Bookphilia.com: Resistance is futile. You will be assimilated.
It seems as though there's nothing that won't eventually be absorbed into one of these big online book monopolies, I mean stores. See the following article from QuillandQuire.com.
In direct resistance to such steamrolls of the indie book establishments (futile though it may be), a new used shop called Circus Books and Music recently opened up in my 'hood. I'll provide a review of it when I find the time to go up there and browse.
The acquisition is subject to customary closing conditions, including regulatory approvals, and is expected to close before the end of the fourth quarter of 2008.
AbeBooks will continue to function as a stand-alone operation based in Victoria, British Columbia. AbeBooks will maintain all of its websites, including its Canadian website with Canada-specific content, such as reviews of Canadian-authored books and interviews of Canadian writers.
For Canadian observers, that reference to "regulatory approvals" will of course jump out. The question is whether Abebooks would be considered a bookseller, and thus subject to Investment Canada rules prohibiting foreign ownership. Watch Q&Q Omni early next week for a full story.


The O'Brien School of Motoring is looking for 2 qualified ADI's to join the team. The successful candidates will possess excellent communication skills and be professional at all times.
We are offering a superb package including; a highly competitive pay rate of between €18 – €22 per hour, a fully modified driving school car and a bill paid mobile phone.
Closing date for applicants Friday, March 9th.


text:
wire updates
Automation Anywhere's Industry-leading Cloud-native RPA Platform Available on Amazon Web Services in India
PTI May 15, 2020 12:13 IST
(Eds: Disclaimer: The following press release comes to you under an arrangement with PR Newswire. PTI takes no editorial responsibility for the same.)
- Industry's only cloud-native and web-based RPA platform now on AWS across India
BANGALORE, May 15, 2020 /PRNewswire/ -- Automation Anywhere, a global leader in Robotic Process Automation (RPA), today announced general availability of its industry's first and only cloud-native, web-based digital workforce platform on Amazon Web Services (AWS) across India.
Enterprise A2019 on AWS combines RPA, artificial intelligence, machine learning, and analytics to empower customers and governments across the region to improve end-to-end business efficiencies.
Automation Anywhere helped pioneer the concept of an intelligent digital workforce, which leverages software bots that work side-by-side with employees to automate repetitive tasks and processes. With Enterprise A2019, organizations can deploy RPA in either public, private or hybrid cloud environments with enterprise-class security, governance, and data privacy.
The collaboration between Automation Anywhere, AWS, and leading AWS Premier and Advanced Consulting Partners across Asia enables organizations to deploy a digital workforce and scale automation on AWS with confidence and ease.
"With the spread of the COVID-19 pandemic, businesses began scaling up their digital transformation efforts, we felt a sudden uptick in demand and interest from our customers for a rapidly scalable infrastructure on cloud," said Milan Sheth, EVP - IMEA, Automation Anywhere. "Automation Anywhere's Intelligent Automation platform powered by AWS offers seamless experience of improving front and back-end processes thus allowing customers to revolutionize operations and authorize business to sync-up with the 'new-normal'. Improving IT resilience being considered as one of the top priorities for CXOs across the board to ensure continuity allowing business capability to scale and shrink as per the external requirement."
The regional expansion of A2019 on AWS builds upon industry recognition as the 2020 winner in the 'Best Cloud Automation Solution' category in the International Cloud Computing Awards. Enterprise A2019 on AWS delivers industry-leading ease of use for all users, enabling them to easily leverage built-in and third-party AI and machine learning capabilities all on a cloud-native platform that helps achieve unprecedented scale and low cost of ownership. Unlike other platforms that use legacy client/server monolithic architectures, Enterprise 2019 - available in 10 languages - was designed from the ground up as a cloud-native and web-based platform with an efficient java-based microservices architecture, which translates into lower total cost of ownership (TCO), increased performance, and scalability.
Since the launch of Enterprise A2019 late last year, it is now in wide adoption by organizations across the globe, with more than 200,000 users on the platform, and with the number increasing exponentially due to COVID-19. Solutions that were developed using the platform include major airlines reducing cancellation processing times for refunds from 20 minutes to three minutes, expedited SBA loan processing for a large community bank from three weeks to three days, and directing citizens in Macao to vital information with a public service dashboard. More examples of organizations using intelligent automation to impact COVID-19 can be found here.
For a Free 30-Day A2019 on AWS Trial visit AWS Marketplace: https://aws.amazon.com/marketplace
AWS Partner Network (APN) Consulting, Technology and Training Partners can apply to join the Automation Anywhere Partner Program: https://www.automationanywhere.com/in/partner-registration
Interact with Automation Anywhere:
• Visit our website: https://www.automationanywhere.com/
• Check out AAI monthly webinars: https://www.automationanywhere.com/rpa-webinars
• Check us out on Facebook: https://www.facebook.com/AutomationAnywhereSoftware/
• Follow us on Twitter: @AutomationAnyIN
• Explore with us on Instagram: https://www.instagram.com/automation_anywhere/
• Connect with us on LinkedIn: https://www.linkedin.com/company/automation-anywhere
• Experience RPA for free: https://www.automationanywhere.com/products/community-edition
About Automation Anywhere
Automation Anywhere is a global leader in Robotic Process Automation (RPA), empowering customers to automate end-to-end business processes with software bots - digital workers that perform repetitive and manual tasks, resulting in dramatic productivity gains, optimized customer experience and more engaged employees. The company offers the world's only web-based and cloud-native intelligent automation platform combining RPA, artificial intelligence, machine learning, and analytics right out of the box, to help organizations rapidly start and scale their process automation journey. Its Bot Store is the world's first and largest marketplace with more than 850 pre-built, intelligent automation solutions. With offices in more than 40 countries and a global network of 1,500 partners, Automation Anywhere has deployed over 1.8 million bots to support some of the world's largest enterprises across all industries. For additional information, visit www.automationanywhere.com. PWR
(This story has not been edited by THE WEEK and is auto-generated from PTI)
Sakshi Maharaj calls Rahul Gandhi a 'mad person'

redpajama_set_name: RedPajamaCommonCrawl


text:
In the Key of the Universe
The Creator Has a Master Plan
It Swung Wide Open
You're Driving Me Crazy
Van Morrison and Joey DeFrancesco
Trip Mode
The Best of Joey Defrancesco
One for Rudy
Jazz Organ Classics
The Essential Jean Carn - The PIR Years
Jean Carn
The Prophet Speaks
Acerca de Joey DeFrancesco
In the late 1980s, DeFrancesco helped bring the Soul Jazz sound back into the limelight with his blazing Hammond B-3 runs and sustaining draw-bar organ sound. Coming from Philadelphia, the home city for many early organ greats, he earned himself a spot in Miles Davis' band when he was fresh out of high school. DeFrancesco is a talented trumpet player as well, learning a thing or two from Davis' pinched, muted tone. His father, Papa John, is a veteran organ player and helped set Joey on the right path, dancing over the floor petals and playing lightning-fast bebop runs like his idols Jack McDuff and Jimmy Smith. In fact, DeFrancesco's duets with McDuff are some of his best, with both players melding into one greasy, soul-shack sonority and creating an endless groove in the process. Jessy Terry
Charles Earland, Jimmy Smith, Larry Goldings, Papa John Defrancesco
Organ Jazz
In the late 1980s, DeFrancesco helped bring the Soul Jazz sound back into the limelight with his blazing Hammond B-3 runs and sustaining draw-bar organ sound. Coming from Philadelphia, the home city for many early organ greats, he earned himself a spot in Miles Davis' band when he was fresh out of high school. DeFrancesco is a talented trumpet player as well, learning a thing or two from Davis' pinched, muted tone. His father, Papa John, is a veteran organ player and helped set Joey on the right path, dancing over the floor petals and playing lightning-fast bebop runs like his idols Jack McDuff and Jimmy Smith. In fact, DeFrancesco's duets with McDuff are some of his best, with both players melding into one greasy, soul-shack sonority and creating an endless groove in the process.
Jessy Terry
Traditional Jazz/Dixieland
Wonderful! Wonderful!
New York City Jazz
Ain't Gonna Moan No More
Spirit Will Provide


