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BIG KARNAK (ARCADE)
After visiting the Stone Age in the last article, I thought I'd take a trip to the more recent - but still distant - past by facing the gods of ancient Egypt in Gaelco's 1991 arcade game Big Karnak! Yes, I'm definitely playing it for that reason and not because the name Gaelco reminds me of perennial VGJunk "favourite" Jaleco. I honestly just want to stab some mummies.
Who or what is "Big Karnak"? Does it mean the great complex of ancient temples at Karnak itself, a place you could certainly describe as "big"? Is Big Karnak like Big Oil or Big Pharma, a cabal that control all the Karnaks? I think the most likely answer is that your character is called Karnak. He seems pretty big.
Here's Karnak now, enjoying an afternoon chariot ride with a young woman by his side. It would possibly be a bit presumptious of me to say she's called Cleopatra, but that's what I'm going to call her. Not that I'll have much chance to use her name, because this is the start of an arcade game and I'm sure something will be along to kidnap her any second now.
Yep, as soon has Karnak parked his chariot a winged giant in golden sandals and a purple skirt swoops down and carries Cleopatra away, because that's the kind of thing that happened a lot in ancient Egypt. It's the Egyptian equivalent of Zeus chaning into a variety of different shapes so he can put the moves on some mortal woman, I'm sure. For his part, Karnak does nothing to stop the abduction: despite having a sword in hand he just stands there. One look at his body language tells you he's saying "erm, excuse me..?" in a timid voice.
You know what this intro reminds me of? Ghosts 'n Goblins. A shirtless hero and his lady love are enjoying a nice day out - a graveyard picnic in Ghosts 'n Goblins and a chariot ride in Big Karnak - before a winged being flies down and kidnaps the woman. I really hope I don't have to play through this one twice to see the true ending.
Once the action begins, and it's the standard hack-and-slash, jump-over-a-pit-sometimes action. I'm reminded of another Capcom game: Black Tiger. There's something about the scale of the sprites and the relatively high tempo that made the comparison an obvious one to my mind.
And hey, look, a mummy! I know I said I wanted to stab some mummies, but I wasn't expecting them to be the very first enemy in the game. You may have shot your ancient Egyptian bolt here, Gaelco.
Thus Karnak boldly strides across the desert, hitting lots of different things with his sword. Mummies, skeletons (AKA naked mummies), cobras, all shall fall beneath his blade, apart from the snakes that I jumped over. Early impressions are good: aside from a slight delay between pressing the jump button and Karnak achieving lift-off, everything works well. The sword has enough range to avoid the frustration of having to get right up to enemies to hurt them and Karnak swings it fast enough that "Human Blender" is probably the job title on his business cards. Jumping delay aside, Karnak feels quite nimble. A lot of the backgrounds have different levels that you can jump between for a choice of different routes. That's all fine, but at first it all felt very samey, a little too much of a reheated hack-and-slash stew. Then I got to these monkeys.
They sit in the treetops and throw coconuts at you. With a well-timed sweep of your sword, you can hit their coconuts right back at them, knocking them out of the tree and rewarding you with both the satisfaction of an enemy well dealt with and a comedy "sproing!" sound effect. It was a section that gave me hope, hope that Big Karnak wasn't going to be entirely the same as every other hop-n-chop adventure but with a Pharaoh-coloured coat of paint. We'll see how that pans out as I progress.
Here's an illustration of the different height levels in the first stage. You can climb up onto this wall, which lets you bypass most of the mummies, but you have to jump over a few spike-pits and avoid this wall-mounted snake - not necessarily an easier route, but a different one. I'm glad I came up here, mind you. Gives the cobra something to do. He must get bored, stuffed into that little crevice.
A boss approaches! It's a huge skeleton. A skeleton with a ponytail, it seems. How does that work? When your head's a skull, you really have to get over your insecurities around your baldness. It's not as though you're going to fool anyone by glueing a horse's tail to your bone box.
Anyway, the boss is fun enough without being particularly challenging - the range of his attacks is obvious and consistent, and I probably wouldn't have died if I hadn't spent the fight trying to push him into one of those spike-pits. I thought it would be worth a try, but apparently not. If the boss does manage to hit you, he can kick you down into the snake pit at the bottom of the screen, which is a fun little touch but not enough of a threat to stop me from winning the fight by smashing his shin bones into dust whenever he jumped at me.
Karnak's reward for beating the skeleton is a glowing dumbbell. Just one dumbbell, though, which means my workouts are going to take twice as long. Also, is Karnak doing an anime-schoolgirl-style peace sign? The next stage better start with him running into the area with a piece of toast hanging out of his mouth, shouting about how he's late.
Not surprisingly, that isn't how the second stage begins, but I didn't expect it to start with a boss fight either. The pyramid Karnak wants to enter is guarded by this big purple fellow, and somewhere between stage one and two Karnak has managed to lose his sword. Not to worry, because he knows ancient Egyptian kung-fu and can even do flying kicks. Maybe that was what the dumbbell symbolised: martial arts training. I don't need a sword when I can punch people to death, just like how I don't need a shirt as long as I have gold bicep bands.
Now, those of you who have played a lot of eighties arcade game might find this boss rather familiar. That's because, as has been noted in several places around the internet, the boss looks an awful lot like Data East mascot Karnov, especially as he appears in Bad Dudes vs. Dragon Ninja. How similar?
Well, it's quite obviously ripped from the same sprite so "extremely similar" would be a good way to describe it. Cheeky as hell might be another.
Beyond Karnov's Egyptian ancestor is a great pyramid filled with enemies and traps that must be conquered. Your kidnapped lady friend isn't in here, so you might be wondering why Karnak didn't just walk around it rather than facing the were-panthers and statues that shoot lightning bolts that lurk within, but the game does give you a reason: there's a boomerang inside, a weapon of such mighty power than it alone can secure victory in Karnak's quest. Wait a minute, that doesn't sound right. A boomerang?
A powerful weapon or not, this screen that appears before the pyramid stage implies that I won't be able to continue if I don't collect it, so I have very little choice in the matter. This screen is an odd touch, a map of the pyramid that pops up before you enter the stage and which you can peruse at your leisure, like an information booth in a shopping centre. Collect the boomerang, watch out for traps, Marks & Spencer is located on the second floor, next to the canopic jar storeroom.
I would suggest you read the information thoroughly, because it not only tells you where you're supposed to be going but it also informs you how to activate a necessary staircase and tells you the secret password required to advance into the depths of the pyramid. What a helpful screen.
The tagline on Big Karnak's arcade flyer is "You live an odyssey in Egypt... if the Gods allow you," and seeing Horus and Anubis pottering around the pyramid as normal, non-boss enemies means that the gods won't allow me, but also that they're not in as much of a position to stop me as you might have expected. Anubis attacks by throwing bricks at Karnak, for example. Anubis is the god of the dead, having him chuck rocks at my face is a trifle underwhelming. Surely brick-slinging should be performed by Ptah, god of craftsmen and architects?
At least Horus fights using magical bolts and teleportation, but both these gods are easily defeated by the weapon Karnak picked up at the end of the last stage. Yes, the dumbbell. Turns out it's actually a magical rattle that creates a short-range shield thing when shaken, a shield which both harms enemies and negates their projectiles. This is bad news for Horus and Anubis, because projectiles are really all they have. I wonder which god gets to look after Anubis once I batter him to death with my magic rattle?
Here's something that took me a moment to figure out, probably because it wasn't mentioned on the helpful information screen. To get down to the lower levels of the pyramid, you have to shin down this rope. Just make sure you jump onto the rope. Walking off the platform into the rope does not have the desired effect, unless you're trying to fall far enough to get Karnak's shins to burst out of his own shoulders.
Once you've managed to grab the rope, there follows an interesting mini-boss of sorts as you pummel the dangling lizard. I wish I hadn't used the phrase "pummel the dangling lizard" there. It doesn't sound very heroic, or legal in public. The fight's cool, though: the lizard climbs towards you, but you can push it back by attacking downwards with your rattle, and sometimes rocks fall from the ceiling, forcing you to stop attacking to avoid them by leaning left and right on the rope. It's a fun section, it definitely feels very swashbuckle-y, long enough to be a challenge but not long enough to drag on. Above all it's interesting, something outside the usual gameplay mechanics for this type of game. This is true of most things in this stage - on a basic level you're still just walking around and hitting enemies, but things like the rope climbing and the "secret" password give it it's own unique feel.
Here's where you need to enter the password, on the stone just below where Karnak is standing. The password is GAELCO, but to enter it you only need to spin the two halves of the block so GAE and LCO line up together. If you skipped the hint screen at the start of the stage or just didn't pay attention to it, you might still be able to figure it out, possibly. Me? I knew the password but my feelings of superiority were challenged by Satan's sudden appearance. He kicked my arse, if I'm honest. I think it's because he didn't mess around throwing bricks at me, he just burned me alive with his hellfire breath.
More rope fighting, this time against a big snake and it's smaller - but still impressively large, as snakes go - minions. Big Karnak does not use bosses sparingly, and there's three on this stage alone. This one's a lot like the fight against the lizard, except instead of dodging rocks you have to keep forcing the snakes back into their holes so you can concentrate on damaging the leader.
Beyond the nest of snakes and just past a mouth in the wall that vomits a stream of six-foot eyeballs at you - I didn't manage to get a good screenshot of that bit, so you'll just have to take my word for it - is the pyramid's final boss. What else would guard the pyramid but a mummy? See, this is why I was wary of the decision to have mummies all over the place right from the word go, now this mummy's appearance has lost a lot of impact even if he is much bigger than all the other mummies. He's not just big, he can also shoot fire out of his hands, a battle strategy that seems singularly unsuitable for a dried-out corpse wearing flammable strips of cloth to be using. It's like a vampire throwing garlic powder around his castle while he opens all the curtains.
The multiple levels work really well in this fight, allowing for a lot of enemies the feature in the battle without it becoming too overwhelming, and fighting the boss itself strikes a good balance of difficulty and simplicity. The strangest thing about this and almost every other boss in Big Karnak is that while they do have a health bar, it doesn't seem to work as you'd think - it takes a lot of hits to get the first bit of damage in, but once you've started hurting them they take damage faster and faster. Very strange, although hardly important gameplay-wise.
This boomerang, on the other hand? Now that's important. Or so I'm told. My sword and rattle seemed to be working out for me fairly well but okay, I'll trust you. Boomerang it is.
The boomerang immediately proves it's worth at the beginning for stage three, where an eagle flaps dementedly about the place, dropping a never-ending stream of eggs on Karnak's head from it's poor, battered cloaca. I wouldn't be able to hit the eagle without the boomerang, which can even be thrown diagonally, so a big thank you to both that mummy for being entombed with it and the information kiosk for letting me know about it.
Killing the eagle brings the ship on the right a little closer, so I can simply jump across and continue my quest.
Oh dear, I wasn't expecting a pack of angry dogs to disembark. Ha ha, disem-bark, because they're dogs. That'll keep me smiling even as they tear me to shreds.
