Blurr is the name given to seven different fictional characters in the many continuities in the Transformers franchise. Blurr appears as a blue Autobot who transforms into a swift car. In the American version of several series, he is voiced by John Moschitta, Jr. who held the Guinness Book of World Records title for world's fastest talker until the category was eliminated. Blurr is the fastest Autobot on land, he was used by the Autobots as a high-speed messenger. Blurr was portrayed having fast-speaking mannerisms, a nervous streak when dealing with his superiors. Despite this, he is friend; when he became a Targetmaster, he was paired with Haywire, an impulsive and excitable Nebulan youngster. With his top speed of 800 miles-per-hour, Forbes named Blurr as the fastest fictional car in 2008. Blurr first appeared in The Transformers: The Movie, he continued to appear in season 3 of the television series as one of Rodimus Prime's closest allies. Noted for his fast talking, quick wit, he could be seen as a replacement for Bluestreak, among the fastest Autobots.
Blurr was shown as a companion to Wheelie or Wreck-Gar, who had unique styles of speaking. Blurr and Wheelie could be seen as comic relief amongst the Season 3 cast. Blurr first appeared in the movie, but continued to have several notable appearances over the course of the show. In "Five Faces of Darkness", he and Wheelie are charged with delivering the Transformation Cog to Metroplex; this subplot runs through the entire five parter, introduces the Predacons, a new Decepticon Combiner team. In addition they are the first to meet Sky Lynx, an arrogant but heroic Autobot transport shuttle, Marissa Fairborne of the EDC. Following this Blurr would have a starring role in "Forever is a Long Time Coming", in which he, Blaster and Wreck-Gar assist a young Alpha Trion in a Quintesson overthrow. Blurr would be a key player in the retrieval of the "Quintesson Journal". Blurr appears in "Face of the Nijika", where he is injured and for the first time talks at normal pace. Blurr would be among the uninfected Autobots to team up with Optimus Prime in "The Return of Optimus Prime".
In the three-part fourth series, "The Rebirth", Blurr became a Targetmaster, with his partner Haywire. His voice was supplied by well-known fast-talking actor John Moschitta, Jr. whose vocal talents complemented Blurr's high-velocity nature. In the Japanese exclusive Transformers: The Headmasters series the events of The Rebirth were ignored. Blurr continued to appear as a member of the cast, never became a Targetmaster. Instead he joined Rodimus Kup in searching for a new home world for the Transformers; the Japanese version of the animated series portrayed Blurr as stuttering, not speaking as he did in the English version. Blurr appeared in the 1986 coloring book The Lost Treasure of Cybertron by Marvel Books. Blurr appeared in the 1988 Ladybird Books story Decepticons at the Pole by John Grant. In Dreamwave's Generation One series, Blurr was a member of a cell of Autobots led by Kup, they were in resistance to the leadership of Shockwave on Cybertron. After they managed to rescue Prime and the rest of the group helped Optimus Prime and Ultra Magnus overthrow Shockwave.
Although Targetmaster Blurr received biography pages in Dreamwave's More Than Meets The Eye series, he never appeared in the comic stories before the company closed. Blurr had his own one-shot story in IDW's The Transformers: Spotlight series on November 2008. Blurr first appeared in the Headmasters limited series as one of the Autobot crew led by Fortress Maximus, he became a Targetmaster in the final issue of the series. Blurr first appeared in the regular Transformers series in issue #42, where he joined up with the Earth Autobots, served under Optimus Prime. Although Blurr did not receive a big role in the US comics, he played a large role in writer Simon Furman's UK stories. Blurr's first chronological appearance came in the Marvel UK Transformers Target: 2006 arc, he was unwittingly sent by Unicron alongside Hot Rod and Kup, thwarting the future Decepticon Galvatron in his plan to destroy Unicron in 1986 with aid from the present-day Ultra Magnus. He would appear in many of the movie-future themed stories, time-traveling again with Kup and Hot Rod to recapture Galvatron and stop Death's Head, battling against the Unicron-controlled Decepticons on Cybertron in Prime's absence and battling the Quintessons on Earth.