Our clinic's customers benefit from the expertise of our radiologists, who are affiliated with the Centre hospitalier Pierre-Boucher. This affiliation creates a simple and efficient partnership between our private company and the public health system to provide medical care as needed.
Dr. Robillard completed his medical studies at Université Laval in 2001, followed by his specialty in Diagnostic Radiology at the Université de Montréal in 2006. After completing an additional year of training in musculoskeletal and pelvic-abdominal imaging, he joined the Radiology team at the Pierre Boucher Hospital, the network of Radiologie PB clinics, and Radiologie Montérégie. From 2007 to 2012, he also worked part time at the Maisonneuve-Rosemont Hospital affiliated with the Université de Montréal in the area of musculoskeletal imaging.
Dr. Robillard was named head of the Department of Medical Imaging at the Centre hospitalier Pierre-Boucher in 2012 and also serves as Medical Director and President of the Radiologie Montérégie clinic. In addition to this, he contributes to the organization of health services in the Montérégie area by serving on a regional committee of the heads of specialized medicine departments.
Dr. Eric Desmarais graduated from McGill University in Medicine in 1998. After completing his residency in Diagnostic Radiology at the Université de Montréal in 2003, he pursued a one-year fellowship in Radiology Services with professors Laredo and Chevrot in Paris, where he acquired expertise in magnetic resonance imaging, intervention techniques for the musculoskeletal system, osteoarticular ultrasound, and sports medicine imaging. A seven-year university practise led him to Montreal's Sacré Coeur Hospital and the Centre hospitalier de l'Université de Montréal. He served as assistant clinical professor in the Department of Radiology at the Université de Montréal. In 2013, he joined the Pierre Boucher Hospital and Radiologie Montérégie. He is a member of the Society of Skeletal Radiology and the American Roentgen Ray Society and has been serving as Medical Director of Radiologie PB since 2016.
Dr. Provost graduated from McGill University with a BSc in Physiotherapy in 1984 and practised for two years before taking a different turn in her career. She completed medical studies at McMaster University in 1989, then continued in Internal Medicine from 1989 to 1991 and completed training in Diagnostic Radiology at McGill University in 1997. She also went on to do an internship in Neuroradiology and Musculoskeletal MRI at McGill in 2006. Dr. Provost is a general radiologist who works in all fields of imaging: ultrasound, MRI, CT scan, mammography, and X-rays. She nonetheless has a particular interest in osteoarticular imaging and musculoskeletal work.
A 1985 graduate of Université Laval in Medicine, Dr. Bergeron first practised general medicine in the Gaspé region from 1986 to 1991. He has worked at the Centre hospitalier Pierre-Boucher in Longueuil since receiving his diploma in Diagnostic Radiology in 1995. He was head of the department from 2005 to 2009. Upon arriving at the Pierre Boucher Hospital, he participated in the development and implementation of an interventional radiology service (vascular and other), which today provides advanced care for residents of the Montérégie region. His other interests are in general diagnostic radiology and musculoskeletal work. Dr. Bergeron is a member of the Royal College of Physicians and Surgeons of Canada and the Canadian Interventional Radiology Association.
Dr. Frédéric Desjardins earned his degrees in Medicine and Radiology from the Université de Montréal in 1996 and 2001. He has been an active member of the Department of Medical Imaging at the Centre hospitalier Pierre-Boucher since 2001. He has developed a particular interest in musculoskeletal imaging and has been a pioneer in joint ultrasounds in the Montérégie region.
Dr. Maxime Tremblay completed his medical studies at the Université de Sherbrooke in 1997 and his specialty in Diagnostic Radiology at the Université de Montréal in 2002, finishing on the Dean's honour list. At the end of his residency, Dr. Tremblay was granted the Radiological Society of North America's Roentgen Resident Research Award for his exceptional involvement throughout his training. After completing his specialty, Dr. Tremblay pursued a fellowship in Interventional and Vascular Radiology and in Magnetic Resonance Imaging in the Université de Montréal hospital network. He joined the Pierre Boucher Hospital's Department of Radiology in 2003 and currently serves as its Director of the Interventional and Vascular Radiology Service. Dr. Tremblay has advanced expertise in vascular imaging and in each sphere of magnetic resonance imaging. He also has a particular interest in musculoskeletal radiology and interventional therapeutic techniques for the spinal column. He has given numerous lectures on this subject over the years.
A 1984 graduate of the Université de Montréal, Dr. Ouellet completed his specialization in Diagnostic Radiology in 1988. Over the years, his expertise has grown through additional training in Doppler, musculoskeletal and obstetric ultrasound, mammography, and neurological and musculoskeletal MRI. He joined the team at the Pierre Boucher Hospital in 2003.
Dr. Corbeil graduated from the Université de Montréal in Medicine in 1987 and became a specialist in radiology in 1992. After supplementary training in angiography at Montreal's Sacré Cœur Hospital, he became head of the Department of Medical Imaging at Rimouski's regional hospital for over five years. He moved to the Montérégie region in 1998 and began a mixed practice, becoming chief radiologist for five radiology clinics and an active member of the Centre hospitalier Pierre-Boucher. He has been serving as Medical Director of the Centre de référence et d'investigation désigné en imagerie du sein at the Pierre Boucher Hospital since 1998. In 2001, with his partners in radiology, he founded the Radiologie Montérégie clinic. Dr. Corbeil is a versatile specialist with expertise in all diagnostic methods, including ultrasound, computed tomography, and magnetic resonance imaging.
Dr. Annie Desautels completed her studies in Medicine at the Université de Montréal in 1999, then specialized in Diagnostic Radiology in 2004. She has been working at the Radiologie Montérégie clinic, the Radiologie PB clinic, and the Centre Hospitalier Pierre-Boucher since 2005. She has particular interest in ultrasound and MRI.
Dr. Chagnon completed his studies in Medicine at Université Laval in 2004. He started his residency in Diagnostic Radiology the same year and completed it in July 2009. He then did a two-year fellowship in Paris. He devoted his first year of supplementary training to Digestive and Hepatobiliary Imaging at the Beaujon Hospital under the supervision of Professor Valérie Vilgrain. In his second year, he joined the team of Dr. Thierry De Baere at the Institut Gustave-Roussy, Europe's largest oncology treatment centre. There, he perfected his skills and knowledge in Oncological Intervention Radiology. In particular, Dr. Chagnon specializes in the per-cutaneous destruction of tumours using techniques such as radio frequency or thermoablation, cryoablation, and microwaves. He also has particular expertise in Doppler ultrasound, contrast ultrasonography, virtual colonoscopy, and breast imaging.
After starting his studies in veterinary medicine in 2004, he later switched to medicine. A Université de Montréal graduate with a medical degree in 2010 and a diagnostic radiology resident in 2015, he took further training in abdominal radiology at the University of Toronto in 2015, prior to joining the team at Radiologie Montérégie in 2016. He also works at the Centre Hospitalier Pierre-Boucher hospital and the Radiologie PB clinic.
Dr. Bernèche obtained his Doctor of Medicine (MD) degree from the Université de Montréal in 2010 and completed his residency in Diagnostic Radiology in 2015. He joined the teams at Radiologie Montérégie and the Hôpital Pierre-Boucher in 2016. Passionate about his profession, he relentlessly stays on top of the latest breakthroughs in medical imaging. He is particularly interested in neuroradiology and thoracic radiology.
Denis Blanchard has been serving as Radiologie Montérégie's Executive Director since November 2, 2015. He has accumulated over 33 years of experience within the health and social services network as the executive director for various types of public institutions (CLSC, CHSLD, CH, CSSSS). He holds a Graduate Certificate and an MBA from the École nationale en administration publique, and is known for his management approach focused of results, organizational development, and process optimization.
Our Director of Sales, Marketing, and Business Development and a graduate of the Université du Québec in Business Administration and Management, Daniel Turcotte has more than 25 years of experience in management, client account management, and sales and service structure. His specialties are service structure and management, marketing and advertising, business development, and competitive analysis. For Mr. Turcotte, the customer leads our list of priorities.
Marc-André Pelletier, CPA, CA, holds the position of director of financial and administrative services at Radiologie Montérégie. He has a Diploma of Graduate Studies from HEC Montréal and is a member of the Ordre des comptables professionnels agréés du Québec. With experience as an external auditor, he is known for his skills in overhauling financial processes and in conducting internal audits, as well as his results-oriented management approach and concern for the human component.


text:
Q: Changing default in Outlook 2013 calendar My boss has shared his calendar with me and I can see the calendars of multiple conference rooms.  Whenever I leave and return to my calendars, I always return to the calendar i viewed last.  As a result, too many times I have scheduled meetings from the wrong calendar.  My question: can i set my Outlook calendar to always go to MY calendar, not the calendar i was previously viewing?

A: If you set your default sending calendar to yours, that should fix the problem. Hopefully you have enough rights to perform the registry change below. Be creating this regkey, when you send an invite, an email, Outlook will be using the default account, which is yours.

Out of the box, Outlook 2010 SP1 and Outlook 2013 use the default account for Send to commands but not for new messages created while viewing a pst file (when a POP account is assigned to the pst file), unless you set a registry value to always force the use of the default account. To force all new messages to use the default email account, regardless of which pst file you are viewing, browse to the following registry subkey and add a DWORD named NewItemsUseDefaultSendingAccount:

In Outlook 2013, the key is:

*

*HKEY_CURRENT_USER\Software\Microsoft\Office\15.0\Outlook\Options\Mail

*DWORD value: NewItemsUseDefaultSendingAccount

*Value: 1

You can also force it to use your default account:

This fix is simple, but can get annoying, fast, since it forces the user to select an account every time they send a new message. (Replies and Forwards always use the account the message arrived on.) This might be good for people who use multiple accounts and frequently (accidentally) send using the wrong account, especially if they are sending sensitive documents, as it will almost eliminate accidentally sending email from the wrong account.

In Outlook 2013, the registry key is:

*

*HKEY_CURRENT_USER\Software\Policies\Microsoft\Office\15.0\outlook\options

*Value Name: ForceAccountSelection
Value type: REG_DWORD: 1 for force, 0 to disable.

Source: https://www.slipstick.com/outlook/outlook-2010/multiple-accounts-and-the-default-account/

redpajama_set_name: RedPajamaStackExchange


Art School MAA was involved in EU-funded "Ground – Interdiscilinary Medias, Performances and Communities" cooperative project. The other project partners were MoKS (Estonia) and the Art Academy in Poznan (Poland). Within the project, the students had the opportunity to participate in foreign residences and intercultural co-productions on the spot.
Art School MAA took part in the EU supported, X-OP-Exchange of Art Operators and Producers Network which was a collaboration with nine European Art Centres. The project enabled the students to participate in international workshops and lectures.
Art School MAA receives support for its operation from the City of Helsinki and the Ministry of Education.


