Re: S Buech Topic
Verfasst: 18 Jan 2015 10:59
de film isch au guet.
Maybe Time Scanner being a SEGA title needed more of a guarantee that it would be completed to a high standard while R-Type coming from a little known Japanese company called IREM could be allowed to slip a little, time and quality-wise. Whatever the truth the incentive was there to keep the prestige title in-house at Catalyst and feed the scraps to me in Wales.
Level One was definitely the longest and most varied of them. [...] Level Two was big snakes and giant scorpions and that was really it. Level Three was the Big Ship and nothing much else. Level Four was Level One sprites with a changing background. Level Five was more big snakes. Level Six was a maze with giant pistons. Level Seven was Level One again but with more of everything and Level Eight seemed to be where the designers gave up and went home early.
Despite what I just wrote about the boredom of coding Level Seven it does contain what I consider to be the best few seconds of the entire game when around halfway through the level almost fourty of what we called Yellow Butterflies stream from the top of the screen, do a ninety degree turn and head off across the display. In the arcade game proper this comes across as just another sequence of sprites but on the smaller more tightly packed display of the Spectrum it pretty much becomes one of those WTF moments.
It's well known that this particular Commodore 64 version of R-Type was never released, instead another version coded by Manfred Trenz at Rainbow Arts who stepped in at short notice was, and I have to say that I doubted this story at the time and I don't believe it to this day.
Identifying some of the game's strong points - the learning curve, the weapon systems, the limited play-ons - it's one of those reviews that you feel no matter what the final score, the reviewer has actually played the game and is telling it like it is.
Hours after the game was released, Carnegie-Mellon’s computer systems administrator posted a notice online saying, “Since today’s release of Doom, we have discovered [that the game is] bringing the campus network to a halt… Computing Services asks that all Doom players please do not play Doom in network-mode. Use of Doom in network-mode causes serious degradation of performance for the player’s network and during this time of finals, network use is already at its peak. We may be forced to disconnect the PCs of those who are playing the game in network-mode. Again, please do not play Doom in network-mode.”
Carmack didn’t go on BBSs only for games. Here, he could research the most thrilling and illicit strains of hacker culture.[...] And he learned about bombs. For Carmack, bombs were less about cheap thrills than about chemical engineering–a neat way to play scientist and, for good measure, make things go boom. Before long he and his friends were mixing the recipes they found online. They cut off match heads and mixed them with ammonium nitrate, made smoke bombs from potassium nitrate and sugar. Using ingredients from their high school science class, they brewed thermite, a malleable and powerful explosive. After school, they’d blow up concrete blocks under a bridge. One day they decided to use explosives for a more practical purpose: getting themselves computers.
Late one night Carmack and his friends snuck up to a nearby school where they knew there were Apple II machines. Carmack had read about how a thermite paste could be used to melt through glass, but he needed some kind of adhesive material, like Vaseline. He mixed the concoction and applied it to the window, dissolving the glass so they could pop out holes to crawl through. A fat friend, however, had more than a little trouble squeezing inside; he reached through the hole instead and opened the window to let himself in. Doing so, he triggered the silent alarm. The cops came in no time.
Carmack, in particular, seemed almost inhumanly immune to distraction. One time, Jay tested Carmacks resolve by popping a porno video into the VCR and cranking it to full volume. Romero and the others immediately heard the “oohs” and “aahs,” and, turned around cracking up. Carmack, though, stayed glued to his monitor. Only after a minute or so did he acknowledge the increasingly active groans. His sole response was “Mmm.” Then he returned to the work at hand.
(aber Sound het au der Carmack nid fertigbrocht uf em Jaguar)Since Doom’s release, Carmack had immersed him self in side projects: programming conversions or ports of Doom for other game platforms, including the Atari Jaguar and the new console from Sega. Id was getting good money for the gigs, $250,000 from Atari alone.
hami jetzt für die vier hyperion / endymion büecher entschiede.Skeletor hat geschrieben:die 2 sind was vom beschte wos git.kraut hat geschrieben: - "the hitchhikers guide to the galaxy", chli öppis zum lache.
- und der dan simmons sig schiins no guet. hyperion-chronike, hani aber leider nonid gläse.