Things would come to a head when Galvatron's continued presence in the past opened a time rift that threatened to destroy Earth and Cybertron. Blurr was part of the group led back by Rodimus Prime to deal with the threat, but they could not stand against Galvatron and his ally - a clone of Megatron. Only Optimus Prime's defeat of Galvatron and Shockwave depositing Cyclonus' body into the rift saved everything. Blurr and the other future Autobots returned find to their own time-stream changed to a different, darker future, where Galvatron was alive and ruling most of Cybertron. Blurr appeared among the Autobots under the command of Rodimus Prime in the alternate future story "Aspects of Evil 2" from Marvel UK Transformers #224. In this story Rodimus Prime remembered how Galvatron, Crankcase and Windsweeper killed Blurr and attacked Rodimus Prime, Kup and the Battle Patrol. Enraged, Rodimus nearly killed Galvatron, but to keep the Matrix from being contaminated by hatred he relented. Blurr is one of eight playable characters in the 1986 Commodore 64 video game Transformers: The Battle to Save
D. P. 7 was a comic book series published by Marvel Comics as part of its New Universe imprint. It ran for 32 issues and an annual, which were published from 1986 to 1989; the title refers to the seven main characters of the series. All of them received superhuman powers as a result of the stellar phenomenon known as the White Event. D. P. 7 was the only New Universe series to maintain a stable creative team during its first year: its entire run was written by Mark Gruenwald, penciled by Paul Ryan, colored by Paul Becton. Inker Danny Bulanadi and letterer Janice Chiang stayed with D. P. 7 through to the final issue. Eager for the chance to work on "a virgin universe", writer Mark Gruenwald signed on to the New Universe staff and developed D. P. 7, shocking many readers who saw Gruenwald as associated with the Marvel Universe. In an effort to set the series apart from other team books, Gruenwald wrote an analysis of 14 superhero groups in categories such as age makeup, origin and budget, deliberately constructed the group to differ from these 14 established groups in every category.
He wanted the series to be called "Missing Persons", with a lineup consisting of Antibody, the Blur, Man Power, Quicksand and Vice Versa. Of these six, only the Blur and Twilight were included in the finalized lineup, though the name "Antibody" was used for a different character and the character Vice Versa served as a minor villain of the series. Gruenwald changed the name to "M. P. 7", before Jack Morelli suggested D. P. 7. Gruenwald explained, "I wanted the book to have a real punk - new wave - name."At the time that he conceived the "Missing Persons" skeleton concept, Gruenwald was working on the final issues of the Squadron Supreme limited series with penciler Paul Ryan. He invited Ryan to work with him on the New Universe series, he recounted his experience working on the series: "Mark believed in the New Universe and the cast of D. P. 7. We talked about them as if they were people we cared about. We brought many of our real-life experiences, both negative, to the series. We loved our characters."Despite the creators' enthusiasm, the series met with mixed reactions from readers.
Many criticized the fact that though the New Universe lineup was supposed to take place in real time, the first 13 issues of D. P. 7 cover less than half a year in New Universe time. The remaining 19 issues were criticized for the way the series branched off into an increasing number of unrelated plotlines and an overwhelming large cast, Gruenwald himself admitted at the time that "D. P. 7 hasn't been seven guys for a while, not the original seven." The lack of a central plotline stemmed from the fact that Gruenwald did not plot the series more than one issue in advance. Praise for D. P. 7 tended to center on its compelling characters mainstays Randy O'Brien and David Landers. D. P. 7 was canceled in June 1989 along with the rest of the New Universe line. The creators' interest in the characters remained, in Quasar #31, Gruenwald has Quasar travel to the New Universe, thus allowing the D. P. 7 cast to guest-star in the issue. Ryan claims that he and Gruenwald had discussed doing a D. P. 7 limited series or graphic novel.
Randy O'Brien first encounters David Landers. Landers rages until two dark arms spring from O'Brien's torso that restrain him long enough for O'Brien to give Landers a tranquilizer that renders him unconscious; the two compare their experiences, O'Brien reads a classified ad for the Clinic for Paranormal Research, a facility designed to help individuals who've acquired strange abilities. He relays the information to Landers and they travel to the Clinic under assumed names, they are at first convinced of the Clinic staff's sincerity and are enrolled into Therapy Group C, where they meet Walters, Cuzinski and Fenzl. Late one night, O'Brien's antibody intrudes on the Clinic staff, at least four of whom are paranormals themselves, learn the Clinic has plans to make an army out of them, to be led by Philip Nolan Voigt, the Clinic director. Therapy Group C fights off the Clinic staff and the paranormal Hackbarth, who can manipulate others' nervous systems, they escape into the night and over the next few months, the paranormals adjust to life with their powers.
