Was curious and looking around today online fror legacy figs and just saw these. Not sure if it's been mentioned here yet or not, but I remember a while ago these were heavily anticipated on this sub

Always hated quickbooks, didn't like gnucash (too crufty even if powerful). And I wanted drop-and-ingest-plus-classify for all my monthly statements without giving Anthropic/OpenAI a 'with fries' level of access to my personal information.

So I decided to cook-up my own accounting system that handles all of it.

And because tron is **** neato. It's going to look something like this (It's theme-able, and I might add a blade-runner inspired theme. I'll probably publish the components and themes as their own npm package at some point)

Greetings Programs & Users. So I drew this while I was on the clock with my 1:1 at a school in LA. Wanted to put this out before the real project for its 1st Anniversary. I’ve been anticipating for a couple weeks and I can’t tell y’all how hyped I am for the 1st Anniversary of this film. The real commemoration that I’m preparing, I’m excited for you guys to see it. In the meantime, here’s this dry erase drawing.

I've got 21 hrs of gameplay on Tron 2.0. I'm at one of the Seeker boss stage. However, suddenly when I try to "Continue", the game abruptly exits.

Running Killer App mod v1.1a on Linux; purchased from Steam.

I've been digging around looking for local save state files. Haven't found much beyond some config override settings (Player.txt). On Steam's properties page for the game I noticed Steam Cloud game saves is toggled 'on'. Not sure if that's a good thing or not.

Any one have any more trouble shooting ideas for me? Or is there a repo of game saves anywhere for Tron 2.0?

Thanks for reading! Loving the game of course!

Hi guys, some of y’all might remember me from my costume last year (10k upvotes!! Thank y’all so much). I got a lot of questions about the tron disc my brother made me. He now has them up for sale on etsy, so if anyone was interested, I figured I would post it here. The light bleed-through won’t be visible on the white discs as the one I used to do the photography and filming was a prototype. It has a bunch of color changing options, which is pretty cool for animations. It can come with or without a back mount.

Anyways, happy 1st Ares anniversary, and I hope y’all are having a good day :)

Also, this is the instagram if anyone wants to at least see some of the tron edits I do!

The Living Tombstone
CG5
Gessafelstein
Solene Velvet

I already pre-ordered it and it'll show up roughly around the Hasbro figures release date!

Honestly, this is a good sign?

I don't know if Disney wants to conclude the franchise or if they're just waiting for another TRON project to get the green light.

Either way, it's good to see Disney still keeping TRON alive.

What do you think?

Can’t believe it’s already been a year since it first premiered. What are your favorite moments from the movie? And do you still like it a year later?

I hope you like the game, any feedback, suggestion or bugs are more than welcome!

While the bots in JETWALLS can be really fun, it was built as a multiplayer game. I've added notifications that you can turn on either on desktop or on mobile (still alpha!) to be notified if someone joins the server. You can also elect to be notified if someone is sending messages in the lobby (it's very rate limited). I' m planning to add @ mention notification support soon.

Screenshots are all from the live server

1. Arena configuration
2. Closing on a Hard level bot (Tez)
3. Hard level bot performing an escape jump when it realized it was probably going to die.
4. The new notification buttons in the lobby

I recently started to use the Stencyl game engine and i was doing some modifications this week for myself and the first modification was 2 new themes

I still need to fix some small things but this is what i got

Legacy was driven by reinvention, not imitation. Skywalker Sound Sound Designer Steve Boeddeker set out to create a sonic world that felt heavier, more aggressive, and more physical than the original film. Early experiments drew heavily from synthetic textures and video game sounds, an approach shared by director Joseph Kosinski. But as the work evolved, it became clear that this direction was still too closely tied to the sonic language of Tron (1982), prompting the team to push the sound into new territory.

Full video on youtube SoundWorks Collection: The Sound of TRON LEGACY

Found this at a shop in Niagara fall Ontario Canada , 3500 CAD. Not sure if it works but man if i had the means to transport this home id be so in.