After making it past the dogs, boomeranging a few pirates and climbing up the rat-infested rigging, Karnak faces off against another boss. From here out Big Karnak does become something of a boss rush, and while that's usually something I'd complain about this is the best kind of boss rush - the kind where I haven't already fought all the bosses before. For instance, this one's new, a woman with an anchor who rolls exploding barrels at you. I think I'll call her Nefertiti Kong. At first it seems like a difficult fight, but after a little trial-and-error I found there was a "sweet spot" that you can stand in where continually throwing boomerangs will destroy all the barrels before they reach you, with one occasionally slipping through to hurt the boss. The boomerang has already proven its worth, and yet I still felt safer when I had the sword. Could I not use both? Link manages it, and he's a weird mute kid who grew up in the forest.
After dispatching Nefertiti Kong and making it off the ship, Karnak is soon thrust into mortal combat with some shrubbery. The boomerang does little to harm this overgrown pot plant, but there's a trick to the fight - hitting the plant's "head" will make it burrow underground for a moment, allowing you to attack the crumbling statue behind it. Hit that statue enough times and the wall collapses, burying the boss and allowing you to continue.
Of course, it's not quite that straightforward. A carpet of tiny snakes is constantly growing under your feet, so you have to pause every now and then to clear them out, a process that has finally cured me of the notion that taping razor-blades to a boomerang would be a low-effort way to mow the lawn. The goddess Isis serenely hovers behind you, watching the battle unfold. Not really, she kept stabbing me in the back with her spear.
Big Karnak's cavalcade of bosses continues with an oversized octopus. It's a very similar fight to the last one, the barrels replaced by rolling tentacles the octopus can launch and regrow at will, but it's far superior to that battle thanks to the octopus' frankly amazing facial expression. Never mind that it's not even close to an octopus' real anatomy - why does it have eyebrows? To keep the sweat out of its eyes when it's in the sea? - it's got such a wonderful look of slightly-confused contempt that I didn't mind when it killed me over and over again. It looks like elderly British man who's just been asked about his sexual preferences by someone doing a door-to-door survey, and I'm glad I had this opportunity to throw boomerangs at him.
It would have taken a lot to top that octopus, and sadly Big Karnak couldn't manage it. I'm not complaining about the robot sheep skull that fires smaller sheep skulls at you while you throw your boomerang at its ruby-studded eye - that might be something that's above complaining about - but it's not quite as fantastic as the previous boss. It also dies a lot more quickly, which was nice. My boomerang-throwing thumb was staring to get tired.
It really is all bosses all the time now, with the latest assault on Karnak coming from a pterodactyl and its many, many accomplices. So many accomplices: smaller pterodactyls, little dragons and, in an inversion of the usual "Egyptian deity" template, frogs with the heads of men. They look unhappy with the situation, as well they might. No-one wants to worship man-headed frogs. They can take comfort from being involved in the hardest part of the game, however - the sheer amount of deadly things on screen means that you'll struggle to both avoid taking damage and to even hit the big pterodactyl. There's so much cannon fodder between you and the boss that it's difficult to land a blow, but eventually the tide of enemies will thin out a bit and you'll make it through.
At last - I was going to say "at long last" but this is a pretty short game - Karnak faces off against Osiris, lord of the underworld and abductor of women who were just trying to enjoy a nice, peaceful chariot ride to the pyramids.
What follows is rather strange battle. Aside from that first big skeleton, it's probably the easiest boss in the game. All Osiris does is fly back and forth at the top of the screen, dropping slow-moving and easily-avoided nets. However, the catch is that if you are entangled in the net, you're killed instantly and, unlike every other boss, Osiris gets all his health back if you use a continue. Normally, I wouldn't simply offer "don't die" as my advice, but in this case it's fair enough because it's not difficult to avoid death. Just keep firing upwards and concentrate on dodging the nets rather than on hitting Osiris and you'll soon triumph.
Osiris almost had the last laugh by bursting into flames when he died. His flaming body fell from the sky and killed Karnak: the heart in the screenshot above is Karnak's soul, floating away to be weighed against the feather of truth. Until I put another credit in, anyway.
Karnak has slain just about every god except Ra and rescued Cleopatra. The statues in the background nod their approval. They never liked Osiris anyway. Big Karnak is over!
Her imprisonment has taken a toll on Cleopatra, and now her head has twisted around to face the wrong way. Or her left arm is on backwards, her anatomy has become a little difficult to interpret. She seems happy enough, mind, and I'm quite pleased that the ending is a roll-call of all the enemies in the game. I always like to see that in an ending, and Big Karnak was no different.
That said, I liked it a lot better once this monkey had scrolled of the screen. Did his nipples have to be quite so prominent? He's looking right at me. He knows I've seen his nipples, and he likes it.
The roll call also taught me that the pirate boss with the exploding barrels was Nut, goddess of the sky. I suppose that explains why your fight her right up in the crow's nest.
That's Big Karnak, a simple hack-and-slash arcade game with an Egyptian theme that tried a few different things and, on the whole, succeeded in having those things be interesting. I enjoyed playing it, I know that, mostly thanks to the extra little flourishes that break up the usual formula: the rope-fighting, the choice of paths, the mysteries of the pyramids and that octopus, that fabulous, grumpy octopus. It's not perfect - the jumping controls are stiff, it's very short and it would have been nice to have a bit of regular action between the later bosses, but as action-packed arcade games go I can recommend this one, especially if you like people with animal heads instead of human heads. It's got plenty of those. Just try not to think about that monkey's leering face waiting just over your shoulder as you play.
Stone Age antics in The Flintstones: The Treasure of Sierra Madrock!
Ephemera, Volume 6!
Fuzzy-headed children's guff in Tweenies: Doodles' Bones!
Posted by VGJUNK 5 comments
Labels: Arcade, big karnak, gaelco, hack 'n' slash
THE FLINTSTONES: THE TREASURE OF SIERRA MADROCK (SNES)
Gasp as the crude people of the Stone Age are brought to life in vibrant colour on your television screen! Marvel as primitive man bends the power of the dinosaurs to his whims! Recoil in disgust as you imagine what a caveman's feet must look like after driving their foot-powered cars around for a while! Yes, it's The Flintstones - specifically, Taito's 1994 SNES yabba-dabba-doo-em-up The Flintstones: The Treasure of Sierra Madrock!
Even back in 1994 The Flintstones was hardly a hip, fresh license that all the kids were clamouring to have a videogame based around, but at least they probably knew what The Flintstones was - but how many of this games target audience was going to get the Treasure of the Sierra Madre reference in the subtitle? Personally, I would have gone with For Whom the Brick Tolls or Rubble Indemnity.
The game begins with a glimpse into the sinister Masonic rituals of the Loyal Order of Water Buffaloes, rituals that I'm sure mostly revolve around drinking beer and playing cards. All I know is that whenever I see a men's club like this I automatically hear the Stonecutters song from The Simpsons, and I know I'm not the only one.
The set-up for this game is that Grand Poobah, the leader of the Water Buffaloes, is retiring. Instead of naming his successor or holding fair and open elections to fill the positon, the Poobah tells the Water Buffaloes that whoever amongst them finds the treasure of Sierra Madrock will be the new Poobah. Whether this is part of the Order's ancient traditions or just the outgoing Poobah's chance to see his brothers fight amongst themselves is never explained.
Also not explained is why Fred Flintstone is so keen to be the next Poobah. He strikes me as the kind of man who would want to avoid that level of responsibility. Maybe the Grand Poobah gets free Bronto Burgers at the drive-thru. Whatever his reasons, Fred sets out to find the treasure, and Barney Rubble tags along, doing most of the work while Fred takes all the credit because, let's be honest, Fred Flintstone is kind of a dick.
If you're thinking that a Flintstones game on the SNES is going to be a platformer, you'd be half right. Well, maybe a third right. There is definitely platforming involved, of the familiar 16-bit variety. Here, Fred is leaping over some stampeding dino-cattle, and you can stand on their backs. It's like that bit in the first stage of Sunset Riders, only not as much fun because the controls in this game are a little slippery and the soundtrack isn't nearly as good. Fred and Barney have the usual set of platforming skills - they can run, they can jump, and they can attack enemies using their clubs - but the only thing even slightly out of the ordinary in their movesets is that if you hold jump they float in air for a while, whirling their legs, much like Yoshi does in Yoshi's Island.
The platforming stages are very short, rarely lasting more than a minute, but that's because The Treasure of Sierra Madrock isn't just a platformer...
It's really a board game! You control both Fred and Barney separately as they roll the dice and make their way around the board, with each panel you land on leading to a different result. Small stone dots are the platform stages, and they're the most common of the bunch, but there are also shops, places to play minigames, "boss" arenas and a sports stadium. I wonder if The Flintstones' sports carry on the series' tradition of using dinosaur labour to recreate aspects of the modern world? I just want to see a small, fat dinosaur being used as an American football, dryly croaking "it's a living!" as the quarterback throws it through the air.
So, the platforming bits. They're okay. I'd give them a C, maybe a C minus thanks to the slightly woolly feel of the controls. The trouble isn't so much with the mechanics of the game, but rather that there is not a single iota of innovation in the level design, not one part of any hop-n-bop stage that hasn't been done - and done better - in a hundred other platforming games. See-saw platforms, balancing on logs, riding moving ledges, all of which you'll swear you've played before in some other game. The brevity of these stages is their saving grace, however, and because you can blast through most of them so quickly they rarely outstay their welcome.
Without having much idea what I was supposed to be doing, I sent Barney to the space on the board with the big dragon skull on it. That triggered a boss fight against a giant ape, which seemed like it would put me on the right track, because what's more likely to clear a stage in a videogame than defeating the boss? Sadly, The Treasure of Sierra Madrock doesn't work that way, and my time spent learning the patterns of the boss' attacks - he makes coconuts fall from the sky and then throws a coconut right at you, over and over again until you've clubbed him enough times - was all for naught. Well, I learned the valuable lesson that I have no reason to fight these bosses, I suppose. That could come in useful.
Your real goal is to catch up to the Water Buffaloes member who's pottering around the board. Fred has not forgotten that his loyal brothers are also searching for the treasure, and the bonds of fraternity are no barrier to Fred's overwhelming desire to become the next Grant Poobah.
He has no qualms about smashing their heads in to further his ambitions, for example. That's our hero, folks: a primitive man who is quick to anger and prone to violence, a man who will use the bodies of his fallen friends as stepping-stones on the way to glory, a man whose most striking characteristic is his unending selfishness. The look on his face as he tries to wedge a tree branch into the ear canal of a man he once called brother tells you all you need to know.
Having landed on the same square as a Buffalo, Fred and Barney realise that he has a map to the treasure. Desperate to avoid having his skull caved in, Brother Rockhead here challenges Fred and Barney to a race, with the winner taking the map. That'll be what the sports stadium is for, then.
It's Super Flintstones Kart! Hold down the Y button to run around the Mode 7 track, jumping over mud-puddles and trying your damnedest not to bump into Brother Rockhead, because if you do he sends you spinning away, usually into the long grass that'll slow you right down. The race is won and lost in the first few seconds: if you can get past Rockhead at the first corner then you'll coast to victory, but collide with him at the start and he'll build a lead that's extremely difficult to claw back. Still, it's not a massively difficult race, thanks no doubt to all the time Fred has spent pushing a car made of rocks around with nothing but his leg power. Regular running must be a breeze for him.