They are apprehended by bounty hunters and returned to the Clinic. O'Brien and Landers, the last two to arrive, find their friends have been behavior-modified to not remember their escape or the Clinic's ulterior motives. O'Brien and Landers defeat Voigt and he disappears from the Clinic. Although he reappears to run for President of the United States in 1988. Without Voigt and his senior staff to surreptitiously maintain order, paranormals at the Clinic soon form their own special interest groups/gangs; the potential for disaster is soon fulfilled, law enforcement comes in to shut the Clinic down, killing many of the patients in the process. By this time, most of the reformed Therapy Group C left to find Walters, who
In photography, bokeh is the aesthetic quality of the blur produced in the out-of-focus parts of an image produced by a lens. Bokeh has been defined as "the way the lens renders out-of-focus points of light". Differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way, pleasing to the eye, while others produce blurring, unpleasant or distracting. Bokeh occurs for parts of the scene. Photographers sometimes deliberately use a shallow focus technique to create images with prominent out-of-focus regions. Bokeh is most visible around small background highlights, such as specular reflections and light sources, why it is associated with such areas. However, bokeh is not limited to highlights; the term comes from the Japanese word boke, which means "blur" or "haze", or boke-aji, the "blur quality". The Japanese term boke is used in the sense of a mental haze or senility; the term bokashi is related, meaning intentional gradation. The English spelling bokeh was popularized in 1997 in Photo Techniques magazine, when Mike Johnston, the editor at the time, commissioned three papers on the topic for the May/June 1997 issue.
The spellings bokeh and boke have both been in use since at least 1996, when Merklinger had suggested "or Bokeh if you prefer." The term bokeh has appeared in photography books as early as 1998. It is sometimes pronounced. Though difficult to quantify, some lenses have subjectively more pleasing out-of-focus areas. "Good" bokeh is important for macro lenses and long telephoto lenses, because they are used in situations that produce shallow depth of field. Good bokeh is important for medium telephoto lenses; when used in portrait photography, the photographer wants a shallow depth of field, so that the subject stands out against a blurred background. Bokeh characteristics may be quantified by examining the image's circle of confusion. In out-of-focus areas, each point of light becomes an image of the aperture a more or less round disc. Depending on how a lens is corrected for spherical aberration, the disc may be uniformly illuminated, brighter near the edge, or brighter near the center. A well-known lens that exhibited the latter "soap-bubble" characteristic was that produced by Hugo Meyer & Co. more revived by Meyer Optik Görlitz.
Lenses that are poorly corrected for spherical aberration will show one kind of disc for out-of-focus points in front of the plane of focus, a different kind for points behind. This may be desirable, as blur circles that are dimmer near the edges produce less-defined shapes which blend smoothly with the surrounding image; the shape of the aperture has an influence on the subjective quality of bokeh as well. For conventional lens designs, when a lens is stopped down smaller than its maximum aperture size, out-of-focus points are blurred into the polygonal shape formed by the aperture blades; this is most apparent. For this reason, some lenses have many aperture blades and/or blades with curved edges to make the aperture more approximate a circle rather than a polygon. Minolta has been on the forefront of promoting and introducing lenses with near-ideal circular apertures since 1987, but most other manufacturers now offer lenses with shape-optimized diaphragms, at least for the domain of portraiture photography.
In contrast, a catadioptric telephoto lens renders bokehs resembling doughnuts, because its secondary mirror blocks the central part of the aperture opening. Photographers have exploited the shape of the bokeh by creating a simple mask out of card with shapes such as hearts or stars, that the photographer wishes the bokeh to be, placing it over the lens. Lenses with 11, 12, or 15 blade iris diaphragms are claimed to excel in bokeh quality; because of this, the lenses do not need to reach wide apertures to get better circles. In the past, wide aperture lenses were expensive, due to the complex mathematical design and manufacturing know-how required, at a time when all computations and glass making were done by hand. Leica could reach a good bokeh at f/4.5. Today it is much easier to make an f/1.8 lens, a 9-bladed lens at f/1.8 is enough for an 85mm lens to achieve great bokeh. Some lens manufacturers including Nikon and Sony make lenses designed with specific controls to change the rendering of the out-of-focus areas.