text:
The Elvira Effect
She's a hero to those who view themselves as outsiders. To discover why, it's best to study her two big cinematic features. And her movies, too.
by johnnygayzmonic
For 35 years, there has been one undisputed Queen of Halloween, one gal whose ample assets have bounced her to the top and kept her there: Elvira, Mistress of the Dark. With her quick wit, endearing attitude, and low-cut dress, Elvira has risen from local horror movie hostess to a cultural icon, and not just for those drawn to the macabre. She's a hero to those who view themselves as outsiders, those who find comfort in the weird parts of life, and to LGBTQ audiences everywhere. To discover why, it's best to study her two big cinematic features. And her movies, too.
By the time 1988's Elvira: Mistress of the Dark came out, Elvira herself had already made something of a name for herself through her TV show and through comics, commercials, and other tie-ins. Although she was created by actress Cassandra Peterson, Elvira was a persona all her own. Both of her movies list "Elvira as herself" and not as played by Peterson.
MotD finds Elvira being called to the small Massachusetts town of Falwell, where she finds out she's inherited a house, a book, and a dog from her long-lost aunt Morgana. Once there, she has to deal with the puritanical adults of the town, led by the aptly named Chastity Pariah (a delightful Edie McClurg); her sinister uncle Vincent (a glowering W. Morgan Sheppard); and a budding romance with local stud muffin and cinema-owner Bob (Daniel Greene, who's a big, brawny stack of flapjacks). Her only allies in Falwell seem to be the resident teenagers, who are either drawn to her free spirit or to her…well, free spirits.
And your little punk rock poodle, too.
Elvira wouldn't grace the silver screen again until 2001's Elvira's Haunted Hills, which serves as a sequel, a prequel, and very nearly a reboot. Instead of being set in the present day, HH takes place in Carpathia in 1851, when Elvira and her maidservant Zou Zou (Mary Jo Smith) end up staying at the castle of Lord Vladimere Hellsubus (Richard O'Brien, perfectly cast). There they end up embroiled in the bizarre intrigues of the bizarre Hellsubus clan, and Elvira has a budding romance with the local stud muffin and stable boy Adrian (romance-novel cover-worthy Gabriel Andronache, but hilariously and intentionally poorly-dubbed by an uncredited Rob Paulsen).
Both films have different scopes and different tones. MotD is more of a straight-up comedy and origin story while HH is an homage/satire to the 1960s Edgar Allen Poe adaptations of Roger Corman. But both films' conflicts revolve around one thing: Elvira vs. the World. In MotD, Elvira's uninhibited nature and open disdain for convention puts her at odds with the repressed and authoritarian city council of Falwell. HH sees her going up against the tropes of gothic horror films in a supremely metatextual way, as if the modern-day Elvira had been dropped unchanged (and unfiltered) into one of the Corman films HH is riffing on.
The hills have eyes…and they're up here.
In both films, however, the allure of Elvira is made clear: she is always and forever herself. A mix of bombshell, fangirl, Valley girl, and Addams Family, she sashays her way through life without feeling the desire to compromise herself for the comfort of others. It's made kind of ironic, as well, considering how Elvira herself is as reliant on wigs, make-up, and décolletage as Dolly Parton or any number of drag queens. The authentic Elvira is unapologetically artificial.
And that right there may be why she resonates with so many people who feel unaccepted by society at large, especially her LGBTQ fans. Elvira is a creation given life, truly more than the sum of her parts. She's made a place for herself instead of asking that a place be made for her. In many ways, she mirrors the journey so many LGBTQ people go through. We often have to make our own place, sometimes by force of sheer will, and we often cultivate our most authentic persona by constructing one out of whole cloth. There's a reason that so many drag queens consider themselves to be "Manviras", dedicating themselves to the same kind of identity quest as their icon.
Elvira's fans come in all shapes, sizes, and states of undeath.
Beyond all that, Elvira is also not one to let an injustice go unchallenged or to fade quietly into the night. In MotD, she shines a light on the hypocrisy of Falwell's "Morality Council" (hilariously enough through an enchanted, aphrodisiac casserole during a town picnic), while also encouraging the town's teenagers to express themselves, free of judgment. In HH, she doesn't hesitate to point out how ridiculous the other characters are acting, as if speaking for the audience (whom she directly addresses more than once). Both films see her going toe-to-toe with conventional values of one kind or another, whether it's the sexual repression respresented by Chastity Pariah or the generations of horror cliches represented by Lord Hellsubus. In Elvira's world, just because something is traditional doesn't mean it's right, and nothing is sacred, including Elvira herself. She's as known for her self-effacing double entendres as she is for nearly anything else.
But Elvira is also a flawed and fully human character, despite her otherworldly and exaggerated appearance. Especially in HH, she can be a self-centered diva, and in both films her dedication to being herself occasionally wanders into stubbornness and egotism before she ends up recognizing her behavior for what it is. That in and of itself may be another key to her appeal. Her faults make her even more relatable for those of us who constantly feel the need to be perfect or to fit in. It's not just okay to be yourself, it's okay to own your flaws and to be beautifully imperfect.
For people of a certain era, it seems that Elvira has always existed, and in a way she probably always will. She transcends generational gaps and any number of demographic divides to speak to the spooky spirit and outcast intuition in all of us. As she says in one of the promos for the 2010 revival of her Movie Macabre series, "I'm just like you…but with bigger [ratings]." Or maybe we're all just like Elvira…but with smaller…well, you know.
Unpleasant dreams…
Tagselvira
About johnnygayzmonic
Writer, musician, DJ, Dark World ambassador, geek, mutant, half-elf rogue/sorcerer, lover of muscle men, master of snark, bane of frat boys.
johnnygayzmonic.wordpress.com
"You see Penny's giving it up; she's giving it up hard. 'Cause she's with Captain Hammer. And these are not the hammer…The hammer is my penis."
— Captain Hammer , Dr. Horrible's Sing-Along Blog


text:
Q: Refresh Yahoo OAuth 1.0 Access Token Using Passport I have an Express app where I'm trying to refresh the Yahoo OAuth 1.0 access token before it expires after an hour so the user  doesn't have to re-login. I'm using the https-passport-yahoo-oauth Passport strategy, which works for the initial OAuth.
There's a strategy (passport-oauth2-refresh) for refreshing the OAuth 2.0 token here, which I haven't been able to get to work (obvious reasons, I suppose).
Yahoo docs on refreshing the access token here => https://developer.yahoo.com/oauth/guide/oauth-refreshaccesstoken.html
This is my code for initial OAuth is below. How can I then exchange the expire or expiring token for a new one based off this?
passport.serializeUser(function(user, done) {
  done(null, user);
});

passport.deserializeUser(function(obj, done) {
  done(null, obj);
});

 var strategy = new YahooStrategy({
    consumerKey: APP_KEY,
    consumerSecret: APP_SECRET,
    callbackURL: (process.env.APP_URL || require('./conf.js').APP_URL) + 'auth/yahoo/callback'
  },
  function(token, tokenSecret, profile, done) {
    var data = profile._json;

    var userObj = {
      id: profile.id,
      name: data.profile.nickname,
      avatar: data.profile.image.imageUrl,
      dateJoined: new Date().getTime(),
      lastUpdated: new Date().getTime(),
      lastVisit: new Date().getTime(),
      accessToken: token,
      tokenSecret: tokenSecret,
      sessionHandle: profile.oauth_session_handle
    };
    return done(null, userObj);
  }
);

passport.use(strategy);

I was thinking that I might be able to use Request, and roll my own token refresh, though I'm a little unsure with where to start there. Any help? Really appreciate any suggestions.

A: Yep, you can totally do that using request:
request.post('https://api.login.yahoo.com/oauth/v2/get_token', {
  oauth: {
    consumer_key:'...',
    consumer_secret:'...',
    token:'...',
    token_secret:'...',
    session_handle:'...'
  }
}, function (err, res, body) {})

Alternatively you can use Purest as well. Note that you should store the session_handle when the user authorizes your app for the first time.


text:
Фридрих Ернст фон Зайн-Витгенщайн-Берлебург (; * 5 юни 1837, дворец Занерц, Хесен; † 16 април 1915, Меран, Италия) е граф от Зайн-Витгенщайн-Берлебург, капитан в австрийската войска.

Произход
Той е син на граф Лудвиг Йозеф фон Зайн-Витгенщайн-Берлебург (1784 – 1857), пруски полковник, и съпругата му графиня Паулина фон Дегенфелд-Шонбург (1803 – 1861), дъщеря на граф Фридрих Кристоф фон Дегенфелд-Шонбург (1769 – 1848) и графиня Луиза Шарлота Поликсена фон Ербах-Ербах (1781 – 1830). Внук е на граф Георг Ернст фон Зайн-Витгенщайн-Берлебург († 2 септември 1792 на гилотината в Париж).

Сестра му Луиза (1833 – 1909) е омъжена 2 май 1857 г. в Дрезден за граф Густав Август фон Манделслох (1825 – 1872).

Фридрих Ернст фон Зайн-Витгенщайн-Берлебург умира на 77 години на 16 април 1915 г. в Меран, Италия.

Фамилия
Първи брак: на 6 юни 1861 г. в дворец Добричан, Бохемия, с баронеса/фрайин Тереза Цеснер фон Шпитценберг (* 9 януари 1841; † 1 юни 1887), дъщеря на фрайхер Винценц Цеснер фон Шпитценберг († 1879) и Тереза де Лонгуевал, графиня фон Буквой (1807 – 1869). Те имат 12 деца:
 Клодвиг Винценц (* 18 юли 1864; † 12 февруари 1936), женен на 24 май 1909 г. за Емма фон и цу Голдег-Линденбург (* 28 юни 1862; † 25 ноември 1946); няма деца
 Паулина (* 12 октомври 1865; † 1866)
 Каролина (* 28 август 1867, Валхен; † 7 юни 1945, Мауербах до Виена), омъжена на 29 октомври 1891 г. в Брегенц за принц Макс Карл Рудолф фон Хоенлое-Лангенбург (* 15 април 1861; † 7 април 1935), син на принц Лудвиг Карл Густав фон Хоенлое-Лангенбург (1823 – 1866) и внук на Фридрих Ернст (1750 – 1794) и правнук на Лудвиг фон Хоенлое-Лангенбург (1696 – 1765)
 Мария Клотилда (* 22 декември 1868; † 28 май 1944), омъжена I. на 21 септември 1895 г. (развод 21 септември 1895) за Георг фон Меринг († 9 декември 1930), II. на 3 септември 1913 г. за Хумберт Лумброзо († юни 1916, убит)
 Хенриета (* 7 юли 1870; † 2 август 1904), неомъжена
 София (* 1 април 1872, Залцбург; † 9 юни 1957, Золбад Хал, Тирол), омъжена на 4 януари 1903 г. в Ротенбург за граф Константин Ферарис-Чиаваца (* 18 юни 1874; † 25 юни 1930)
 Андреас (* 25 септември 1873; † 1886)
 Анна (* 13 юни 1875, Добричан; † 14 април 1956, Баленщет), омъжена на 14 септември 1897 г. в Ротенбург за фрайхер Юлиус Волфганг фон Залмут (* 23 март 1870; † 24 февруари 1944)
 Отокар (* 22 май 1878, Залцбург; † 13 август 1914, до Вилерн при Белфорт), в пруската войска, женен на 11 декември 1909 г. в Карлсруе за Ева Далман (* 14 октомври 1889; † 26 май 1970); има 1 син:
 Отокар (* 16 януари 1911, Брухзал; † 27 ноември 1995, Мюнхен), др. мед. психоаналист; има 2 дъщери
 Феликс (* 18 август 1879; † 28 декември 1946), неженен
 Виктор (* 26 юни 1881, Залцбург; † 6 Маи 1945, Хехендорф), женен на 15 декември 1924 г. във Виена за Виола Жонсон (* 18 август 1895; † 29 декември 1993); няма деца
 Фридрих Алард (* 4 септември 1884; † 1 ноември 1904)

Втори брак: на 16 октомври 1888 г. в дворец Рот с графиня Емилия Луиза София фон Ербах-Ербах (* 18 май 1852, дворец Еулбах; † 6 февруари 1919, Бад Хомбург), дъщеря на Франц Еберхард (XV) граф фон Ербах-Ербах (1818 – 1884) и Клотилда фон Ербах-Фюрстенау (1826 – 1871). Те нямат деца.