Once I'd won the race and claimed the treasure map, I sent Barney back to the stadium, thinking it would be a free space now that I'd cleared it. Instead he was entered into a time-trial race around the same course, a race I failed on my first attempt because the game neglected to add any time to the clock when I passed the second lap's checkpoint, making the whole thing impossible and leading to the rather aggravating situation of being told I'd run out of time when I still had 26 seconds on the clock. I guess there's no dinosaur that you can stuff into a watch case to provide accurate time-keeping.
I did eventually beat the time trial, and the reward was well worth the effort as victory granted Fred and Barney the ability to double-jump. Bafflingly, their double-jumps are powered by money, and each time you perform one you lose one "clam". In The Flintstones universe actual clams are used as money because dollars are sometimes called clams, you see. Quite how having a unit of currency fall out from under you - if I was being crude I'd make the point that Fred looks like he's passing a clam he'd swallowed earlier when this happens - makes you jump higher is a mystery, but it does and it can be annoying when you're haemorrhaging cash because you keep double jumping by accident.
I could be using those clams to buy a delicious, health-restoring glass of cactus juice! Although probably not, because I entered the cafe as Barney. For some reason, be it a quirk of fate or my own dislike of Fred Flintstone seeping through, Barney always seemed to have more health but no money whereas Fred was minted but constantly teetering on the edge of death. This made a lot of the later platforming stages more difficult to complete with Barney, because he didn't have the funds to live the extravagantly expensive life of the double-jumper. It also meant I didn't get to see the minigames for ages because Barney always seemed to land on those squares and it costs ten clams to enter. It makes sense to me, though. Barney seems like the kind of person who places little value on material wealth. He doesn't even want to be the Grand Poobah, he's only tagging along to help Fred out.
Anyway, once you've claimed the map the exit opens up and you can leave the first board. The remainder of the stages play out in the same manner - travel around the board completing short platforming stages as you hunt down the Water Buffalo in each area so you can beat him in a race and take whatever useful item they have for yourself. I wonder if all the boards will be build around the usual videogame themes?
Well, here we are in a fiery area called Magmarock so gee I guess so.
Predictably enough, the platforming parts of Magmarock are based around not touching lava, or whatever this brown lava analogue is supposed to be. Boiling mud? Really hot gravy? Whatever it is, just don't fall into it and you'll do fine. My main piece of advice would be that you can climb up the long, thin stalagmites. It took me a while to realise this, but then again I was distracted by trying to figure out exactly what animal's hide Fred's clothes are made of. They're not striped like a tiger, but leopards aren't orange. My current leading theory is that it's an orang-utan pelt that's covered in stains.
Oh no, it's Wilma! My loving and supportive wife who has put up with my years of madcap antics with patience and good humour! Whatever shall I do?
If Fred or Barney bumps into their respective wife, all that happens is that they get dragged along for a few spaces. Both times this happened to me while I was playing the game they dragged me closer to my destination. Betty and Wilma are the true heroes of The Flintstones.
I caught up with Quartz, this stage's Water Buffalo. Fred says he's going to beat him. Fred is forever making these threats and wild boasts, and always with the same smile on his lips. This has the effect of making Fred seem like a bit of a psychopath, especially when he sends Barney out to do his dirty work.
Okay, now it really is Super Flintstones Kart. All that's missing is the ability to throw turtle shells at your opponent, something that would fit right into the Flintstones universe. In practise it's no different to the foot race, and the same rules apply: get in front of the other racer quickly and victory becomes a formality.
As surely as day follows night and a trip to A&E follows my attempts to juggle knives, so is the fire stage followed by an ice world. This is Snowrock, and the compass you need to progress is encased in ice. A friendly eskimo says he'll free it for you, but only if you bring him a hammer and chisel. And who has the hammer and chisel? Why, one of your fellow Water Buffaloes, of course. You'd better get out there and find him, Fred.
The centrepiece of this board is the icy crossroads at the centre, where entering one of the paths will spit you out at a seemingly random destination. For all the grief I've given him, I'll concede that Fred must be pretty tough if he came to the Arctic without any shoes.
Of course, no shoes means no grip, and as you'd expect your character slides along the frozen platforms at a rate that cannot be explained by the presence of ice alone - there must have been some buttering of feet involved. It's hardly game-breaking, though, because by now you'll have gotten used to the large amounts of momentum Fred and Barney have even when they're not running on ice. As I've said, the platforming in The Treasure of Sierra Madrock is generic to the point of parody, but there are some strange quirks to the way your character moves that take some time to get the hang of. One is that when you're jumping up to another platform you often seem to "pop" onto it even if your feet never touch it. My favourite, however, is that if you're running at full speed and press attack your character stops dead, swings their club and then immediately starts running at top speed again. Fairly amusing, granted, but hardly how you'd expect that set of actions to work.
I finally managed to get Fred to land on the Amusement Park square, so now I have the pleasure of sampling a variety of minigames and hopefully gaining a few extra lives. I mean, I already had nineteen lives at this point but a couple more wouldn't go amiss.
The first game, pictured above, revolves around keeping these cheeky monkeys away from your coconuts by bashing the see-saws with your club. This cause the coconuts to fly up and whack the monkeys, sending them back up the tree. I can only imagine Fred shouts something along the lines of "oh, you want my coconuts, do you? Well here, have 'em!" as he does this. Any coconuts left unmolested when the time runs out will grant you a prize.
The second game is bagatelle, and you fire a rolled-up millipede onto the peg board and wait - for an agonizingly long time, it seems - for it to plink into one of the holes. You get the prize pictured above the hole. Nice and straightforward, this one.
Exciting card-flipping, pair-matching action in game three, which is probably the game with the best chance of a big reward, although it is dependant on luck. Fortunately I was very, well, fortunate when I tried it, and I'm not sure how the "Nx" multipliers work but once I'd finished I had thirty-two lives.
Finally, I hope you'll all join me in sniggering at the title "Balls o' Fun". The easiest of the four games, all you have to do is throw your ball that the power-ups as they scroll across the screen. Your balls always move in a predictable way, so you should be able to hit the ones you want without any trouble. Well, unless you're still laughing at it being called "Balls o' Fun", that might throw your aim off a little.
Snowrock's item-harvesting race is ice-skating, and while it's nice that it's thematically tied to the stage it does just work exactly the same as the running race... although it seemed a lot easier. In fact, this game doesn't so much have a difficulty curve as it does a difficulty plateau with the odd hillock of challenge placed atop it, and to me it felt like there was a much wider range in difficulty between stages on the same board than there was between the first board and the later ones.
After collecting the compass, it is immediately stolen by a pteranodon, leaving Fred and Barney stranded in the jungle world of, erm, Junglerock. So we've had Bedrock, Magamarock, Snowrock and now Junglerock. That's some real imaginative work on the names there, Taito.
Junglerock is the least interesting of the five boards, mostly because it looks a lot like the first one and also because there's only one way around the board. The platforming stages have a lot more water to fall into. That's their primary gimmick, and it's not a difficult one to get around so long as you don't play like me, taking blind running leaps through the treetops in an effort to get to the end of this dull videogame before I lose the will to continue.
The mandatory boss fight against the compass-stealing pteranodon gives you something to do, I suppose, but it's very similar to the fight against the giant ape, only you have to wait around longer for the pteranodon to swoop down into clubbing range. I was in much more danger from the relentless timer than the flying rocks, but after my first attempt - an attempt where I "accidentally" drowned Fred - I got Barney to do the hard work. As always, Barney prevailed and the two cavemen could enter the final stage.
It's called Caverock. It's in a cave. There are rocks. I know I shouldn't have expected anything more interesting, but that's still disappointing. Caverock is nothing more than a long, single path of platforming stages, and if you decided to play The Treasure of Sierra Madrock I would recommend you do so on an emulator so you can save-state your way to rolling three (the highest number) on the dice every time. You will miss out on very little by doing this.
Caverock's levels are extremely reminiscent of the underground levels in Super Mario World. The same colour palette, the same murky water, the same moving slabs of rock that you have to progress past by squeezing through gaps. Well, if you're going to copy something, you might as well copy the best.
After far too many stages of "action" gameplay that would have felt stale before the SNES was even on the shelves, Fred and Barney emerge into the sunlight, blinking and exhausted. Fred is so staggeringly dense that Barney has to tell him that the treasure chest has treasure in it. Had Barney not come along, Fred's adventure would have ended three feet away from the Loyal Order of Water Buffalo Lodge's front doors, his head trapped in a postbox or simply sitting in the dirt mumbling to himself. Wilma is either a bona fide saint or Fred is secretly the heir to an enormous fortune.
Oh look, it took the whole game but Fred said "yabba dabba doo." Kudos to Taito for not having him spout his catchphrase every five seconds.
The treasure of Sierra Madrock is finally in our heroes' possession, but what is it?
Wait, I know this one: it's either the diamonds from Reservoir Dogs or Marsellus Wallace's soul, right?
It's the Poobah's medal. There you go, Fred, you're the Grand Poobah. Are you happy now? On the next episode of The Flintstones, the power goes to Fred's head and he falls out with Barney until Wilma and Betty make them come to their senses. Actually, I think that's every episode of The Flintstones.
Here come Betty and Wilma now, justifiably furious that their husbands - men with young children, don't forget - risked their lives just so they could be head honcho of a gentleman's club.
How can I sum up The Flintstones: The Treasure of Sierra Madrock? Fittingly enough for a game so thoroughly familiar, I can describe it in the same way as a great many other SNES platformers - it's okay, but just okay. If it was a pizza, it'd be cheese and tomato. Once you've got a handle on the weirder elements of the gameplay mechanics, the action is passable, even if it is completely lacking in imagination. Scrap that pizza analogy, this game is the Coldplay of SNES platformers - competent enough on a technical level but with no bite, no hook, nothing to elevate it above mediocrity.
It falls to the board game elements to lift this one, and I'd say that they do lift it, even if it's only a little. It gives the game a little more replayability, for one thing, and you're unlikely to play the same set of stages each time you load up the game, so on that front it's a success. A warm round of applause for whoever decided that clearing a stage means you don't have to repeat it if you land on it again, a wonderful feature without which the game would have become far more wearisome than it ended up being. Having a (small) choice of paths in the earlier stages is nice. All in all, a tick for the board game column, a solid two-player mode and some nice graphics mean that The Flintstones: The Treasure of Sierra Madrock could have been something well worth playing... if only the bits that you actually play were more fun. Am I going to finish this article by saying it's a yabba dabba don't? It's sure looks like it. How unfortunate.
Wacky darts in, erm, Wacky Darts!
Labels: board game, platformer, SNES, taito, the flintstones
THE FLINTSTONES: THE TREASURE OF SIERRA MADROCK (S...
EPHEMERA, VOLUME 6
TWEENIES: DOODLES' BONES (GAME BOY COLOR)
WACKY DARTS (AMIGA)
SPINAL BREAKERS (ARCADE)
ALIEN VS. PREDATOR: THE LAST OF HIS CLAN (GAME BOY...