The Nikon 105 mm DC-Nikkor and 135 mm DC-Nikkor lenses have a control ring that permits the overcorrection or undercorrection of spherical aberration to change the bokeh in front of and behind the focal plane. The Minolta/Sony STF 135mm f/2.8 is a lens designed to produce pleasing bokeh. It is possible to choose between another with 10 blades. An apodization filter is used to soften the aperture edges which results in a smooth defocused area with fading circles; those qualities made it the only lens of this kind on the market from its introduction in 1999 to 2014. In 2014 Fujifilm announced a lens utilizing a similar apodization filter in the Fujinon XF 56mm F1.2 R APD lens. Sony added the Sony FE 100mm F2.8 STF GM OSS in
Forever Neverland is the second studio album by Danish singer and songwriter MØ. It was released on 19 October 2018 by Columbia Records, it is her first full-length release since her debut studio album No Mythologies to Follow, comes after her second EP When I Was Young. The album was preceded by five singles: "Nostalgia", "Sun in Our Eyes" featuring Diplo, "Way Down", "Imaginary Friend" and "Blur"; the album features collaborations with Charli XCX, What So Not, Two Feet and Empress Of. A year after the release of her debut album, MØ announced. On April 2015, MØ released a draft of the song "Kamikaze", authorized by Mads Kristiansen. MØ traveled to New York to reunite with American DJ Diplo, where he produced the song. On 15 October 2015, MØ released her single "Kamikaze" and it has reached the top 40 in Belgium and Denmark. MØ traveled to Los Angeles to release a new song, she sent the lyrics to MNEK to produce the new song. On 13 May 2016, she released "Final Song" intended for her second album.
"Final Song" reached the top 5 in Denmark, the top 20 in Australia and the United Kingdom, the top 100 in Canada and Sweden. She worked with Sophie, Benny Blanco and Cashmere Cat on "Nights with You", the planned third single of the album, which premiered on MistaJam's BBC Radio 1, it was released on 21 April 2017. On 1 January 2018, MØ explained in an interview how her life has been changed after gaining international recognition for her collaboration with Major Lazer and DJ Snake on "Lean On", she once again collaborated with Major Lazer for "Cold Water" featuring Canadian singer Justin Bieber. She said that her EP "When I Was Young" is her first major release following the success of both Major Lazer's "Lean On" and "Cold Water", she admitted that the "new tracks might not be what new fans might expect following those two features and the others she's done since 2015, but that might not be such a bad thing". She has been working for four years on her new album, because after the success of "Lean On" and "Cold Water", MØ thought that she "needed to put out a little compilation of songs that done over the years that have felt personal to ", before going into that second album phase.
On 12 July 2018, MØ teased her second album with the release of her new single "Sun in Our Eyes". On September 7 she revealed the album's cover and that the album will be released on 19 October 2018, she revealed that the other singles "Kamikaze", "Final Song" and "Nights with You" will only be available in the Japanese edition. On 28 March 2018, MØ released the album's lead single "Nostalgia" for streaming and digital download. MØ released the official vertical music video on 3 May 2018 via YouTube. On 12 July 2018, "Sun in Our Eyes" was released; the song peaked at number 17 on the Flemish Ultratop chart and at number 32 on New Zealand's Hot 40 Singles. The music video was released on 8 August 2018 on YouTube. On 7 September 2018, "Way Down" was released as the album's third single. On 21 September 2018, "Imaginary Friend" was released; the official music video was released on the same day."Blur" was released on 14 October 2018 as the album's fifth single. At Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, the album received an average score of 69, based on 13 reviews, indicating "generally favorable reviews".