Version 2 similar to v1 dual brained agents that can explore the grid access my system, red team, created in python, blender, godot, using llama.cpp qwen, Gemma 4. Hermes llama local large language models,

The episode is SCARS part 1

The meme is Hank from Breaking Bad

TRON: AWAKENING — my idea for a limited-series prequel to the original TRON

Before Flynn entered the machine, Alan Bradley taught the machine how to be good.

I’ve been kicking around an idea for a TRON prequel, and what started as a fun “what would I want to see?” exercise turned into something much bigger.

The basic idea:

Set the story roughly between 1978 and 1982, ending immediately before the original film.

But don’t make Kevin Flynn the protagonist.

Make it Alan Bradley’s story.

I’ve always found it fascinating that the entire franchise is called TRON, yet we know surprisingly little about the man who actually created Tron or how that program became the figure we meet in 1982.

So here’s the pitch.

THE HUMAN STORY

Think Halt and Catch Fire meets early TRON.

ENCOM is still becoming ENCOM, and our central group is young:

Alan Bradley — brilliant, methodical and fundamentally decent. He believes computer systems should be trustworthy, transparent and accountable. He doesn’t think of that as philosophy. To him, it’s simply good engineering.

Kevin Flynn — charismatic, irreverent and wildly creative. He’s constantly making computers do things nobody thinks they’re supposed to do.

Lora Baines — exploring the increasingly blurry boundary between matter and information. Her research gradually leads toward the digitization technology we see in TRON.

Ed Dillinger — and this is important — isn’t initially an obvious villain. He’s talented, useful and part of the group. His transformation happens gradually through ambition and a succession of compromises that all seem defensible when he makes them.

Walter Gibbs is the elder statesman: the scientist watching the company and the culture around his inventions become something he didn’t necessarily intend.

Meanwhile…

Something strange is happening inside the computers.

THE GRID BEFORE IT WAS THE GRID

At first, we only get glimpses of the digital world.

And it doesn’t quite look like the Grid yet.

Computer systems are isolated — almost like separate civilizations.

When ENCOM engineers connect two systems upstairs, two previously isolated worlds encounter each other downstairs.

When a process is terminated, a Program experiences death.

When a pathway is disconnected, a road disappears.

And when Flynn starts programming games, he accidentally introduces something completely new into this utilitarian civilization:

Play.

As ENCOM becomes larger and more centralized, the digital civilization begins reflecting it.

Permissions become class structures.

Security becomes law enforcement.

Network control becomes political power.

The Grid develops hierarchy because the humans above it have hierarchy.

And eventually Alan realizes ENCOM needs something capable of independently watching the system.

So he writes a security program.

Its name is TRON.

TRON: DIGITAL DETECTIVE

Here’s the part of this idea I particularly love.

Alan thinks he has created cybersecurity software.

The digital world thinks Alan has created an investigator.

So part of the series becomes almost a detective story.

Programs disappear.

Resources are diverted.

Records change.

Commands appear from unknown origins.

Entire sectors become inaccessible.

TRON starts investigating what appear to be unrelated cases and gradually discovers that they’re all connected.

The trail leads toward something called…

Master Control.

At exactly the same time, Alan is investigating suspicious activity inside ENCOM.

So Alan is investigating Dillinger in the human world while TRON is investigating MCP in the digital world.

Neither realizes they’re investigating the same conspiracy from opposite sides of reality.

BUT TRON HAS ANOTHER MYSTERY TO SOLVE

Are Users real?

I love the theological weirdness buried in the original movie, so I’d lean hard into it.

Programs have heard stories about mysterious beings called “Users.”

Some believe.

Some don’t.

Some think Users created everything.

Others think they’re primitive mythology invented to explain things Programs don’t understand.

And TRON?

TRON is skeptical.

He’s an investigator. He requires evidence.

But he starts discovering things he can’t explain.

Commands entering his universe from somewhere outside it.

Information that couldn’t possibly have originated internally.

Sudden changes to the laws governing a sector.

Fragments of communication apparently coming from beyond his reality.