Литература
 Hans-Bernd Spies: Sayn-Wittgenstein. In: Neue Deutsche Biographie (NDB). Band 22, Duncker & Humblot, Berlin 2005, ISBN 3-428-11203-2, S. 482 f. (Digitalisat).
 Genealogisches Handbuch des Adels, Fürstliche Häuser. 1959
 Europäische Stammtafeln, Band IV, Frank Baron Freytag von Loringhoven, 1975, Isenburg, W. K. Prinz von. Page 8

Източници

Външни препратки
 Graf Friedrich Ernst zu Sayn-Wittgenstein-Berleburg, geni.com
 Genealogien des Hauses Erbach, angelfire.com

Графове на Зайн
Зайн-Витгенщайн
Родени през 1837 година
Починали през 1915 година

redpajama_set_name: RedPajamaWikipedia


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U.S. elections face 'credible cyberthreats'
Baker Institute faculty scholar Dan Wallach warned that American election systems face "credible cyberthreats" during testimony before the U.S. House Committee on Science, Space and Technology in Washington, D.C. "It's far too late to change the technologies upon which we will cast our votes," Wallach said. "My best advice is that we need contingency planning."
Wallach, a Rice professor of computer science, is an expert on voting machine security. "We've learned that Russia may have been behind leaked Democratic National Committee emails, explicitly to manipulate our elections," he said. "And they need not attack every county in every state. It's sufficient for them to go after 'battleground' states, where a small nudge can have a large impact."
Watch the Sept. 13, 2016, hearing on "Protecting the 2016 Elections from Cyber and Voting Machine Attacks" below. Wallach's testimony begins at the 41:00 mark.


text:
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This Latin term is derived from the legal maxim in the interpretation of laws, both in domestic and international law: 'lex specialis derogat legi generali'. This essentially means that more specific rules will prevail over more general rules.
The term is frequently used in describing the relationship between international humanitarian law and international human rights law. The precise nature of the relationship, and of the application of the lex specialis principle, is still the subject of some debate, particularly when it comes to issues of targeting and detention in non-international armed conflicts.
In the ICRC's view, IHL constitutes the lex specialis governing the assessment of the lawfulness of the use of force against lawful targets in international armed conflicts. The interplay of IHL rules and international human rights standards on the use of force is less clear in NIAC, and the use of lethal force by States in NIAC requires a fact -specific analysis of the interplay between the relevant rules.
CHEVALIER-WATTS Juliet, "Has Human Rights Law Become Lex Specialis for the European Court of Human Rights in Right to Life Cases Arising from Internal Armed Conflicts?", in The International Journal of Human Rights, Vol. 14, No. 4, pp. 584-602.
DROEGE Cordula, "The Interplay between International Humanitarian law and International Human Rights Law in Situation of Armed Conflict", in Israel Law Review, Vol. 40, No. 2, pp. 310-355, 2007.
DROEGE Cordula, "Elective Affinities?: Human Rights and Humanitarian Law", in IRRC, Vol. 90, No. 871, September 2008, pp. 501-548.
en l'honneur du Professeur Giorgio Malinverni, Zürich, Schulthess, 2007, pp. 375-395.
SASSÒLI Marco, "The International Legal Framework for Stability Operations: When May International Forces Attack or Detain Someone in Afghanistan?", in IYHR, Vol. 39, 2009, pp. 177-212.
SHANY Yuval, "Human Rights and Humanitarian Law as Competing Legal Paradigms for Fighting Terror", in Hebrew UniversityInternational Law Research Paper, No. 23-09, 2009, 27 pp.
DOSWALD-BECK Louise, "The Right to Life in Armed Conflict: Does International Humanitarian Law Provide all the Answers?", in IRRC, Vol. 88, No. 864, December 2006, pp. 881-904.
FLECK Dieter, "Law Enforcement and the Conduct of Hostilities: Two Supplementing or Mutually Excluding Legal Paradigms?", in Frieden in Freiheit = Peace in Liberty = Paix en liberté: Festschrift für Michael Bothe zum 70 Geburtstag, Baden-Baden, Nomos; Zürich, Dike, 2008, pp. 391-407.
GUELLALI Amna, "Lex specialis, droit international humanitaire et droits de l'homme : leur interaction dans les nouveaux conflits armés", in RGDIP, T. 111/2007/3, pp. 539-574.
MARSH Jeremy J., "Rule 99 of the Customary International Humanitarian Law Study and the Relationship between the Law of Armed Conflict and International Human Rights Law", in The Army Lawyer, May 2009, pp. 18-22.
Conflict", in IRRC, Vol. 89, No. 867, September 2007, pp. 655-690.


In a microdiscectomy or a microdecompression spine surgery, a small portion of the bone over the nerve root and/or disc material from under the nerve root is removed to relieve neural impingement and provide more room for the nerve to heal. A microdiscectomy spine surgery is typically performed for lumbar herniated disc.
A microdiscectomy spine surgery is performed through a small (1 inch to 1 1/2 inch) incision in the midline of the low back.
First, the back muscles (erector spinae) are lifted off the bony arch (lamina) of the spine. Since these back muscles run vertically, they can be moved out of the way rather than cut (see Figure 1).
The surgeon is then able to enter the spine by removing a membrane over the nerve roots (ligamentum flavum), and uses either operating glasses (loupes) or an operating microscope to visualize the nerve root.Often, a small portion of the inside facet joint is removed both to facilitate access to the nerve root and to relieve pressure over the nerve.
Importantly, since almost all of the joints, ligaments and muscles are left intact, a microdiscectomy spine surgery does not change the mechanical structure of the patient's lower spine (lumbar spine).
In general, if a patient's leg pain due to a disc herniation is going to get better, it will do so in about six to twelve weeks. As long as the pain is tolerable and the patient can function adequately, it is usually advisable to postpone back surgery for a short period of time to see if the pain will resolve with conservative (non-surgical) treatment alone. If the leg pain does not get better with conservative treatments, then a microdiscectomy surgery is a reasonable option to relieve pressure on the nerve root and speed the healing. Immediate spine surgery is only necessary in cases of bowel/bladder incontinence (cauda equina syndrome) or progressive neurological deficits. It may also be reasonable to consider back surgery acutely if the leg pain is severe.
Microdiscectomy spine surgery is typically recommended for patients who have experienced leg pain for at least six weeks and have not found sufficient pain relief with conservative treatment (such as oral steroids, NSAID's, and physical therapy). However, after three to six months, the results of the spine surgery are not quite as favorable, so it is not generally advisable to postpone microdiscectomy surgery for a prolonged period of time (more than three to six months).
Usually, a microdiscectomy spine surgery procedure is performed on an outpatient basis (with no overnight stay in the hospital) or with one overnight in the hospital. Post-operatively, patients may return to a normal level of daily activity quickly.
Some spine surgeons restrict a patient from bending, lifting, or twisting for the first six weeks following surgery. However, since the patient's back is mechanically the same, it is also reasonable to return to a normal level of functioning immediately following microdiscectomy spine surgery. There have been a couple of reports in the medical literature showing that immediate mobilization (return to normal activity) does not lead to an increase in recurrent lumbar herniated disc.
The success rate for a microdiscectomy spine surgery is approximately 90% to 95%, although 5% to 10% of patients will develop a recurrent disc herniation at some point in the future. A recurrent disc herniation may occur directly after back surgery or many years later, although they are most common in the first three months after surgery. If the disc does herniate again, generally a revision microdiscectomy will be just as successful as the first operation. However, after a recurrence, the patient is at higher risk of further recurrences (15 to 20% chance).
For patients with multiple herniated disc recurrences, a spine fusion surgery may be recommended to prevent further recurrences. Removing the entire disc space and fusing the level is the most common way to absolutely assure that no further disc herniations can occur. If the posterior facet joint is not compromised and other criteria are met, an artificial disc replacement may be considered. Recurrent herniated discs are not thought to be directly related to a patient's activity, and probably have more to do with the fact that within some disc spaces there are multiple fragments of disc that can come out at a later date. Unfortunately, through a posterior microdiscectomy spine surgery approach, only about 5 to 7% of the disc space can be removed and most of the disc space cannot be visualized. Also, the hole in the disc space where the disc herniation occurs (annulotomy) probably never closes because the disc itself does not have a blood supply. Without a blood supply, the area does not heal or scar over. There also is no way to surgically repair the annulus (outer portion of the disc space).
Following a microdiscectomy spine surgery, an exercise program of stretching, strengthening, and aerobic conditioning is recommended to help prevent recurrence of back pain or disc herniation.
Dural tear (cerebrospinal fluid leak). This occurs in 1% to 2% of these surgeries, does not change the results of surgery, but post-operatively the patient may be asked to lay recumbent for one to two days to allow the leak to seal.
However, the above complications for microdiscectomy spine surgery are quite rare.