NMHC/NAA joined a broad coalition of interest groups in urging Congress to take swift action to reauthorize the EB-5 program before it expires at the end of the month. This is the second letter we have sent to key lawmakers in recent months emphasizing the importance of the program.
The fate of the Senate's continuing resolution is unclear at this time. But attaching the EB-5 provision to a "must move" bill like the federal funding measure is considered the best strategy for success at this point.
Now, industry participants have one more reason to watch how the fight over government funding and Planned Parenthood plays out next week - with the fate of the EB-5 program hanging in the balance.


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Pictures of famous personalities who left us in 2020-21
Take a look at your favourite celebrities, who passed away and left us teary-eyed...
Take a look at your favourite celebrities, who passed away and left us teary-eyed...Read Less
/celebs/celeb-themes/pictures-of-famous-personalities-who-left-us-in-2020-21/celebs-who-left-us/eventshow/78487913.cms
Pictures of famous personalities who left us in 2020-21 Pics | Pictures of famous personalities who left us in 2020-21 Photos | Pictures of famous personalities who left us in 2020-21 Portfolio Pics | Pictures of famous personalities who left us in 2020-21 Personal Photos - ETimes Photogallery
Actress Mishti Mukherjee passed away on October 02, 2020 due to kidney failure, her publicist said in a statement.
See more of : mishti mukherjee
mishti mukherjee
/celebs/celeb-themes/pictures-of-famous-personalities-who-left-us-in-2020-21/mishti-mukherjee-pictures/eventshow/78487916.cms
Mishti Mukherjee made her Bollywood debut with Ranvir Shorey-starrer 'Life Ki Toh Lag Gayi' in a guest appearance.
According to a statement from her publicist, Mishti Mukherjee breathed her last in Bengaluru.
"Mishti Mukherjee, who marked her brilliance in many films and music videos with her ace acting, is no more. Due to keto diet, her kidney failed in Bangalore and she breathed her last on Friday night, the actress suffered a lot of pain. Unforgettable and unfortunate loss. May her soul rest in peace," the statement said.
Actress Mishti Mukherjee, who was cremated on October 03, 2020, is survived by her parents and brother.
The 27-year-old actress Mishti Mukherjee had also featured in several Telugu and Bengali projects.
Actress Mishti Mukherjee's sudden demise has come as a shock to the entire nation.
Late actress Mishti has also featured in a number of music videos.
Veteran actress Sita, who is known for her supporting roles in the golden era of Telugu cinema, passed away in Hyderabad on September 21, 2020 and her final rites were performed at the Vaikunta Mahaprasthanam.
See more of : sita
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The 87-year-old actress Sita, who was suffering from age-related illness, is the second wife of legendary Telugu actor Nagabhushanam. Several celebrities from the Telugu film fraternity have expressed grief and offered their condolences for her death.