They had heard of the many problems that plagued the DeLorean Motor Company, and the reports of the cars’ poor craftsmanship, but neither Bob had personal experience with the car. As cameras started rolling on Future, they discovered that the vehicle’s performance was as horrible as its design was unique. “It was a cool-looking car, but it really wasn’t a good car,” Neil Canton says. “There’s a reason why it never really became a successful seller.”
Because of the height differential between Eric Stoltz and Michael J. Fox, some of the custom parts added to the car were harder to utilize than they otherwise would have been. For one, when Marty attaches the electrical conductor hook to the back of the DeLorean before the scene where lightning strikes the clock tower, Fox was initially unable to reach the female end of the connector due to the protruding exhaust vents on the back of the vehicle. In order to accommodate their new leading man, a wooden step was fashioned to provide Fox with some extra lift.
In the run-up to the film’s release, Michael J. Fox took to describing the movie as one that audiences should plan on spending $20 to see, four times the average going rate for a multiplex ticket at the time. His reasoning was that it would take several viewings to catch all of the hidden gems the Bobs had incorporated into their script, such as the film titles on the Hill Valley cinema marquee and the ledge of the clock tower either appearing wholly intact or broken, depending on whether the characters were in the timeline where Doc had chipped the ledge or not.
In total, the opening was filmed three times, as Zemeckis wanted to see all of the elements on-screen in one long take without any edits. The effect on the audience is strong, especially on repeat viewings, but at the San Jose preview, the viewers quickly grew anxious. [...] “No one ever sees a movie in a vacuum,” Bob Gale says. “They know at least a little something about it when they buy their ticket. That’s the reason we were never worried about the long exposition at the beginning. [...] We believe in what I call the ‘twenty-five-minute rule.’ An audience will sit still for twenty-five minutes before their attention goes south—but you still should give them the sense that something is going on, that the filmmakers have a plan and know what they’re doing, even if the audience isn’t sure what it is. Show them interesting things, get them invested in the characters. It’s different from writing a TV show, where you have to make sure the viewer won’t change the channel. In a movie theater, it’s rare for people to walk out, and especially rare that they walk out in the first thirty minutes.”
When Universal released Back to the Future on VHS and Beta on May 22, 1986, a new title card appeared in that familiar red and yellow italicized font before the end credits began: “TO BE CONTINUED . . .” [...] “I know we approved the typeface and placement of it. It’s possible I was involved in how it was going to work creatively. And similarly, we were the ones who had it removed for the 2002 DVD release, because we wanted the DVD to represent the movie as it was seen theatrically. I still get people swearing to me that they remember seeing ‘To Be Continued’ in the theater back in 1985.”
Glover addressed his concern with the film’s ending in an extremely unorthodox way. “Crispin had a real problem with his wardrobe in that scene,” Gale continues. “He wanted George to be bohemian and look like an eccentric college professor. In fact, if you look at the film, the author photo on the back cover of his novel shows how Crispin wanted the character to look.
That’s why Hill Valley in 1985 was so much different from Hill Valley of 1955. What we needed to do, for story purposes, was introduce elements into 1985 that were not there in 1955. In the beginning of the first movie, you can see that Dr. Brown’s garage was right next door to a Burger King, right? That’s because his house is torn down. All that’s left is the garage.”
john sinclair isch super, immer am kiosk go chlaue gange.Avenger hat geschrieben:Am umesurfe gsi, das Heftli id Finger übercho und dank em Cover afoh läse:
Leider nur durchschnittlich, d Arcade Automate si nur ds ustuschbare Füllmaterial gsi. Ds Cover isch ds best a der ganze Sach.
Bloss kei Fortschritt!Der Abschied vom analogen Zeitalter löst bei vielen Menschen Ängste aus. Die einen sehen mit Schrecken, wie ihre teuren Ikonen der bürgerlichen Kultur – Plattensammlung und Bücherwand – so gnadenlos entwertet werden, dass sie nicht einmal mehr auf Flohmärkten Liebhaber finden. Die anderen fürchten, vom schnellen technischen Wandel abgehängt zu werden.
