and consider their impact on performance to ensure a positive overall user experience..
Reviews for "The Secrets of Clip Elements: Unleashing the Magic in Your Designs"
1. John - 2/5 - I was really disappointed with the Magic Clip Elements. The clips were difficult to use and didn't hold my hair in place securely. I also found that they left creases in my hair when I removed them. Overall, I wouldn't recommend them.
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5. Alex - 2/5 - The Magic Clip Elements were a letdown for me. They didn't provide enough grip for my fine hair and would often slip out. I also found that the clips were too small for my liking and would poke into my scalp. I'll be sticking to my usual hair accessories from now on.