redpajama_set_name: RedPajamaCommonCrawl


text:
'Get down!' Gunfire erupts at New Mexico high school
Aztec High School students and area residents gather for a candlelight vigil in Aztec on December 7, after a shooting at the high school. (Russell Contreras, AP)
One dead in US school shooting
Records: Library shooting suspect planned to target school
Colorado teachers trained to carry guns in classrooms
Aztec - Heaven Angelica Hughes and her classmates heard loud noises coming from the hallway just before bullets began flying through the window, striking a wall just over one student's head.
"Get down!" her teacher yelled. The 15-year-old freshman fell the floor and hid under her desk. Heaven then sent a text message: There's a shooting here at school, mom.
Across the hallway, David Stone, 16, heard the same booms while in math class. His teacher herded the class into a closet and locked the door.
"This is not a drill," an announcer over the school intercom told students.
When the frightened students emerged on Thursday from their hiding places at Aztec High School, they learned two of their classmates had been killed. The shooter also was dead and the close-knit community of 6 500 people was thrust into mourning as they became the latest to feel the sting of what seems to be a routine tragedy in the United States.
Why the shooter chose Casey J. Marquez and Francisco I. Fernandez remained a mystery as detectives combed through evidence. So far, they have released few details.
'I knew it was real'
"I just thought it was a dream," said Sebastian McNeal, 18, who was waiting to board a bus for a basketball tournament. "I thought I was going to wake up and it's going to be all fine."
Then he saw an ambulance. "I knew it was real," he said.
Police arrived at the school less than a minute after getting the initial calls, which came shortly after the start of first period. With the school in lockdown, they got inside through a window and a door.
It was not clear if the shooter died by suicide or was killed by police. No other injuries were reported.
Hours after the gunshots, students and the community gathered in churches, community centres and then a park, braving frigid temperatures for a candlelight vigil. They were trying to make sense of it all. At St Joseph's Catholic Church, residents came together to say a rosary in honour of the victims.
"Right now we need to keep each other in our hearts and thoughts and take care of each other," Aztec Mayor Sally Burbridge posted on her Facebook page.
Some residents waved American flags on busy streets.
"This is a tight community," Marsha Dodd, 51, said while holding a flag in front of Aztec's Safeway grocery store. "I don't want this in my community, just peace and love."
She stood next to Dennis Martinez, 24, who held a sign demanding that teachers be allowed to carry guns.
Grief and shock
At the vigil near the town's main street, pastors from different churches urged students and their parents to pray and speak up if they felt pain. New Mexico Gov. Susana Martinez spoke briefly and told the crowed "all of New Mexico is with you".
David Stone and Heaven Angelica Hughes gathered with friends and raised their candles when a speaker urged them not to give into fear. They tried to keep each other's candles burning. When it was all done, David admitted he may not return to Aztec High. "I don't know. Maybe I go to home school or something," he said. He kept replaying the moment when he and others were locked in the closet, not knowing if they were targets.
Aztec is in the heart of northwestern New Mexico's oil and gas country and near the Navajo Nation. Its main street is lined by old brick buildings that date back more than a century. Officials say it's a town where everyone knows everyone else and where homecoming festivities are enough to shut down the main street.
Officials say schools across town that shut down on Thursday will stay closed on Friday.
Sebastian said he didn't know when he could get his mind back to basketball this season.
"But Aztec will be back," he said. "We'll be stronger."
Read more on: us | us shootings


Have a report with both remaining class credits and belt rank in the same screen.
It is useful because if we want to print a report with both of these pieces of information, it is nice to have a report with both of these pieces of information.
It would be great to run a report that shows any member not assigned to a roster. Probably good to include trial members as well. Just a good report to double check everyone is accounted for on a roster.