Writing for Pitchfork, Dani Blum wrote that the album's "tracklist here reads like a who's who of frat-party EDM: Diplo once again makes his mark, as does the former Flume appendage What So Not. Most of the album dissolves into tingly club tracks with more texture than the average dancefloor hit." Blum summarised that most of the tracks on Forever Neverland are too "oversaturated and exhausting" with only occasional moments of "real shimmer". Neil Z. Yeung of AllMusic gave the album 3 out of 5 stars, saying, "Forever Neverland contains enough catchy moments to warrant a listen, but remains fodder for de rigueur 2010s alt-pop playlists." Will Richards of DIY said, "there's nothing of the size or scale of'Lean On', but in unapologetically treading her own path, MØ's beginning to carve a new identity all of her own." Harriet Willis of The Skinny called it "a masterpiece that puts MØ on her own pedestal as an individual artist rather than a recurring feature." Notes ^ signifies a vocal producer ^ signifies an executive producer All album vocal production work was handled by Erik Eger, Andy Steinway and Dillon Zachara, except where noted
In optics, defocus is the aberration in which an image is out of focus. This aberration is familiar to anyone who has used a camera, microscope, telescope, or binoculars. Optically, defocus refers to a translation of the focus along the optical axis away from the detection surface. In general, defocus reduces the contrast of the image. What should be sharp, high-contrast edges in a scene become gradual transitions. Fine detail in the scene is blurred or becomes invisible. Nearly all image-forming optical devices incorporate some form of focus adjustment to minimize defocus and maximize image quality; the degree of image blurring for a given amount of focus shift depends inversely on the lens f-number. Low f-numbers, such as f/1.4 to f/2.8, are sensitive to defocus and have shallow depths of focus. High f-numbers, in the f/16 to f/32 range, are tolerant of defocus, have large depths of focus; the limiting case in f-number is the pinhole camera, operating at f/100 to f/1000, in which case all objects are in focus regardless of their distance from the pinhole aperture.
The penalty for achieving this extreme depth of focus is dim illumination at the imaging film or sensor, limited resolution due to diffraction, long exposure time, which introduces the potential for image degradation due to motion blur. The amount of allowable defocus is related to the resolution of the imaging medium. A lower-resolution imaging chip or film is more tolerant of other aberrations. To take full advantage of a higher resolution medium and other aberrations must be minimized. Defocus is modeled in Zernike polynomial format as a, where a is the defocus coefficient in wavelengths of light; this corresponds to the parabola-shaped optical path difference between two spherical wavefronts that are tangent at their vertices and have different radii of curvature. For some applications, such as phase contrast electron microscopy, defocused images can contain useful information. Multiple images recorded with various values of defocus can be used to examine how the intensity of the electron wave varies in three-dimensional space, from this information the phase of the wave can be inferred.
This is the basis of non-interferometric phase retrieval. Examples of phase retrieval algorithms that use defocused images include the Gerchberg–Saxton algorithm and various methods based on the transport of intensity equation. In casual conversation, the term blur can be used to describe any reduction in vision. However, in a clinical setting blurry vision means the subjective experience or perception of optical defocus within the eye, called refractive error. Blur may appear differently depending on the type of refractive error; the following are some examples of blurred images that may result from refractive errors: The extent of blurry vision can be assessed by measuring visual acuity with an eye chart. Blurry vision is corrected by focusing light on the retina with corrective lenses; these corrections sometimes have unwanted effects including magnification or reduction, color fringes, altered depth perception. During an eye exam, the patient's acuity is measured without correction, with their current correction, after refraction.
This allows the optometrist or ophthalmologist to determine the extent refractive errors play in limiting the quality of the patient's vision. A Snellen acuity of 6/6 or 20/20, or as decimal value 1.0, is considered to be sharp vision for an average human. Best-corrected acuity lower than, an indication that there is another limitation to vision beyond the correction of refractive error. Optical defocus can result from incorrect corrective lenses or insufficient accommodation, as, e.g. in presbyopia from the aging eye. As said above, light rays from a point source are not focused to a single point on the retina but are distributed in a little disk of light, called the blur disk, its size depends on pupil size and amount of defocus, is calculated by the equation d = 0.057 p D. In linear systems theory, the point image is referred to as the point spread function; the retinal image is given by the convolution of the in-focus image with the PSF. Bokeh Shape from defocus Smith, Warren J. Modern Optical Engineering, McGraw–Hill, 2000, Chapter 11, ISBN 0-07-136360-2
Motion blur is the apparent streaking of moving objects in a photograph or a sequence of frames, such as a film or animation. It results when the image being recorded changes during the recording of a single exposure, due to rapid movement or long exposure; when a camera creates an image, that image does not represent a single instant of time. Because of technological constraints or artistic requirements, the image may represent the scene over a period of time. Most this exposure time is brief enough that the image captured by the camera appears to capture an instantaneous moment, but this is not always so, a fast moving object or a longer exposure time may result in blurring artifacts which make this apparent; as objects in a scene move, an image of that scene must represent an integration of all positions of those objects, as well as the camera's viewpoint, over the period of exposure determined by the shutter speed. In such an image, any object moving with respect to the camera will look blurred or smeared along the direction of relative motion.
