The requested URL /?m=201112 was not found on this server. Additionally, a 404 Not Found error was encountered while trying to use an ErrorDocument to handle the request.Before you can vote for cool new LEGO sets, or submit your own you'll need to sign in with or register for a LEGO ID: You're currently signed in to LEGO ID as . Would you like to sign in to LEGO Ideas with this LEGO ID? LEGO Ideas is designed for older builders. We’re sorry, but based on the birth date we have on file for you, this means we can't let you have an account here. Create and Share Galleries as a place to share your models with other LEGO builders like you. Are you sure you want to log out of LEGO Ideas? Official LEGO Comments 1 The Vega-7 Space Lander is a Lego play set concept in the Classic Space theme. The play set consists of a landing module, a rover vehicle, and four (4) Lego minifigures. Given the tremendous success of the Lego Ideas Exo-Suit set that featured two Classic Space minifigures in the previously unreleased color of green, the Classic Space minifigures proposed for this set are in the previously unreleased colors of orange (X2) and light gray (X2).
In addition to featuring unique Lego minifigures and other special elements that are sure to attract adult fans (such as windscreens never before released in transparent yellow), this proposed set is well detailed and designed with maximum playability in mind. The main landing module has the following fun features: Folding landing legs neatly tucked in underneath the module which expose the landing thrusters when extended Exterior ladders and extendible radar dish Exterior lifting airlock hatch and interior sliding airlock door designed to fit one minifigure Two command stations with swiveling chairs, control pads and transparent data screens Medical lab with examination table Workshop with bench and tools Spacesuit storage area where the helmets and air tanks for all four minifigures can be placed and exchanged for hair pieces. Perhaps the most exciting feature of the landing module is its roof. Rather than having a plain removable roof with no play value, the top of the module is actually a separate saucer-shaped spaceship!
This allows play to continue inside the landing module "base" while the saucer spaceship goes off on other adventures. The spaceship can hold up to three (3) minifigures and features a detailed cockpit, ejection seats, and spring-loaded shooters. Additionally, once the spaceship top is removed the landing module "base" is hinged to open into two halves. This expands the play area and allows for easier access to interior play elements. The large windscreens of the module are also designed to remove easily. The final part of this play set is the rover vehicle. Although the rover itself is not stored in or incorporated into the lander, it is included in the set to fulfill the need for wheeled fun! The rover has a detailed cab, big tires, removable side rockets (or sensors), front utility arms, scanner dishes, and a storage container in the back. As a throwback to Classic Space set #6841 Mineral Detector, the scanner dishes for the rover can be mounted to the extended utility arms.
In designing this set it was important to use the least amount of parts possible while still maintaining a sturdy, playable model. The initial concept was for a space base on fixed supports attached to baseplates, also hinged to open. This concept used less parts but had most of the same play features as the final concept. Ultimately, the decision was made to turn it into lander with folding legs so it would have more playability than a static base. Construction methods used in Lego's Alien Conquest and Galaxy Squad series sets were studied and incorporated to reduce the total part count so that the final set might not be too expensive and also for the construction level to be moderately challenging for children age 9 and up. Thank you for taking the time to check out my Lego Ideas design submission. I feel it is a rather fun and well designed concept that provides a lot of playability for kids while also appealing to adult builders and collectors. Hopefully it will get the necessary support to reach the official review level!
Though The Brothers Brick couldn’t make it to New York this year for Toy Fair, our friends over at FBTB attended both the press event and the full show, to bring everyone great pictures of new and upcoming LEGO sets. LEGO Star Wars returns to Episode I: The Phantom Menace with a number of new sets that refresh designs from 10 or more years ago, including podracers and Darth Maul’s Sith Infiltrator. LEGO expands its Disney/Pixar line with a System-scale Cars theme. I’m personally most intrigued by the new Alien Conquest theme, which, if it’s anything like Agents or NinjaGo, has serious potential to be rather awesome. (Xenophobic blah blah blah. I’ll apologize on behalf of humanity when the little green men show up at my front door.) Check out all of the different themes on FBTB.net.Tell all your friends!From Wikipedia, the free encyclopedia This page is based on a Wikipedia article written by Text is available under the CC BY-SA 4.0 license;
additional terms may apply. Images, videos and audio are available under their respective licenses. Cover photo is available under {{::mainImage.info.license.name || Add your first bookmark by selecting some text or hovering over a link. Look for the bookmark icon. Already have this bookmark Date: {{(current.info.date | date:'mediumDate') || Uploaded by: {{current.info.uploadUser}} on {{current.info.uploadDate | date:'mediumDate'}} License: {{current.info.license.usageTerms || current.info.license.name || current.info.license.detected || View file on Wikipedia Thanks for reporting this video!Use keywords to find the product you are looking for. only in this department Join Our Mailing List For Email Newsletters you can trustby David RooneyIf the gatekeepers of classic screen sci-fi are at all anxious about the stamp that director Denis Villeneuve might put on his upcoming Blade Runner project � a sequel coming 35 years after the iconic original � then the class, intelligence and cool visual style of Arrival should provide reassurance.