Configuring Motion Detection on your camera is a very simple process. Follow the instructions below to better understand how you can configure your camera to detect motion without receiving all those false alerts.
After logging into your camera, navigate to Setup.
Select the Event tab and then Video Detect.
This is the Motion Detect configuration screen.
Schedule: Clicking Setup opens a window where you can create a weekly schedule for recordings to occur.
Anti-Dither: This time value controls how long the alarm signal lasts. Based on motion detection, a buzzer can go off, a tour can begin, PTZ can be activated, a snapshot can be taken, or the camera can begin recording.
Detection Area: Clicking Setup opens a window where you can adjust the detection areas where motion occurs, its sensitivity and threshold values as well.
Record: This checkbox allows the user to enable the camera to record video when motion occurs.
Record Delay: This field specifies in seconds how long the delay between alarm activation and recording should be.
Send Email: This checkbox allows the user to enable the camera to send an email when motion occurs.
Snapshot: This checkbox allows the user to enable the camera to take a snapshot when motion occurs.
Click and drag the green bars to set motion detection for certain days of the week, or enter in each of the periods at the bottom of the window. Motion detection can be set for each day and enabled using the period settings. Once your schedule has been created click Save, the window will close and click Save once more to apply the changes in the Motion Detect screen.
Within this window a live stream of the video will appear, along with options to set the Region.
Region: Each region can be set to have it's own name, sensitivity and threshold values. A total of four regions can be customized.
Sensitivity: The amount of change required to increase the motion detection by a percentage. The lower the sensitivity, the more movement is required to trigger an alarm.
Threshold: The level that the motion detection needs to reach in order to trigger an alarm. The lower the threshold, the more likely motion will trigger an alarm.
To designate a zone, click and drag the mouse over the desired area. When a colored box is displayed over the live feed, that area is now enabled for motion detection.
The scale shown below the options in the right side of the window. You can raise and lower the sensitivity and threshold values to meet the setting the camera will require for positive motion alerts. Motion that's triggered will be seen as red bars. Motion that's detected, but not triggered, will be seen as green bars.
As you can see some shadow movements, whether it's from clouds, trees, or a person, will trigger a motion alert. Raise the threshold to counter these false alerts until the false detection's stop occurring.


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Q: TYPO3 extension: Call to a member function setParent() on null So bascially with a f:link.action, calling an edit Action of another controller i get the error
Call to a member function setParent() on null

The code in my FormFields.html looks like this

        <f:link.action  action="edit" controller="ExterneAktivitaet" arguments="{externeaktivitaet : externeaktivitaet}">
        <f:translate key="tx_kundentermine_domain_model_termin.externeaktivitaet" />
        </f:link.action>
        {termin.externeaktivitaet}

The edit Action just has a view->assign, so the error has to be somewhere else. The interesting thing is that i have other f:link.actions calling different but identical classes/controllers and these work just fine. Can this be some internal TYPO3 error? I don't have a "parent" property defined anywhere, so i don't understand the setter and why something i have not even in my code can be called. Also i've never seen this error before.

A: Try to use below typoscript in your setup.ts file. So, you can easily determine where is the error in your code.
config.contentObjectExceptionHandler = 0

Also set displayErrors => 1 in LocalConfiguration.php file.

A: Check, whether the arguments passed to the fluid render tags have all the arguments supplied. In my case the following code
<f:render partial="FormErrors" arguments="{object:object}" />

was throwing the same error. So the solution for me was to change it like this.
<f:render partial="FormErrors" arguments="{_all}" />

It might differ in your case. Hope this will get you to the right track.

redpajama_set_name: RedPajamaStackExchange


Biro starts with B and ends with O. Below are Total 10 english words made out by rearranging letters of BIRO .
Note: There are 1 anagrams of the word biro. Anagrams are meaningful words made after rearranging all the letters of the word.
Note There are 2 vowel letters and 2 consonant letters in the word biro. B is 2nd, I is 9th, R is 18th, O is 15th, Letter of Alphabet series.


SARASOTA, FL (September 24, 2018) – Coldwell Banker Residential Real Estate has named Dawn McClure as the new branch manager of the company's Manatee office, where she will lead approximately 28 independent sales associates. McClure brings 36 years of experience in real estate.
Prior to her career in real estate, McClure provided marketing, statistical and administrative leadership and support for a leading health and life insurance company. McClure then transitioned to the Greater Irving-Las Colinas Chamber of Commerce in north Texas, where she served as the senior director of economic development for six years.
McClure began her real estate career in Albuquerque, New Mexico, where she worked first as an office administrator, then later as a sales associate for a local high-end building. Her career led her to Dallas, where she served as a residential and commercial sales associate. Later, she was named the managing broker of Coldwell Banker Legacy, LLC's Rio Rancho office where she oversaw 65 sales associates. Upon relocating to Florida, McClure opened her own brokerage. She holds broker licenses in Florida and New Mexico.
"I'm looking forward to my role as branch manager for such an incredibly dynamic and talented group of sales associates," said McClure. "My experience in recruiting, business planning and providing professional development will be very helpful in supporting the Manatee office.
Coldwell Banker Residential Real Estate is a leading full-service residential real estate brokerage company with more than 85 offices and 5,000 sales associates serving the communities of Central Florida, Flagler, Brevard, Palm Beach, Southeast Florida, Southwest Florida, Tampa Bay and the Panhandle. For more information or to view local listings, visit ColdwellBankerHomes.com. Coldwell Banker Residential Real Estate is a subsidiary of NRT LLC, the nation's largest residential real estate brokerage company.


declutter, downsize, Unpack and set up new home and office space, Pack for a move, Create a personalized binder of important information, Create and update files, Coach and assist with ongoing skills for life organization. Personal assistant work.
Our practice provides comprehensive eye examinations, contact lens evaluations and fittings (including specialized, custom, kerataconus, and post surgical contact lenses), diagnosis and treatment of eye infections and diseases,GLAUCOMA treatment, Lasik consultation, refractive, corneal and cataract surgery. Our optical department has a large selection of designer and sport eyeglass frames, and specialty lenses and several highly trained and certified Opticians.
Impact Vision Therapy is a practice with two offices serving the Colorado Springs and South Denver areas. We treat patients with vision related learning problems, such as tracking, ADD/ADHD, and double vision, as well as trauma related vision problems, working with patients of all ages to retrain their brain. The brain plays an integral part in vision and how information is processed. Often, trauma and other brain injuries can affect the way we are accustomed to seeing and how we live our lives. This could mean light sensitivity, headaches, trouble processing information, double vision, nausea, and more. Impact Vision Therapy offers training exercises to enhance the recovery of brain function by stimulating and strengthening visual connections in the brain. Our vision therapists work with the doctor to develop an individualized in-office therapy regime which is supported by at home activities.
We are an 8 bed Assisted living facility, providing personal and targeted care to individuals requiring Daily assistance to make their lives more comfortable and enjoyable. Our facility is a beautiful residential home in a modern neigborhood, close to parks, churches, shopping and other amenities. Our care includes daily assistance, comfortable bedrooms, nutritious food and a wonderful atmosphere.