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Adrian Burragubba is the key litigant against the Carmichael mine in Central Queensland right now. He has a right to be a litigant, but during the past decade he has in my opinion put at risk the native title rights of the majority of the traditional owners of the area more than once, and the native title rights of Aboriginal people across the country.
Few people understand that the Native Title Act provides important Indigenous rights – the right to negotiate and statutory agreement-making processes. These rights would be meaningless without the McGlade amendments passed by the senate on June 13 this year.
These rights are the closest thing we have to the Canadian constitutional indigenous right, the right of First Nations to be consulted, and their modern treaty or comprehensive agreement rights. These are powerful rights, but outcomes from negotiations, if they are to be meaningful, must be secured in binding agreements, such as the Indigenous Land Use Agreements that Burragubba's litigation and strategies have put at risk. Three hundred Wangan and Jagalingou people who voted for an Indigenous Land Use Agreement in relation to the Carmichael mine owned by Adani, and their voices which have not been heard in the media, will now, like hundreds of other native title groups, be able to register their agreements.
The Greens party senators who voted against the amendments were exploiting the vulnerabilities of the Native Title Act and threatening our established native rights to pursue an anti-coal agenda.
Burragubba's strategy was to organise his minority faction of Wangan and Jagalingou people, conservationist activists and the Greens party to oppose the McGlade amendments to the Native Title Act. Some politicians from both the Coalition and Labor misleadingly dubbed them the "Adani" amendments. I was relieved when it was announced that the senate had passed them. The McGlade amendments were drafted in response to the decision handed down by the full bench of the Federal Court in February this year. It invalidated between 120 and 150 registered Indigenous Land Use Agreements (ILUAs) that were not signed by all members of the Registered Native Title Corporation, including members who were deceased. As barrister Angus Frith says in his case note, other agreements were also affected.
The government initially acted quickly. Two weeks after the Federal Court decision, legislation designed with the intention of overturning these impacts of the McGlade decision – the Native Title Amendment (Indigenous Land Use Agreements) Bill 2017 – was passed by the house of representatives. On February 16, the senate referred an inquiry into the bill to the senate legal and constitutional affairs legislation committee. Aboriginal groups, particularly from Cape York, stated that they were not satisfied with the bill, and wanted further changes.
Without these or very similar amendments, every mining company and native title group that is party to an ILUA would have been caught in limbo with an invalid agreement or facing enormous costs. The decision, unless overturned by legislation, required them to engage in costly procedures to ensure that all named applicants are parties to, and execute, the agreement. In circumstances where named applicants have passed away or refuse to sign, the claim group would need to replace the applicant. In relation to applicants who were not willing to execute the agreement, even in the face of a direction to do so by the claim group at their authorisation meeting, special procedures would have been needed.
I have been reported in the media as supporting the Carmichael mine proposed by Adani in central Queensland. This is not correct. What I objected to is what I see as the challenge our native title rights posed by opponents of the McGlade amendments. Put simply, they were demanding that thousands of Aboriginal traditional owners who had successfully negotiated and registered ILUAs in the past 20 years sacrifice their native title rights and their agreements so that Burragubba and his small group could continue to litigate against their own native title group and the three others who had settled terms with Adani.
The traditional owner or native title groups are the Juru, Jaeggi, Berrimah, and the group that Burragubba and his adviser, Tony McAvoy QC, are members of, the Wangan and Jagalingou people. All of these groups have traditional lands in central Queensland. The group to which Burragubba claims allegiance negotiated an ILUA, and at the critical meeting, as confirmed by a court of law, the members voted 294-1 in favour of approving it.
The Wangan and Jagalingou group are the original claimants. This first group lodged a native title claim in the Federal Court on May 27, 2004, and it was duly registered as a native title claim in July that year. The claim area lies "on the western edge of central Queensland and includes the townships of Clermont, Alpha, Rubyvale and Capella". It is located at least 400 kilometres inland from the coast and, as Justice Reeves noted, it includes the area where Adani proposes to develop the Carmichael coalmine. An "authorisation" meeting of those claimants of the group was held on June 21, 2015, and the following were authorised as claimants to act on behalf of the group: Adrian Burragubba, Patrick Malone, Irene Simpson, Lyndell Turbane, Craig Dallen, Linda Bobongie, Delia Kemppi and Lester Barnard.
Then on May 4, 2016, Adrian Burragubba applied to the court to have four of these people dismissed and replaced with another four people. Justice Reeves dismissed his application on April 11, 2017. His reasons were clear: the notice issued by Burragubba and his minority faction was designed to ensure that only those Wangan and Jagalingou claimants who agreed with him received the notice and the majority of the Wangan and Jagalingou claimants were excluded.
So far, I have come across perhaps three or four Wangan and Jagalingou representative groups. In addition to the applicant group registered with the Native Title Registrar and confirmed in the Federal Court case decided by Justice Reeves, there is the Wangan Jagalingou Traditional Owners Corporation. Then there is the Wangan Jagalingou Aboriginal Corporation. It appears this corporation is also called the Wangan and Jagalingou Family Council, as per its Facebook page. Then there is the Wangan and Jagalingou Traditional Owners' Council, which does not appear to be incorporated.
Who is funding the Adrian Burragubba group's litigation? One grant came from the Rainforest Action Network, based in San Francisco, California, with the purpose of paying for "activists to embark on an international tour to meet with major banks and Indigenous community and NGO allies as part of the Wangan and Jagalingou peoples' campaign to prevent Australia's largest coalmine from being established on ancestral land".
Another donor to Burragubba and McAvoy's group is Graeme Wood, founder of Wotif.com and financial backer of Guardian Australia. Wood helped set up a company structure for the Wangan and Jagalingou families' opposition to the development of Queensland's Galilee Basin and also offered ongoing financial support for a body referred to as the Wangan and Jagalingou Families Representative Council. An offer to this council was made in 2014 by The Sunrise Project, co-founded by Graeme Wood, to have a Brisbane office established, along with an initial payment of $325,000 over 12 months to help start a community development program to "explore alternatives to mining on their country" and a scholarship program linked to the University of Queensland worth $600,000 over five years. The heads of agreement endorsed The Sunrise Project to help provide funding to the Wangan and Jagalingou people, including Adrian Burragubba, although it said that funding could be taken away if negotiations with Adani were re-entered. Burragubba has also used activist organisation GetUp! to help raise funds for the legal challenge against Adani.
The Greens party senators who voted against the amendments were exploiting the vulnerabilities of the Native Title Act and threatening our established native rights to pursue an anti-coal agenda. Fortunately, common sense has prevailed with the McGlade amendments passed in the senate. As a result traditional owners' right to have a majority vote on agreements rather than the utter impossibility of a unanimous vote is now law. In other words, one or a few native title applicants are now not able to disqualify a lawful agreement settled by the majority of the members of their group by playing green lawfare politics.
In an ideal world, Aboriginal traditional owners should have a right to veto mining or any other development project. However, the Native Title Act does not give us that right, and stops well short of a veto by offering a "right to negotiate". This frail right was put at risk by opposition to the McGlade amendments.
I have made the point repeatedly over the past quarter of a century that the Native Title Act is flawed. Without the few protections of the act, however, terra nullius would be the status of our lands. McAvoy claims that I do not understand that native title should be recognised as a property right – my doctoral thesis was concerned with exactly this problem.
The problem with megaphone politics is that almost no one reads the original documents but respond to often incorrect or distorted media grabs and the echo chamber of social media. I agree with the Wangu and Jagalingou clients of Tony McAvoy on one issue: this is about our native title rights and interests. It is not about Adani.
This article was first published in the print edition of The Saturday Paper on Jul 1, 2017 as "Traditional land mines". Subscribe here.


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MARKETING & DISTRIBUTION
Thirty Tigers is a Nashville based entertainment company, founded in 2002 by Grammy Award-winning producer David Macias and Deb Markland. In just over a decade, Thirty Tigers has gone from two employees working out of David's guest bedroom to thirty employees, most of whom now work out of our new home at 611 Merritt Avenue in the Wedgewood-Houston area of Nashville, Tennessee. Thirty Tigers also has offices in Los Angeles, New York, North Carolina and London. Our collective experience in the music industry ranges from record retail to the film industry to major labels.
Our marketing, distribution and management services have fostered success stories for a number of artists including Carlos Santana, Lucinda Williams, Patty Griffin, Trampled by Turtles, The Avett Brothers, Low, Ryan Bingham, Flogging Molly, Jason Isbell, The Josh Abbott Band, Chase Rice, Casey Donahew, The Eli Young Band, Will Hoge, Aaron Watson, St. Paul & the Broken Bones, Lupe Fiasco and many others.
In 2014, we expanded our services to include a publishing division in partnership with Wixen Music Publishing.
We provide a home for independent artists.
Thirty Tigers Marketing and Distribution provides independent artists a way to bring their art to the market place, while maintaining ownership of their recordings. Our team will guide their music to the masses via traditional brick & mortar record stores, digital retailers and streaming services; on the demand side we assist our clients in implementing a plan that will help raise their visibility above the din of noise that exists in today's media space. This is done with our in house veteran sales, marketing and promotion team.
Thirty Tigers Management strives to help artists define their vision and achieve it. We value creativity, honesty and a solid work ethic in ourselves and our artists. We believe in building careers. We believe that we can deliver results in our artist's best interest, while still treating people the way that we'd like to be treated. Our managers collectively have expertise and relationships in label management, artist development, retail sales, touring, digital sales and marketing, festival development, publicity, radio promotion, and more.
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Home » movies » Best GenVideos Alternatives to Stream Free Movies Online (2022)
Best GenVideos Alternatives to Stream Free Movies Online (2022)
December 04, 2022 movies
There are now a lot of websites and platforms that offer movie and tv show streaming services. Some offer free access to their catalogue of movies and shows, whilst others require a subscription from users before allowing access to their collection of movies. Genvideos was a very popular movie streaming service before getting pulled down for hosting copyrighted content.
However, this service is still up and running, but they keep on changing its domain name as it keeps getting taken down after some time. Nowadays, if you're an avid user of this platform, you'd find that it leads users to malicious sites by means of spammy ads. Therefore, If you've had enough of it, you may want to check out alternatives.
Seeing as Genvideos offered a free movie streaming service when it was properly active, we'd be looking at the best Genvideos alternatives in this article. These platforms are regarded as the best when it comes to free and premium movie streaming services online. If you fancy watching series, they've also got you covered. Let's get started.
List of the Best Genvideos Alternatives to Stream Free Movies Online
Below, you'll find a list of the best sites and platforms that would serve as an alternative to Genvideos. These websites offer movies, series, and tv show you can stream legally.
1. Netflix — www.netflix.com
Netflix is undoubtedly one of the most popular movie streaming services worldwide. I would be surprised if anyone said they don't know about this platform. But surely, there are still a lot of people that do not know about Netflix. It is basically the best when it comes to streaming movies and series online.
Nevertheless, you will not find a free plan on Netflix. This is a full-fledged premium streaming service, but it is also quite cheap. Netflix offers very interesting movies and tv series. There's no new movie or tv show you won't find there. For a better user experience, Netflix comes has an app listing their all collection. You should find a search button that would let you locate any movie faster.
If you're in Nigeria, you may want to check out all subscription plans and prices of Netflix. They'll help you decide whichever suit your needs better.
2. YouTube — www.youtube.com
Although I won't classify YouTube as one of the best Genvideos alternatives, it still had to be on this listicle. Why? Well, this is the most visited video website in the world. Yes, YouTube does offer a lot of video content made and uploaded by others. It may be tutorials, funny clips, game content, or a wider range of content.
It is almost impossible to find a full-length video for new movies and series on YouTube. Nevertheless, you'd get to see movies and series trailers and may also find a collection of full-length old videos. But this is only possible after an intensive search. YouTube has got a whole lot of other purposes and streaming full-length movies isn't one of them.
3. CONtv — www.contv.com
If you like watching anime, then this website should be your go-to platform. CONtv is absolutely the best when it comes to animated videos. You'll find all sorts of 3D cartoons and anime on this website. Yes, the primary objective of CONtv is to provide animated movies for all users. Moreover, there's a dedicated category for a few Hollywood movies on this website.
CONtv is free to use, but unfortunately, it has a lot of ADS. But if you want to enjoy using this platform to watch your favourite anime and cartoon videos, then it is advisable to use an AD-Blocker extension on your browser. It is a perfect alternative to Genvideos if you did stream animated videos on it while it was still active.
4. Yidio — www.yidio.com
Yidio is not a streaming service, but the platform helps you find new contents that may interest you to watch. It also gives you a list of websites and platforms where you'd find such content. So if you want to know what else you can watch after you're done with a movie or series, you can visit this website to get that information.
Yidio also has a feature that lets you know which video content is available for download. These downloadable contents can be watched offline in your free time if you do not have the time to see them at that moment. Yidio is a very helpful platform. Using this site, you will know when new movies are out and on what platform to access them.
5. Vudu — www.vudu.com
Vudu is a Digital Video Store based in America and owned by Fandango Media. This is a good video streaming platform although it is not too popular. Vudu offers both free and premium video content for all users. There is a section dedicated to videos that can be seen for free and a section for premium videos.
If you want to enjoy this platform better without ADS, then it's advisable that you subscribe to its premium service. Nevertheless, you'd find only a few ADS in its free section. Definitely not enough to spoil your experience. Vudu can be regarded as one of the best Genvideos alternatives to stream movies online using either free or premium services.
6. Disney+ — www.disneyplus.com
Disney+ is no doubt, one of the best and most popular movies and TV show streaming platforms online. This platform is mostly known for its collection of Marvel superhero movies, so if you're a Marvel fanboy, this is a great option for you. You may find some free videos to watch on this platform, although the chances of seeing one are very low.
Disney+ have got various subscription plans for everyone. You can decide which is affordable for you and go with it. As a premium user, you have access to their massive catalogue of movies, series, and even tv channels to watch live sports and shows. Disney+ also allows all premium users the ability to download movies and tv shows to watch offline.