This smearing may occur on an object, moving or on a static background if the camera is moving. In a film or television image, this looks natural because the human eye behaves in much the same way; because the effect is caused by the relative motion between the camera, the objects and scene, motion blur may be avoided by panning the camera to track those moving objects. In this case with long exposure times, the objects will appear sharper, the background more blurred. In computer animation this effect must be simulated as a virtual camera does capture a discrete moment in time; this simulated motion blur is applied when either the camera or objects in the scene move rapidly. Without this simulated effect each frame shows a perfect instant in time, with zero motion blur; this is why a video game with a frame rate of 25-30 frames per second will seem staggered, while natural motion filmed at the same frame rate appears rather more continuous. Many modern video games feature motion blur vehicle simulation games.
Some of the better-known games that utilise this are the recent Need for Speed titles, Unreal Tournament III, The Legend of Zelda: Majora's Mask, among many others. There are two main methods used in video games to achieve motion blur: cheaper full-screen effects, which only take camera movement into mind, more "selective" or "per-object" motion blur, which uses a shader to create a velocity buffer to mark motion intensity for a motion blurring effect to be applied to or uses a shader to perform geometry extrusion. Classic "motion blur" effects prior to modern per-pixel shading pipelines simply drew successive frames on top of each other with slight transparency, speaking a form of video feedback. In pre-rendered computer animation, such as CGI movies, realistic motion blur can be drawn because the renderer has more time to draw each frame. Temporal anti-aliasing produces frames as a composite of many instants. Frames are not points in time, they are periods of time. If an object makes a trip at a linear speed along a path from 0% to 100% in four time periods, if those time periods are considered frames the object would exhibit motion blur streaks in each frame that are 25% of the path length.
If the shutter speed is shortened to less than the duration of a frame, it may be so shortened as to approach zero time in duration the computer animator must choose which portion of the quarter paths they wish to feature as "open shutter" times. They may choose to render the beginnings of each frame, in which case they will never see the arrival of the object at the end of the path, or they may choose to render the ends of each frame, in which case they will miss the starting point of the trip. Most computer animations systems make the classic "fence-post error" in the way they handle time, confusing the periods of time of an animation with the instantaneous moments that delimit them, thus most computer animation systems will incorrectly place an object on a four frame trip along a path at 0%, 0.33%, 0.66%, 1.0% and when called upon to render motion blur will have to cut one or more frames short, or look beyond the boundaries of the animation, compromises that real cameras don't do and synthetic cameras needn't do.
Motion lines in cel animation are drawn in the same direction as motion blur and perform much the same duty. Go motion is a variant of stop motion animation that moves the models during the exposure to create a less staggered effect. In 2D computer graphics, motion blur is an artistic filter that converts the digital image/bitmap/raster image in order to simulate the effect. Many graphical software products offer simple motion blur filters. However, for advanced motion blur filtering including curves or non-uniform speed adjustment, specialized software products are necessary; when an animal's eye is in motion, the image will suffer from motion blur, resulting in an inability to resolve details. To cope with this, humans alternate between saccades and fixation. Saccadic masking makes motion blur during a saccade invisible. Smooth pursuit allows the eye to track a target in rapid motion, eliminating motion blur of that target instead of the scene. In televised sports, where conventional cameras expose pictures 25 or 30 times per second, motion blur can be inconvenient because it obscures the exact position of a projectile or athlete in slow motion.