How refreshing to watch an alien contact movie in which no cities are destroyed or monuments toppled, and no adversarial squabbling distracts the human team from the challenges of their complex interspecies encounter. Anchored by an internalized performance from Amy Adams rich in emotional depth, this is a grownup sci-fi drama that sustains fear and tension while striking affecting chords on love and loss.Paramount's Nov. 11 U.S. release is significant in its distance from the summer popcorn field, instead going in among the end-of-year prestige pictures. That means genre fanboys are less likely to be its target audience than discerning adults, who should be drawn in by the contemplative drama's fascinating questions about our concepts of time and its order, memory, communication, and more indirectly, life and death.Scripted by Eric Heisserer based on Story of Your Life, by short-fiction writer Ted Chiang, Arrival is more or less the anti-Independence Day. Instead, Villeneuve's film asserts its place among far more nuanced interplanetary explorations such as Close Encounters of the Third Kind, Contact and the more ponderous (and far less humanistic) Interstellar, as well as in a venerable tradition of cerebral literary sci-fi.
Its logic isn't always quite 100 percent clear but it's always interesting.Adams plays Dr. Louise Banks, a divorced linguistics professor who lives alone since losing her 12-year-old daughter Hannah to a rare form of cancer. In an opening voiceover set, as is the beautiful concluding scene, to the somber strings of Max Richter's "On the Nature of Daylight," Louise talks to the departed Hannah. "There are days that define your story beyond your life," she says. "Like the day they arrived."The "they" of that sentence is 12 alien spacecraft that land at 12 seemingly random points around the globe � 1,500 feet high, elongated egg shapes suspended just above the ground. Having translated sensitive Farsi documents for the military, Louise is recruited by Colonel Weber (Forest Whitaker), along with theoretical physicist Ian Donnelly (Jeremy Renner), to travel to Montana where the nearest spaceship arrived and to attempt to make contact with its occupants. CIA Agent Halpern (Michael Stuhlbarg) is the chief government liaison on the ground.
While the spacecraft appear to cause no gas, waste or emissions of any kind to be released into the atmosphere, they are viewed as a threat, causing widespread alarm � people start panic-buying, looting and violence break out, stocks plummet. An international state of emergency is declared to deal with what excitable news pundits are calling the "alien crisis," and China and Russia get especially nervous.To the credit of Heisserer's thoughtful screenplay, those factors are relegated to steadily reverberating background noise as Louise, Ian and their military escorts make a series of exploratory forays inside the Montana spacecraft. Those initial scenes are both scary and poetic, as minimal gravity allows them to float up into an antechamber where a window opens and two aliens materialize out of the dense, cloud-like mist within. Dubbed heptapods, the massive creatures look like blobby crosses between an octopus and a spider, and Johann Johannsson's unsettling music � an ominous drone punctuated by horn blasts that sound like otherworldly whale calls � underscores their strange majesty.
While Weber and Halpern want fast answers, Louise refuses to be rushed, explaining that no communication can be successful without the fundamental language tools in place. That takes her back in her head to the verbal development of Hannah (played at different ages by Abigail Pniowsky and Julia Scarlett Dan), and plants a captivating sense of the personal in her interactions with the heptapods. Remaining behind a transparent protective barrier, the aliens respond to Louise by fanning out a single tentacle into a splayed claw, which squirts an inky fluid that then forms into circular hieroglyphs.With weeks of work, those symbols are decoded into a basic language, starting with names and working up to more challenging questions about the heptapods' purpose on Earth. Some of this involves nuggets of linguistic relativity, science and mathematical geek-speak. But the refusal of the director and screenwriter to talk down to their audience � or to be afraid of giving Arrival intellectual as well as dramatic life � is one of the movie's chief strengths.
Likewise, the absence of heavy-handedness in its sociopolitical message of progress through unity and open dialogue.Another is Adams' moving performance. Restraint is very much the defining note here, but within that generally muted emotional palette, Louise registers as a woman who has accepted her solitude and pain while never attempting to cover her deep wound. That makes her extraordinarily receptive to connecting with a mysterious species whose intent is automatically interpreted by much of the planet as hostile. Renner is given less to do, though the mutual respect and burgeoning friendship between Ian and Louise is drawn in gentle, affecting strokes by both actors. Their rapport builds to a touching final reveal that earns its emotional impact subtly, not with the usual flood of sentiment.The film arguably could have used an occasional touch of humor, though Ian's amusing discovery that Sheena Easton had hits in the '80s in all the nations hosting spacecraft is a cute aside.Cinematographer Bradford Young shoots the drama in a graceful, composed style, adhering to a sober, calmly observational approach even when temperatures onscreen are at their highest and nerves at their most jangled.