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Paws & Claws: Pet Resort
Paws & Claws: Pet Resort is an undeniably bad product and not worth your consideration at all. It's like someone at THQ took last year's Paws & Claws: Pet Vet, downgraded it for
the Game Boy Advance, cut out the fairly capable veterinarian simulation aspects of its design and then re-ported the whole hacked-up thing back to the DS. Fans of virtual pet or simulation experiences would be well advised to spend their gaming dollars anywhere else but here, because after four, going-on-five years of the DS being Nintendo's flagship handheld, it's simply unacceptable to continue to see pitiful port projects like this.
Confusing menus, little to no guidance given to players to help them get started, and no good use of the second screen. Terrible.
Pet Resort utilizes some pre-rendered 3D models for close-ups with its animals, but everything else looks like it comes straight from the GBA edition.
Mediocre background music. Occasionally a customer will utter a short vocalized phrase, such as "How do you do?"
Bland and boring. The touch screen is paid lip service with mild functionality, but there's nothing "DS" about this design. The pace is slow and the concept is dull.
You'll be able to see a fair amount of animals if you stick with it, as well as upgrading your facilities when you earn more money. But there's little incentive to do so.
Terrible OVERALL
Puppy Palace
And that's it. You never find anything else, and you never get to do anything else. Puppy Palace ends before it ever feels like it begins. It's almost like this entire game is just the set of extra option menus that were meant to accompany some actual, real, fleshed-out gameplay experience somebody just forget to include the core gameplay. It looks good, it sound fine and the presentation is perfectly capable, but there just isn't anything to do. It's boring and limited and a waste of your time, so don't put down so much as a security deposit for this empty palace.
Puppy Palace looks fair in the beginning, as its look is inviting and its menus are well organized. But it drops the ball after just the first two minutes.
There are 48 different breeds of dog included here, each one modeled fairly well though the animation fails to present any real personality in the puppies.
Nothing that you'll remember, but nothing grating on the ears either. An average audio presentation.
There's nothing to do. No core gameplay at all. You just move from menu to menu, clicking on things, occasionally mildly interacting with the dogs. That's it.
You can upgrade and remodel your store to grow your business, but none of the changes are ever represented visibly. There's no reason to keep playing.
Bad OVERALL
de donde han salido esos dos ultimod juegos?
Mega Brain Boost
Mega Brain Boost is just three times the junk that Brain Boost was over a year ago. It wasn't fun then, and it really isnt fun now, especially considering that other third-party developers have managed to make good brain games. It's insulting that the developer and publisher would just throw this game back out without bothering to improve the core mechanics of the title. Dumb move.
Three times the games, but still no progression system.
The style is simple, and the characters are kind of cute, but half the game is colored dots.
Lasery sound effects and generic music.
Just because there are more, doesn't make it fun, especially since it's the same crap as before.
There is little motivation to even play the games once, let alone try and improve your score.
Poor OVERALL
FIFA Street 3 turned out the better game compared to last year's mess, but it's still not a "good" one. I'm imagining that FIFA Street 3 is simply a testbed for NHL's possible move to the Nintendo DS. The stylus controls might not make a trick-based three-on-three soccer game fun to play, but it has the potential to work for focused pass-and-shoot mechanics for ice hockey. It's an idea whose time has come and hopefully the ideas created for this weaker product will make it into a stronger sports title like NHL.
Even with the bunch of features in both single and multiplayer, FIFA Street 3 still feels a bit hollow inside
Smooth 60 frames per second engine looks pretty tight when the camera stay far enough away. The bottom screen needs way more excitement, though.
Upbeat techno soundtrack that sounds good, but also seems a bit generic.
It's Soccer Lite. Sure there are more scoring opportunities with no fouls, but its design just doesn't hold the same interest as a real football title can.
Single cart, multiple cart, and online features for two-player support mean you're not very far from a challenge. But even with a human competitor the game just doesn't grab.
Mediocre OVERALL
Publicado 1 de Marzo del 2008
Brain Assist
Brain Assist is a decent take on the genre, and while it doesn't stand out as a major accomplishment, it is just different enough to make it fun. If there were more minigames to choose from then we might be able to recommend this title. The 10 offered are fun abstract takes that serve as neat distractions, but, unless you have a thing for identical doctor sisters and succubae, pass.
Stern, yet gentle nurses, plus an evil one!
Simple, but fun and colorful.
The music can be a little annoying, but it's funky.
The 10 minigames are fun and don't feel like rehashes of other brain games. Still, only 10 games.
There's a progress tracking system, and single card cooperative and compettive play.
Homie Rollerz
Even without the Homies license attached to it, Homie Rollerz is an absolutely worthless kart racer that has obviously been given the minimum possible effort. Add on the hilariously awful artwork and license and the game almost seems like a cruel joke aimed at Dave Gonzales. Maybe eventually this game will be in the capsule machine of your local Taqueria for a buck, but until then, holmes, just pass.
A homeless Wizard and a bunch of gullible stereotypes. Plus a talking chili pepper.
The levels are awful and unrecongizable. The cars look like they're floating.
Grating MIDIs of the kind of music you hear at the begining of a Novella.
Poor controls, no fun whatsoever, and, oh yeah, practically impossible to beat.
How many races will kids have to lose before they give up completely? Our estimation is three.
Alcander Fay
Alcander 0
Registrado: 3 Ene 2008
Estos últimos juegos han estado malillos, ¿no?
Por suerte este mes se vienen dos juegos buenos
De cuales dos hablas?
Final Fantasy Crystal Chronicles: Ring of Fates
Final Fantasy Crystal Chronicles: Ring of Fates isnt the best Square Enix product on DS, but its very impressive nonetheless. Take the original design of the Crystal Chronicles series on Cube, streamline it for a single player experience, and then rebuild the multiplayer from the ground up, and youve basically got what Ring of Fates has to offer. Since DS is a portable, a huge chunk of the games development went to making sure that the single player offering is up to snuff, and it paid off marvelously. Characters have real depth to them, theres a huge mass of scripted storytelling, the CG is as always the highest quality out there on DS, and the sheer amount of depth within the main story mode is pretty staggering.
On the multiplayer side of things, Crystal Chronicles offers much more than you get with most portable packages, but it wont live up to the originals standard. Players can link up locally and play multiplayer-specific scenarios, but the addition of each human player also brings about a wave of frame issues and overall game lag (not in the wireless, but in slowdown from too much on-screen action). Its still an extremely robust and entertaining endeavor, complete with the same teamwork and feeling of epic co-op play, but it wont satisfy in the way a full four player story mode did on Cube. Were also dying to get some of these Square Enix games online (especially in this case, as it would feel like a DS MMO in a sense), but apparently it isnt the cards. Hey, at least nobody is forced into jug duty this time around.
When all is said and done though, weve been watching Crystal Chronicles DS for over three years now, and the final product was well worth the wait.
The CG is beautiful, the interface and option control is well designed, and the story is well crafted. Frame issues hurt the experience, but are found mostly in multiplayer.
Not quite on par with the likes of FFIII, but impressive nonetheless. Few companies can pull off 3D on DS, but Square Enix is one of them. Model work and effects are top notch.
A beautiful audio composition all around. The music is inspired, and the VO is numerous and well performed across the board.
Its classic hack-n-slash fanfare, but with more customization, touch integration, and overall depth than anything else on DS. Frame issues really hurt the experience though.
If it wasnt for the frame problems, Ring of Fates would be a must-have game. Theres a gigantic list of things to do in both single and multiplayer alike. Local co-op only though.
Dongorongo Heraldo de la Muerte
Dongorongo 5
Heraldo de la Muerte
Muy buena la nota del FF CC ring of fates
buena nota, un 8,2, a ver si llega ya pronto a tierras europeas
Final Fantasy Crystal Chronicles (aquí un poco más arriba) y Ninja Gaiden.
AH! Ni enterado que Ninja Gaiden salía este mes.
juanramonh Geralt de Rivia
juanramonh 0
Registrado: 1 Jun 2003
The New Zealand Story Revolution Review
Tired gameplay mechanics rise from the grave.
The New Zealand Story isn't one of the better-known arcade classics. Originally released by Taito in 1988, it was most notable for its zany premise: players control a kiwi bird named Tiki who must rescue his buddies from an evil walrus (is there any other kind?). Tiki is armed with a bow and arrow and must make his way through a series of platform levels while spearing enemies, eating the fruit they leave behind, and utilizing several different methods of transportation. The game is very cute and the old-school gamer in me really wants to like it, but there are too many annoying gameplay relics that should be left in the past.
New Zealand Story hasn't been given a modern makeover for Revolution. If you know the arcade original you'll immediately recognize this DS version. It looks dated, but there are plenty of gamers (myself included) who appreciate the classic look of a colorful, 2D platformer. The same levels and bosses have been kept intact. Each non-linear stage consists of a search for a key to release a friend, and then a search for your friend. Environments are laid out horizontally and vertically, and wrap around themselves like a maze. Action plays out on the top screen while the bottom displays the general location of important items.
The inventive boss battles are one of New Zealand's few major attractions.The challenge is in trying to navigate the dangerous environments (much of New Zealand is lined with spikes, apparently) and dealing with endlessly re-spawning enemies constantly getting in your way. Really, I thought we had solved the problem of re-spawning bad guys back in 1990. When a new foe pops up to take the place of anyone you slay it prevents the player from feeling a sense of accomplishment. It doesn't feel like you're making progress. Maybe the developers wanted to maintain an authentic New Zealand Story experience, but this was a chance to tweak the gameplay and make it more relevant to modern gamers.
The controls aren't very tight. This means extra aggravation trying to make tricky jumps and avoid traps. When the primary gameplay mechanic is to jump around, it had better be pretty fun to do so. Here, it's more exasperating than anything else.
Since you're given an inexact location of the key and cage, it's easy to miss the key and have to backtrack. But that means you have to deal with all the enemies again. Some levels even prevent you from backtracking, so you're just stuck and have to call it a loss. But you're forced to either kill yourself or turn off your system because you can't quit to the title screen while in a game, bizarrely enough.
There are brief moments where you'll need to use the stylus to open a door or catch Tiki from falling off a ledge. A message appears on the bottom screen in these instances, but since your eyes are fixed on the top screen 99 percent of the time it's easy to miss these. You will be expected to perform this mundane task while still dealing with any current enemies or obstacles. Plus, I think it's bothersome to have to keep your stylus in hand for a game that doesn't use it most of the time.
The music is bouncy and playful, very well-suited to the gameplay. Some of the sound effects are a little strange in that they don't seem to quite fit the action, but I've a feeling that was a choice by the developers to go along with the quirky feel of the game.
New Zealand Story superfans will probably be pleased with this Revolution. But how many superfans are out there? If you never played the original you'll likely wonder why it warranted a remake. And if you're a younger gamer who missed the arcade heyday this will probably just reaffirm your belief that games used to be pretty crappy. I'm on board with New Zealand's graphics and sound, but there are too many games available these days to waste time dealing with enemy re-spawns and clunky platform controls.
The arcade relic is presented in its original form without any bells or whistles. What baffles me is that I can't return to the title screen while in a game.
Very retro, but very cute.
The theme should be called "Super Happy Fun Time."
Unforgiving controls and re-spawning enemies will have you reaching for the "off" switch.
The game is of average length for a platformer but there's nothing to motivate additional play throughs.
Ingreso hace 1 hora
davilillo_89
DARKSeifer
pepetronic
alcabcucu
MrPool