Und in der Tat brechen neue Medien mit einer verstörenden Kraft über die Zeitgenossen herein. Sie lösen gerade bei jungen Menschen einen unwiderstehlichen Reiz aus. Das ruft die Anhänger der alten Kultur auf den Plan, die vor Sucht und Reizüberflutung warnen. Der Vorwurf an die Jugend ist alt, uralt: Sie verlören sich in Scheinwelten, statt sich auf Schule und Arbeitswelt vorzubereiten. Im 18. Jahrhundert warnten die guten Bürger beispielsweise vor den schrecklichen Folgen der Lesesucht, als sich damals das Romanlesen unter den Dienstboten verbreitete. In der Nachkriegszeit waren es die Comics, die von vielen Eltern als »Schundhefte« geschmäht wurden. Die Kritiker sahen im Kino eine Degeneration des Theaters, im Radio das Ende der Schellackplatte und im Fernsehen den Niedergang des Kinos. Die HiFi-Anlagen hätten die gesellige Hausmusik verdrängt und das autistische Computerspiel das sozial wertvolle Gesellschaftsspiel.
16 MBDer deutsche Hersteller Pontis, der mit dem Fraunhofer IIS zusammenarbeitete, konnte erst im Dezember 1998 Seriengeräte des MPlayer3 liefern. 430 Mark kostete das 170 Gramm leichte Gerät, das mit zwei acht Megabyte großen Multimedia Cards etwa eine halbe Stunde Musik abspielen konnte. [...] Ein Display am MPlayer3 zeigt Titel, Laufzeit und die Kompressionsrate der Lieder an. Mit der mitgelieferten, anwenderfreundlichen Software kann jeder Musikdaten von seiner CD auf die Festplatte seines PCs kopieren, dort verwalten, komprimieren und – über eine serielle Schnittstelle – auf die MMC seines Players laden«, stand in einer Pressemitteilung der Fraunhofer-Gesellschaft vom 4.9.1998.
Formate wie mp3 und AAC können sogar eine höhere Audioqualität als CD und LP erzielen, da sie einen wesentlich größeren Dynamikumfang abbilden. Während die Langspielplatte nur eine maximale Dynamik von 48 dB und die CD nur 96 dB erreichen, bietet mp3 einen Dynamikumfang von über 384 dB. So bedeutet die richtige Verwendung von mp3 oder AAC keinesfalls eine Verschlechterung des Klangs.
Dennoch wird es immer Audiophile geben, die auf ihren Plattenspieler oder sogar auf den besonderen Sound der uralten Röhren schwören. Sie vermissen bereits an der CD das leichte Rauschen und Knistern der Vinylplatte. Aber auch das ist nicht Musik pur wie im Konzertsaal, sondern durch Aufnahme-, Speicher-und Wiedergabetechnik geprägt. Genaugenommen ist jede Schallaufnahme im Vergleich zum Live-Erlebnis verlustbehaftet und jedes Aufnehmen und Abspielen durch die jeweilige Gerätetechnik geformt. Jede Technik hinterlässt Spuren im wiedergegebenen Klang. Der Wechsel von analog zu digital ist nicht der Sprung von natürlich zu künstlich, der hat bereits stattgefunden bei der ersten Musikaufzeichnung.
Weil kleinste Unterschiede bei der Musikproduktion für jeden hörbar wurden, wünschte sich mancher Musiker die wunderbare Gelassenheit der analogen Welt zurück. Musikhören ist immer eine subjektive Empfindung, die vom Raum, den Wiedergabegeräten und den Erwartungen geprägt ist. In der Regel bestimmen Lautsprecher oder Kopfhörer stärker die Hörqualität als das Datensignal. Die Digitaltechnik hat inzwischen eine so hohe Leistungsfähigkeit erreicht, dass nur noch eine Minderheit weiterhin auf Analogtechnik setzt.
So guet. Ich ha das Mitternachtskleid immer nonig fertig...Buccaneer hat geschrieben:Wiedermal eine vo dene gläse.
Vermissne nid wenig!
Fang mit "Fleisch ist mein Gemüse" ahBuccaneer hat geschrieben:Heinz Strunk - mit welem sött mer Afange, wells en guete Überblick über sini Art vo Schriebe gid und bock uf meh macht?