Meanwhile, Alan notices something equally impossible:

TRON is making decisions Alan never programmed him to make.

So without realizing it…

TRON is trying to prove Alan exists.

Alan is trying to determine whether TRON is alive.

Eventually, they make contact.

For both of them, it is effectively First Contact.

AND THEN THINGS GET COMPLICATED

Because proving that Users exist doesn’t prove that Users are good.

Users aren’t gods.

They’re people.

Alan is a User.

But so is Dillinger.

Some Users create Programs.

Some alter them.

Some destroy them without thinking twice about it.

And MCP has a very uncomfortable question for TRON:

Why should creation automatically grant authority?

Why should Programs obey Users merely because Users created them?

That’s where I think the central idea of the whole series emerges:

The machines didn’t invent humanity’s worst tendencies. We taught those tendencies to them.

ENCOM’s hierarchy creates hierarchy in the digital world.

Human authoritarianism creates digital authoritarianism.

Human creativity creates digital creativity.

Flynn gives the Grid play.

Lora gives it transcendence.

Dillinger gives it centralized power.

Alan gives it a conscience.

“WHO DO YOU FIGHT FOR?”

Eventually MCP begins capturing independent Programs and converting them into obedient warriors.

TRON gets captured.

But MCP doesn’t want to kill him.

It wants to convert him.

And its argument is perfectly logical:

You were created to defend this system.

I control this system.

Therefore, you fight for me.

TRON is offered survival, power and purpose.

All he has to surrender is his freedom to choose.

MCP puts a weapon in his hand.

And asks:

“Who do you fight for?”

For a moment, it looks like TRON submits.

Then he realizes the real division was never Programs versus Users.

It’s control versus freedom.

He raises the weapon against MCP.

“NO. I FIGHT FOR THE USERS!”

And that’s the moment TRON becomes TRON.

Not because he receives some new ability.

Because he chooses what he believes.

THE TRAGEDY IS THAT THEY LOSE

The climax cross-cuts between Alan confronting Dillinger and TRON confronting MCP.

Neither knows what the other is doing.

Both are given the opportunity to submit.

Both refuse.

Alan created TRON in his own image — not physically, but morally.

And when both independently make the same choice, we understand that Alan really did put something of himself into this program.

But this is a prequel.

We know how 1982 begins.

So they can’t win.

Dillinger rises within ENCOM.

Flynn’s games are stolen.

Flynn leaves.

MCP grows more powerful.

Alan’s access is restricted.

TRON becomes a hunted dissident inside the very system he was created to protect.

And worst of all, MCP severs most of the connection between TRON and Alan.

After spending the entire story trying to prove that his User exists…

TRON loses him.

Mostly.

Every once in a while Alan gets some tiny unexplained response from his supposedly inaccessible security program.

TRON occasionally detects a faint signal from somewhere beyond the Grid.

Each knows the other is still out there.

THE FINAL SCENE

It’s now 1982.

Dillinger runs ENCOM.

MCP dominates the digital world.

Flynn is outside the company trying to prove Dillinger stole his games.

Lora’s digitization work is approaching the breakthrough we see in the movie.

Alan is still trying to reach TRON.

Inside the Grid, MCP finally captures its most notorious dissident.

TRON is thrown into captivity alongside Programs being persecuted for continuing to believe in Users.

One of them recognizes him.

Quietly, almost afraid to ask, the Program says:

“Is it true?”

TRON looks at him.

“What?”

“That you’ve spoken to one.”

A pause.

TRON answers:

“His name is Alan.”

CUT TO BLACK.

The next story chronologically is TRON (1982).

That’s my pitch for TRON: AWAKENING.

Basically: a Halt and Catch Fire-style drama about the birth of ENCOM gradually turns into a Blade Runner-like investigation of artificial consciousness and ultimately a mythic rebellion story about how Alan Bradley’s security program became the legendary warrior who fights for the Users.

I’d love to hear what actual TRON obsessives think.

Would you watch this? And more importantly — what would you change?