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Firewatch é um jogo eletrônico de aventura desenvolvido pela Campo Santo e publicado pela desenvolvedora em parceria com a Panic. O jogo foi lançado em fevereiro de 2016 para Microsoft Windows, OS X, Linux e PlayStation 4, para Xbox One em setembro de 2016 e para Nintendo Switch em dezembro de 2018.

A história acompanha um vigia florestal chamado Henry na Floresta Nacional de Shoshone, um ano após os incêndios de 1988 em Yellowstone. Um mês após seu primeiro dia de trabalho, coisas estranhas começam a acontecer com ele e sua supervisora Delilah, o que se conecta a um mistério conspirado que aconteceu anos atrás. Henry interage com Delilah usando um walkie-talkie, com o jogador escolhendo entre as opções de diálogo para se comunicar. Suas conversas com Delilah informam o processo pelo qual o relacionamento deles é desenvolvido. O jogo foi dirigido por Olly Moss e Sean Vanaman, escrito por Chris Remo, Jake Rodkin, Moss e Vanaman, e produzido por Gabe McGill e pela artista Jane Ng. O ambiente do jogo foi modelado por Ng, baseado em uma única ilustração de Moss. O design é inspirado nas propagandas do New Deal do National Park Service e nas pesquisas de campo realizadas no Parque Nacional de Yosemite.

O jogo recebeu críticas positivas em geral, recebendo elogios por sua história, personagens, diálogo e estilo visual. No entanto, a presença de problemas técnicos e o final do jogo foram objetos de críticas negativas. Firewatch ganhou o prêmio de Melhor Experiência Visual 3D no Unity Awards 2016, Melhor Jogo Indie no Golden Joystick Awards de 2016, Melhor Narrativa no Game Developers Choice Awards de 2017 e Jogo de Estreia no British Academy Games Awards de 2017. No final de 2016, o jogo havia vendido mais de um milhão de cópias.

Jogabilidade

Firewatch é um jogo eletrônico de aventura jogado a partir de uma perspectiva em primeira pessoa, e a trama ocorre no estado americano de Wyoming em 1989. O jogador controla Henry, um vigia florestal designado para sua própria torre na Floresta Nacional de Shoshone. Através da exploração da área circundante, Henry descobre pistas sobre ocorrências misteriosas nas proximidades, que estão relacionadas ao saque de sua torre enquanto estava em uma patrulha de rotina e a uma figura sombria que ocasionalmente aparece observando-o de longe. O único meio de comunicação de Henry é um walkie-talkie que o conecta à sua supervisora, Delilah. O jogador pode escolher entre várias opções de diálogo para falar com ela sobre a descoberta de novos objetos ou ambientes interativos, ou pode se abster de comunicar-se. As escolhas do jogador influenciarão o tom do relacionamento de Henry com Delilah. À medida que a história avança, novas áreas serão abertas ao jogador. O jogo também apresenta um ciclo dia-noite. Objetos encontrados na natureza podem ser mantidos no inventário para uso posterior.

Enredo
Depois que sua esposa desenvolve uma demência precoce, Henry (Rich Sommer) aceita um emprego como vigia florestal na Floresta Nacional de Shoshone, Wyoming. No primeiro dia, Delilah (Cissy Jones), vigia de outra torre, entra em contato com ele por meio de um walkie-talkie e pede que ele investigue indivíduos utilizando fogos de artifício ilegais à beira do lago. Henry encontra duas adolescentes, que o acusam de estar espiando-as. No caminho de volta para a torre, ele encontra uma caverna trancada e vê uma figura sombria observando-o antes de desaparecer. Ele retorna à sua torre e a encontra saqueada. No dia seguinte, Delilah pede a Henry que investigue uma linha de comunicação derrubada. Ele a encontra cortada, com uma nota aparentemente assinada pelas adolescentes. Ele e Delilah planejam assustar as garotas, mas quando ele encontra o acampamento das garotas saqueado e abandonado, eles começam a se preocupar.

Henry encontra uma mochila velha e uma câmera descartável pertencentes a um garoto chamado Brian Goodwin, que Delilah explica que era filho de Ned, um antigo vigia. Ned era um homem que vivia ao ar livre e que bebia muito devido a suas experiências traumáticas na Guerra do Vietnã, enquanto seu filho, Brian, gostava de histórias de fantasia e jogos de RPG. Embora fosse contra as regras que os funcionários trouxessem seus filhos para as torres, Delilah gostava de Brian e mentia sobre sua presença. Ele e Ned aparentemente foram embora abruptamente e nunca mais voltaram. As adolescentes são dadas como desaparecidas. Temendo uma investigação, Delilah falsifica os relatórios para dizer que nem ela nem Henry encontraram as meninas.

Dois meses depois do início do trabalho de Henry, um pequeno incêndio florestal irrompe ao sul de sua torre. Duas semanas depois, Henry encontra um rádio e uma prancheta enquanto pesca, com notas incluindo transcrições de suas conversas com Delilah. Ele é golpeado por alguém não visto, fica inconsciente e, ao acordar, descobre que a prancheta e o rádio sumiram. Em um campo mencionado no cabeçalho da prancheta, ele encontra uma área de pesquisa do governo cercada. Ele a invade e encontra equipamentos de vigilância e relatórios datilografados detalhando as conversas dele e Delilah e suas vidas privadas. Ele também encontra um dispositivo de rastreamento, que ele leva com ele. Henry e Delilah consideram destruir o acampamento do governo, mas decidem que não. Entretanto, enquanto Henry caminha de volta à torre, alguém ateia fogo no acampamento.

No dia seguinte, Henry usa o dispositivo de rastreamento e encontra uma mochila com uma chave da caverna trancada. Delilah relata uma figura na torre de Henry; quando Henry chega, ele encontra um Walkman preso à porta com uma gravação incriminadora da discussão de Henry e Delilah sobre destruir o acampamento do governo. No dia seguinte, alguém se passando por Henry chama outro vigia e afirma que Delilah sabe a causa do incêndio na estação, deixando ela e Henry mais nervosos.