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How Black Sabbath changed rock and unleashed metal unto the world
With the pioneers of metal all set to be honored with the Grammy Award for Lifetime Achievement, here's a look at the legacy of Sabbath and their indelible mark on modern music.
By Suraj Prabhu
Published on : 11:46 PST, Dec 24, 2018
"Every cool riff has already been written by Black Sabbath. Anything everyone else does is just basically ripping it off. Either you're playing it slightly different or fast or slow, but... they did everything already."
That's what Rob Zombie said in an interview with Sam Dunn for the 2005 rockumentary 'Metal: A Headbanger's Journey'. Sure, Zombie employed some poetic flair to get his point across but the crux of his message essentially shows how widely influential Black Sabbath has been (and still is) in the landscape of metal music.
In fact, if one were to trace the history of metal music and try to pinpoint a single act which served as a tipping point where rock branched off into the strange and dark era of metal, Black Sabbath would be as close as it gets. Of course, no art is born in a void and transitioning styles and genres are more shades of grey than black and white, but you'll hardly find anyone in the music industry who would think twice before endorsing Sabbath as the godfathers of metal.
(L-R) Tony Iommi, Ozzy Osbourne and Geezer Butler of Black Sabbath pose in the press room during the 56th GRAMMY Awards at Staples Center on January 26, 2014 in Los Angeles, California. (Photo credit: Getty Images)
Even the Recording Academy, which generally stays clear of rock-centric acts, is acknowledging the far-reaching influence of the band. Last week, it was announced that to celebrate half a century of Sabbath's long and influential career, the heavy metal pioneers will be awarded with a Lifetime Achievement Award at the 2019 Grammy Awards.
The announcement comes just a year after Sabbath embarked on their final tour, performed their final gig at their hometown of Birmingham, England, and ultimately disbanded. Through their 49-year career, they released nineteen original studio albums, a host of B-sides, rarities and remasters, sold over 70 million records worldwide, bagged two Grammy awards (and four nominations) and were inducted into the Rock and Roll Hall of Fame in 2006.
As the band adds another feather to its cap (or crown of thorns in Sabbath's case!), let's take a look at the crucial role the legendary band played in reshaping rock history and paving the path for one of the most technically complex, theatrically loud, cult-following garnering genre that is metal.
As mentioned earlier, it's hard to place a finger on one exact act, song or moment that sparked the inception of metal. The adoption of the electric guitar into blues by pioneers like Muddy Waters and Pat Hare in the 1950s could be seen as the amniotic stage that birthed rock music. Their distorted guitars and overdriven amplifiers laid the road to the heavier sound that would arrive in the next decade. In the 60s, Led Zeppelin adopted the blues influences to create a never-before-heard sound. Meanwhile, their partners in the British Invasion, The Beatles, infused elements of cheerful pop to create yet another enduring sound.
On the other side of the pond, the same blues influences trickled into the Californian surf rock wave which furthered the use of distorted guitars and more importantly, used fast picked riffs to create a sound that was heavier than ever before. A prime example of this is Dick Dale's 'Misirlou', which any fan of Quentin Tarantino or The Black Eyed Peas will instantly recognize. Other bands that dabbled with the sound include The Beach Boys and The Ventures. The culmination of a lot of these experimental methods is probably best exemplified by The Doors, who with their magnetic live performances featuring songs that would progress well pas the 10-minute mark, pushed the boundaries of what a band traditionally could do on stage.
While these influences might have laid the basic groundwork for metal, none of them in retrospect would really fit into the genre's style, even by the early yardstick of the 60s. Later in the decade, bands like The Who, Cream, Iron Butterfly and Blue Cheer further contributed to the sound with dropped tuning, fuzzier guitars and faster riffs. In 1968, Steppenwolf dropped the smash hit 'Born To Be Wild', which borrowed heavily from the biker culture of the time and for the first time featured the words "heavy metal" in the lyric.
Ozzy Osbourne of Black Sabbath performs at Ozzfest 2016 at San Manuel Amphitheater on September 24, 2016, in Los Angeles, California. (Getty Images)
Although many of these bands dabbled with darker themes and sounds, it was usually as a counterpoint to a generally more optimistic, ballad-styled songs of early rock. Enter Black Sabbath, a group formed by guitarist Tony Iommi and drummer Bill Ward, who were looking to start a heavy blues-rock band in Aston, Birmingham. They enlisted bassist Geezer Butler and vocalist Ozzy Osbourne, and sowed the seeds of what would go on to become the most shocking left turn on the rock motorway.
With their 1970 self-titled debut, Sabbath changed the entire landscape of rock till that point. Building on a trend set by groups like Coven and Black Widow, Sabbath incorporated darker imagery of Satanism and witchcraft in their music. When 'Black Sabbath' arrived on the scene, it showed the rest of the world what metal was. Unlike the works by aforementioned artists, Black Sabbath's debut was a through and through metal album from start to finish - from the opening riff of the self-titled track to the close of the legendary 'Wicked World'. It featured Iommi's thick, sludgy, tri-tone chords (also known as "the Devil's Interval"), made even darker as he slackened the strings to a lower octave, bending the strings like no other. Below this, Geezer Butler doubled Iommi's guitar riffs, giving them a darker, heavier sound. With Ozzy's bat-sh*t crazy, eccentric stage presence and piercingly haunting vocals, Black Sabbath had created a sight and sound that was never seen before, a giant middle finger to the feel-good vibes of the songs of the just departing flower power era.
Even the band's name reflected the horror show that they would go on to unleash for another 50 years. The 1963 horror film Black Sabbath, starring Boris Karloff and directed by Mario Bava. Like any act that shakes up the pre-established order of things, Sabbath was met with harsh criticism from purists. But that did not dissuade them.
The band quickly rolled out two more albums within one year - 1970's 'Paranoid' and 1971's 'Master of Reality' - where they continued to explore the novel sound and themes they had introduced in their debut. By the time 1973's 'Sabbath Bloody Sabbath' rolled out, Black Sabbath had not only won critics over, but unleashed a wave of metal unto the earth, the full magnitude of which would not be realized until thousands of bands all over the UK, Europe and eventually the world sprouted in the late 80s onwards to create the definitive genre we know today as metal.
Sabbath's influence is so wide-ranging that it could be argued that even individual songs of theirs gave birth to entire sub-genres of metal. This is what Rob Zombie alludes to in his aforementioned quote about the metal legends.
Songs such as 'Black Sabbath', 'Children of the Grave', 'Electric Funeral' could be credited as the early influences that shaped one of metal's oldest sub-genres: doom metal, which is characterized by it's deliberately slower tempos and thicker, heavier, distorted sounds. Interestingly, this sound that was pioneered by Iommi was serendipitous. Much before forming the band, Iommi had lost two of his fingertips in an accident at the sheet metal factory he worked at. To compensate, the legendary guitarist wore plastic fingertips and slackened the strings to provide a distinctly bass-heavy, thicker sound.
(L-R) Bill Ward, Ozzy Osbourne, Geezer Butler and Tony Iommi of Black Sabbath appear at a press conference to announce their first new album in 33 years and a world tour in 2012 at the Whisky a Go Go on November 11, 2011 in West Hollywood, California. (Photo Credit: Getty images)
Meanwhile, the industrial town of Birmingham, where Sabbath cut their teeth during their early days, provided the perfect backdrop for a style of metal that would incorporate these sounds into The New Wave of British Heavy Metal (NWOBHM), pioneered by the legendary Iron Maiden, Saxon and Motorhead. This would further pave the way for a more experimental sound that incorporated electronic sounds and what would be dubbed 'Industrial Metal', the flagbearers of which include Rammstein and Nine Inch Nails.
1971's hit single 'Sweet Leaf' from the album 'Masters of Reality' could arguably be traced as the singular origin of stoner rock/ stoner metal. The studio version of the song opens with a hacking cough on loop that gives way to a sludgy, heady riff as Ozzy delivers an ode to cannabis. The song practically sowed the seeds for the wave of stoner and desert rock that would arrive a good two to three decades later, championed by bands like Kyuss, Electric Wizard, Queens of the Stone Age and Sleep. Speaking of Sleep, the influence that Sabbath had on the genre is still relevant as ever, as proved by Sleep's epic comeback album of 2018, 'The Sciences'. The album even includes a song called 'Giza Butler', an obvious reference to the bassist and primary songwriter of Black Sabbath, Geezer Butler.
Like all umbrella genres of music, metal today has morphed and metamorphosed through several rebirths, and the list of sub-genres is as lengthy as it is blurry and obsolete. Sludge metal, black metal, grindcore, drone metal, depressive suicidal black metal (also abbreviated to DSBM, and no that's not a made-up genre), power metal - no matter which derivative form of the genre you choose, it is hard to deny Sabbath's influence in the field in one way or another, as Rob Zombie so eloquently put it.
Today, more and more underground metal acts are redefining the landscape, trying to emulate the role Black Sabbath played half a century ago. Bands like Deafheaven (who served up a near-flawless album this year in the form of 'Ordinary Corrupt Human Love') are tearing down the walls of the genre by juxtaposing ear-splitting black metal with intricate shoegaze melodies. They've even secured a Grammy nomination for their work, producing a form of metal that even its harshest critics cannot dismiss. While it would be hard to see a direct influence of Sabbath on today's post-modern era of metal, it can still be argued that if it weren't for the genre-defying genius of Black Sabbath, we wouldn't be where we are today.