For this reason special cameras are used which eliminate motion
Clark Kent (Smallville)
Clark Kent is a fictional character on the television series Smallville. The character of Clark Kent, first created for comic books by Jerry Siegel and Joe Shuster in 1938 as the alternate identity of Superman, was adapted to television in 2001 by Alfred Gough and Miles Millar; this is the fourth time. Clark Kent has been played continually by Tom Welling, with various other actors portraying Clark as a child; the character has appeared in various literature based on the Smallville series, all of which are independent of the television episodes. As of 2011, Smallville's Clark Kent has appeared in eighteen young adult novels. In the series, Clark Kent attempts to live the life of a normal human being, struggles with keeping the secret of his alien heritage from his friends, he has an on-again, off-again relationship with Lana Lang through the first seven seasons, the trials of which are based on his lack of honesty about his secret. In contrast to previous incarnations of the character, this Clark Kent starts out best friends with Lex Luthor, whom he meets after saving the latter's life.
The pair's friendship deteriorates into hatred for one another. In Smallville, Clark's powers appear over time, as he is not aware of all of them at the start of the show; when developing Smallville's version of Clark Kent, the producers decided to strip him down to the "bare essence" of Superman. In the series, he has been seen by critics, intentionally portrayed by the filmmakers, as a symbolic representation of Jesus Christ. Tom Welling has been nominated for multiple Teen Choice and Saturn Awards for his portrayal of Clark Kent since the show's first season. Clark Kent first appears in the pilot episode of Smallville as a teen with superhuman abilities that he uses to help others. Clark is adopted by Jonathan and Martha Kent as an infant, when he crash lands on Earth on the day of the Smallville meteor shower in 1989. Twelve years trying to find his place in life after being told he is an alien by his adoptive father, Clark saves the life of Lex Luthor, the son of billionaire Lionel Luthor, the pair become quick friends.
During season one, Clark struggles with the burden of keeping his powers a secret from those close to him. In particular, he is afraid to open up to Lana Lang for fear that she would not accept him if she learned of his supernatural abilities. In the season two episode "Rosetta", Clark learns of his Kryptonian heritage, including his native language, his birth name, his birth father's Jor-El plan for him to rule the world. Fearful that he will not be able to control his own destiny, Clark runs away to Metropolis in the season two finale, leaving behind Lana, with whom he had started to develop a romantic relationship. In the season three premiere, three months Clark is brought home by Jonathan, who has agreed to allow Jor-El to take Clark at an undetermined time in the future. In the season three finale, a girl calling herself Kara arrives at the Kent farm and claims to be from Krypton. After Kara predicts that Clark's friends are destined to leave or betray him, Clark decides to leave Smallville for good.
When Jonathan attempts to intervene, Jor-El threatens to kill him. To save his adoptive father's life, Clark agrees to go through with his decision to leave. In the season four premiere, Clark returns to Smallville, he has been "reprogrammed" by Jor-El to seek out the three stones of knowledge so he may fulfill his destiny. He meets Lois Lane, investigating the supposed death of her cousin, Clark's best friend, Chloe Sullivan. Clark, with help from his mother, regains control over his mind and consciously refuses to look for the stones. In the season four finale, a "great evil" is awakened in space after Clark defies Jor-El's instructions and fails to obtain the three stones of knowledge. With a new meteor shower hitting Smallville, Clark finds the remaining stones and is transported to the Arctic, where the three stones create the Fortress of Solitude. In the season five premiere, Clark interrupts his training to return to Smallville, but when he fails to return to the Fortress before the Sun sets, he is stripped of his powers.
In the episode "Hidden", Clark begins an honest relationship with Lana, but is killed trying to save the town from a resident who hopes to kill all of the "... meteor freaks". Jor-El resurrects Clark, but warns him that someone he loves will have to take his place. Clark worries about. In the episode "Reckoning", Lana is killed. Unwilling to accept this, Clark turns back time to save her; as a result, it is Clark's adoptive father that becomes the sacrifice when he suffers a fatal heart attack. In the season five finale, Clark battles Brainiac, a Kryptonian artificial intelligence in the form of a man. Clark fights to stop Brainiac from releasing the Kryptonian criminal Zod from the Phantom Zone. Clark fails, becomes himself imprisoned in the Phantom Zone, while Zod escapes and sets out to conquer Earth. In the season six premiere, Clark escapes the Phantom Zone — inadvertently releasing several of the prisoners in the process — and returns to Smallville, where he fights and defeats Zod; the other Phantom Zone escapees become Clark's primary focus in season six.
He must deal with Lana's romantic relationship with Lex, which culminates in their engagement in the season six episode "Promise". T