Henry usa a chave encontrada para entrar na caverna, mas, de repente, a entrada da caverna é trancada por uma figura não vista. No fundo da caverna, ele encontra o corpo de Brian antes de escapar desta. Delilah fica transtornada com as notícias. No dia seguinte, é dada uma ordem de evacuação para todos os vigias, pois o incêndio que Henry havia identificado e nomeado anteriormente ficou fora de controle.

Enquanto Henry se prepara para partir, o dispositivo de rastreamento começa a apitar. Ele segue o sinal e encontra uma fita de Ned. Na gravação, Ned afirma que a morte de Brian foi acidental e que o garoto caiu devido à sua inexperiência em escaladas. Não querendo voltar à sociedade após a morte de Brian, Ned viveu secretamente na área desde então. Escolhendo se aventurar mais fundo na natureza, Ned adverte Henry a não o procurar. Henry encontra o abrigo improvisado de Ned, junto com itens roubados do acampamento do governo, das torres de vigia e das adolescentes, que Delilah confirma que estão seguras. O acampamento do governo estava simplesmente estudando a vida selvagem; Ned usava seu equipamento de rádio para garantir que ninguém o estivesse procurando e criar transcrições para espantar Henry. Apesar da confissão de Ned, Delilah o culpa pela morte de Brian e parte no helicóptero. Henry vai até a torre dela, e ele e Delilah se despedem via rádio antes de Henry evacuar.

Desenvolvimento e lançamento

Firewatch é o primeiro jogo eletrônico da Campo Santo e foi criado por Jake Rodkin e Sean Vanaman, que foram os líderes criativos em The Walking Dead; Nels Anderson, o designer principal de Mark of the Ninja; e o artista Olly Moss. Chris Remo esteve envolvido em muitos aspectos do design e também compôs a trilha sonora. O desenvolvimento de Firewatch começou com uma única ilustração de Moss. Jane Ng, artista de ambientes principal na Campo Santo, foi encarregada de traduzir o trabalho de Moss em ambientes 3D, mantendo sua visão artística estilizada. Moss, que antes era conhecido principalmente por seu trabalho em design gráfico, juntou-se a Vanaman e Rodkin para fundar a Campo Santo depois de passar muitos anos trabalhando na periferia do desenvolvimento de jogos. Ao criar a ilustração, Moss emulou os pôsteres do National Park Service da época do New Deal, tanto na paleta de cores quanto na iconografia. A equipe de desenvolvimento acampou no Parque Nacional de Yosemite em busca de inspiração para o jogo, onde eles visitaram uma torre de vigia construída com o mesmo design de sua equivalente no jogo eletrônico. Mais inspiração para o jogo veio das experiências de Vanaman e Anderson crescendo na zona rural de Wyoming.

Firewatch utiliza o motor de jogo Unity. Ng desaprovou as ferramentas para criar árvores e, portanto, modelou manualmente os 23 tipos de árvores que seriam colocadas no jogo 4.600 vezes. Um shader personalizado também foi empregado para produzir uma folhagem mais estilizada e simplificada. As torres de vigia florestal do jogo foram construídas de acordo com especificações do governo, utilizando o tamanho padrão das tábuas de madeira, após a primeira tentativa de Ng ter sido insatisfatória.

A interação via walkie-talkie de Firewatch é inspirada no relacionamento de BioShock entre o personagem do jogador e Atlas, bem como no sistema de diálogo de The Walking Dead. Em um ponto do desenvolvimento, pretendia-se que o protagonista pudesse se comunicar com vários personagens, como caminhantes, mas a ideia foi descartada devido às suas despesas e aos requisitos de cronograma com os quais a equipe estava trabalhando. A equipe esperava evitar sincronia labial e minimizar a quantidade de animação necessária devido ao tamanho e recursos limitados da equipe. Os desenvolvedores escalaram Cissy Jones, que apareceu em The Walking Dead, como a voz de Delilah em 2014. Demorou mais tempo para encontrar um dublador para Henry que os desenvolvedores sentissem que combinasse com Jones; por fim, eles escalaram Rich Sommer. Jones e Sommer gravaram suas falas em estúdios separados, mas durante teleconferências, para alcançar um relacionamento mais natural. Os atores decidiram não se encontrar durante a produção para manter a distância entre seus personagens.

O capítulo de abertura do jogo apresenta a música "Push Play", do álbum de synthwave de 2014 de Joy Chun e Nate Bosley, Let's Get Electric, que descreve um ato fictício de synthpop dos anos 80 conhecido como Cheap Talk. "Tell It to My Heart", de Taylor Dayne, foi usada provisoriamente na cena, mas Vanaman admitiu que a música era intensa demais e custaria muito para licenciar. Ao perceber que também seria muito caro encomendar uma música, Remo procurou uma música no estilo dos anos 80 por um artista independente e não contratado, levando ao uso de "Push Play". A trilha sonora apresenta uma combinação de guitarra elétrica e acústica, baixo e piano elétrico, com samples de piano Rhodes como um substituto do piano real. Todos os instrumentos foram tocados pelo próprio Remo.

O jogo foi anunciado em março de 2014, com uma data de lançamento prevista para 2015. Na GDC, a Campo Santo coordenou um playtest público, e Ng apresentou um painel sobre o design e a estética do jogo, intitulado "The Art of Firewatch". Em junho de 2015, a equipe visitou a E3. Lá, eles confirmaram que trariam o jogo para PlayStation 4, mas que essa seria a única versão para console. No entanto, uma versão para Xbox One foi lançada posteriormente na América do Norte em 21 de setembro de 2016, apresentando um audioguia e um modo livre. Devido a problemas de classificação, a versão foi adiada na Europa até 30 de setembro e na Austrália e Nova Zelândia até 14 de outubro.

Usuários dos headsets de realidade virtual HTC Vive e Oculus Rift podem visitar a torre de vigia de Henry usando a aplicação Destinations, da Steam. Para esse fim, o cenário foi reconstruído no motor de jogo Source. Firewatch tornou-se compatível com PlayStation 4 Pro em seu lançamento em 10 de novembro, com desempenho aprimorado por meio de resolução 4K e high-dynamic-range. O modo livre foi disponibilizado para PlayStation 4 Pro e Steam logo depois. Em parceria com a Limited Run Games, a Campo Santo distribuiu menos de dez mil cópias físicas do jogo para PlayStation 4. 4.800 cópias foram disponibilizadas para pedido no website da Limited Run Games em 16 de dezembro de 2016, enquanto 2.500 foram vendidas na loja online da Campo Santo a partir de 16 de janeiro de 2017. Em abril de 2018, a Campo Santo anunciou que o jogo seria lançado para Nintendo Switch no final daquele ano. Mais tarde, foi esclarecido que o port de Nintendo Switch era uma versão altamente otimizada do jogo, e a atualização também estaria disponível para outras plataformas. Além disso, a versão para Nintendo Switch apresenta alguns elementos exclusivos. Mais tarde, a Campo Santo confirmou, via Twitter, que a data de lançamento mundial do port de Nintendo Switch seria 17 de dezembro de 2018.

Recepção

Firewatch recebeu críticas "favoráveis em geral", de acordo com o agregador de críticas Metacritic. O jogo vendeu mais de quinhentas mil cópias no prazo de um mês após seu lançamento e mais de um milhão de cópias até o final de seu primeiro ano. Em 2018, Firewatch havia vendido mais de 2,5 milhões de cópias em todas as plataformas.

Steven Hansen, no Destructoid, saudou a jogabilidade da árvore de diálogo baseada em escolhas, elogiando o próprio diálogo, bem como as performances de voz. A realização mais impressionante do jogo, como afirma Hansen, é a "coesão temática", a qual ele disse que gira em torno de isolamento autoimposto. A sonoplastia foi elogiada por evocar um sentimento hitchcockiano de medo. Analisando Firewatch, Jeff Cork, da Game Informer, escreveu: "Fui imediatamente atraído pelo mundo do jogo, em parte por causa do poder de sua simples introdução de texto e também por causa da novidade de participar de algo tão mundano". Cork observou que seu diálogo interativo, embora simples, "dá vida ao jogo" e chamou as conversas de "naturais" e "envolventes". Ele gostou de explorar o ambiente de floresta, mas achou o final não satisfatório.

Scott Butterworth, do GameSpot, achou as ferramentas de navegação analógicas – uma bússola de mão e um mapa de papel – "imersivas", mas "ocasionalmente frustrantes". Ele considerou que a beleza visual do cenário permite uma forma mais gratificante de exploração e observou que a sonoplastia complementa a profundidade de sua atmosfera. Julgando o desenvolvimento dos personagens através do diálogo de "ousado" e "admirável", ele opinou que isso serviu como "um exame paciente e reflexivo de como duas pessoas crescem a confiar e cuidar umas das outras". Ainda de acordo com Butterworth, a dublagem é brilhante e mergulhada em nuances emocionais, já que ele desenvolveu um grande apego aos personagens. Justin Towell, do GamesRadar, descreveu Firewatch como "uma das mais fascinantes fatias de entretenimento que já experimentei". Ele elogiou a dublagem por definir com sucesso os traços de personalidade de cada personagem. Towell acrescentou que a música, juntamente com a sonoplastia, funciona bem a serviço da atmosfera. No entanto, ele depreciou alguns perceptíveis problemas de continuidade que o deixaram desiludido.

Ryan McCaffrey, na IGN, aclamou o senso de realismo suscitado pelo cenário, apesar do design e arte-final de nível estilizado. Ele também aprovou o roteiro, dizendo que a dublagem o aprimorou ainda mais; sobre este, McCaffrey disse: "É tenso, assustador e engraçado – às vezes, tudo a poucos minutos um do outro. Não há muitos jogos que podem reivindicar isso com sucesso". Ele considerou o final polarizador por causa da escalada promissora da história. Colin Campbell, do Polygon, apreciou o uso de humor e empatia no desenvolvimento dos personagens, achou o mistério do jogo positivo e a história, "elegante" e "satisfatória". Ele criticou negativamente a conclusão, considerando-a malsucedida.

Prêmios

Adaptação cinematográfica
Em 17 de agosto de 2020, foi anunciado que a Campo Santo estava fazendo parceria com a produtora Snoot Entertainment (Keith Calder e Jess Wu) para adaptar o jogo a um filme.

Ligações externas
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