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Q: Javascript: Trigger only parent div content within a duplicated list I am new to JS. I am learning to apply event listeners, node lists but struggling with the JavaScript syntax for this query. I want to extract the innerHTML of each button to their corresponding textbox within the parent div. So if a user clicks button 3 for example, only textbox 3 value should read the innerHTML of button 3. As you can see, the event listener to trigger each button is working but struggling with the textboxes.

let buttoninput = document.querySelectorAll(".buttoninput");
let textbox = document.querySelectorAll(".textbox");

buttoninput.forEach(btnclickevent => {
    btnclickevent.addEventListener('click', () => {

        textbox.forEach(content => {

            content.value = btnclickevent.innerHTML;
        });
    });
});

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 1</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 2</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 3</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 4</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 5</button>

I am aware you can create an id for each textbox input and button and create individual rules but I want to avoid that route as this would be a long line of code. Right now the list is 5 but if I duplicated say 10 or 20 times, I would want the syntax to only trigger each parent div content regardless of the number of duplicates.
Any help would be greatly appreciated.
Thank you

A: You can find sibling of button by parentNode.children[0] as
btnclickevent.parentNode.children[0].value = btnclickevent.innerHTML;

let buttoninput = document.querySelectorAll(".buttoninput");
let textbox = document.querySelectorAll(".textbox");

buttoninput.forEach(btnclickevent => {
    btnclickevent.addEventListener('click', () => {
        btnclickevent.parentNode.children[0].value = btnclickevent.innerHTML;
        //textbox.forEach(content => {

        //    content.value = btnclickevent.innerHTML;
        //});
    });
});

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 1</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 2</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 3</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 4</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 5</button>

A: You can use parent check doc  property to get the div, the get it children check doc, and edit the textbox.
I apologies for not giving a code, but it should work nicely

A: You should use the parentElement to get to the neighbouring input!

let buttoninput = document.querySelectorAll(".buttoninput");

buttoninput.forEach(btnclickevent => {
    btnclickevent.addEventListener('click', () => {
        let textbox = btnclickevent.parentElement.querySelector(".textbox");
        textbox.value = btnclickevent.innerHTML;
    });
});

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 1</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 2</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 3</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 4</button>

        <input type="text" name="" class="textbox" value="">
        <button class="buttoninput">Button 5</button>

A: You can use previousSibling to get access to access the input element. just make sure you pass in the event as an argument to the listener callback.
(Note: it's used twice as the previous node to the button is #text. The next one up is the input element.)

let buttons = document.querySelectorAll(".buttoninput");

buttons.forEach(button => {
  button.addEventListener('click', (e) => {
    const prev = e.target.previousSibling.previousSibling;
    prev.value = e.target.textContent;
  });
});

  <input type="text" name="" class="textbox" value="">
  <button class="buttoninput">Button 1</button>

  <input type="text" name="" class="textbox" value="">
  <button class="buttoninput">Button 2</button>

  <input type="text" name="" class="textbox" value="">
  <button class="buttoninput">Button 3</button>

  <input type="text" name="" class="textbox" value="">
  <button class="buttoninput">Button 4</button>

  <input type="text" name="" class="textbox" value="">
  <button class="buttoninput">Button 5</button>


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Q: Is there a way to search all file names in a PHP project in Eclipse? I'm using Eclipse PDT for PHP.
Let's say I have an error in "rightsManager.php on line 145", and I have hundreds of files in dozens of directories in my project, what is the fastest way to go to that file and line number?
I can search through the text of all files with CTRL-H but how do I quickly search through the file names? (like CTRL-H in Firefox where it gives you a search box for past urls).
Answer:
CTRL-SHIFT-R, thanks Paul!

A: Ctrl+Shift+R should pop open a resource finder in any flavour of Eclipse, type your filename pattern and you'll get your file in seconds. You can jump to a line with Ctrl+L
alt text http://www2.cwcweb.com-a.googlepages.com/openresource.png
Nice summary of other shortcuts here.

A: What about Ctrl+Shift+M to search through the functions names, or Ctrl+Shift+R to search through the files names ?
Then, Ctrl+L to go to the line you want.
Unfortunatly, I don't think you can do "goto file + goto line" using only one dialog :-(
For more things like these, open the "Navigate" menu ;-)

Edit : If you are looking for ways to do things faster, you might also be interested in the Eclipse PDT "tips" ? question I asked a while ago ;-) (there are not many answers, though :-( )

A: If you open up search with Ctrl+H, leave your text criteria as * and then you fill out the file name pattern field with the name of the file you're looking for, it will search by filename. However, it will not point you to a line number.Search http://img19.imageshack.us/img19/4597/searcht.png

A: (warning: shameless marketing ahead)
The Open Resource (Ctrl+Shift+R) is a great solution indeed. If you are looking for something more powerful, we have an Eclipse plugin called nWire for PHP. It also provides quick-search, but you can search for everything: files, classes, variables, fields, methods, functions... everything.
Also, once you find the file you were looking for, you can select it and see all its' references in other files. You might find it useful.


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Far Off Places
An American expat far from home – travel, write, repeat
A luxe birthday weekend at the St Pancras Renaissance Hotel
London travels February 20, 2016 September 16, 2016 by Ashley
Jon turned 31 this month, and his present from me was an ultra-fancy weekend away at one of his favorite hotels in London, the St Pancras Renaissance. And I don't use the word luxurious lightly – it was, without a doubt, the fanciest hotel I have ever stayed in, and our 36 hour get away was one of the best experiences I've had in my life at this point. It was wonderful, and a stay there was everything we were looking for, having only viewed its imposing Gothic-Revival architecture from the outside. (Everyone has favorite hotels that they've never actually been in, right?)
We stayed in one of the Junior Suites in the Chambers Wing and it was stunning – our room overlooked the Eurostar terminal, which is maybe not everyone's cup of tea, but Jon loves a bit of trainspotting.
The hotel has a long and storied history in London, and started life as the Midland Grand Hotel all the way back in 1873. Unfortunately it was built just on the cusp of a load of changes to what hotel visitors expected (for example, people started expecting a private bathroom in their suite, that sort of thing) and it sadly closed its doors in 1935. It sat vacant, derelict and crumbling for years, and was nearly razed to the ground until a campaign in the 1960s found it given Grade 1 Heritage listing. While that saved the building from being torn down, it didn't mean that anyone had plans for it….so the hotel crumbled some more, this time with heritage-listing protection. Eventually, the exterior was restored at a cost of nearly £10 million in the 1990s (and the Spice Girls filmed "Wannabe" on the grand staircase in 1996!), but it wasn't until a full restoration was begun in 2004 that the hotel really came back to life, better than ever. It was officially opened as a 5-star hotel in 2011. And here we are! What I'm saying is, the Spice Girls and I have been in the same place!
You can see I'm a little obsessed. You could fill a book with the history of this place – and they did. And they left it in our room, and I read it. Fascinating!
And here's the aforementioned Grand Staircase.
Also, check out this huge radiator. I'm not that tiny, I promise. Victorians, man. You were either living in a Dickensian hovel or in the very lap of luxury, as far as I can tell.
Besides taking advantage of the amazing Turkish-style spa, pool, and steam room that's hidden in the bowels of the building -multiple times, because we wanted to ring every penny out of our stay – we spent a lot of our time hanging out the in the private (oooh la la) Chambers Club. Access came with our room, and the Chambers were accessible through a private staircase as well, so it was a hidden space where they served complimentary food and drinks at all times of day and evening, and the staff were all very, very sweet. They also served up bite-sized macarons and the best tiny scones and jam and tea sandwiches I've had.
After checking in we had to be led to our room. We were getting antsy waiting for the bellman to lead us – the receptionist had asked us to wait, and we were sure we could just find it on our own – but it's a good thing we waited. This place is huge, and our room ended up being in the wing furthest from reception, near the clocktower, down a corridor that is truly as wide as our living room at home. Our kind concierge informed us that the hallways were so wide to ensure that the huge bustles of the Victorian ladies who stayed in the hotel in its early years never ran into one another. The ceilings were also deliciously high. I've become so accustomed to how small most things are in England that it was astonishing to find ourselves in this cavernous, decadent building, meticulously restored to its former glory.
Another highlight of our stay was our dinner at The Gilbert Scott Restaurant. Named after the architect who dreamt up this whole dreamy building, the restaurant made me feel as if we'd stepped back in time – it was yet another one of those feelings where I could picture people just like us eating and drinking just like we were 150 years before. No pictures I could have taken would have served it justice, so I've included this one from their website.
Our stay was mostly about generalized chilling…we sat and laid around a lot, and drank a lot of wine and champagne (birthday!), and hung out in the pool, and I took two bubble baths, which was quite a feat for one overnight stay, but I really miss having a bath! Also they set up a little "bath ritual" for us that included bathtub snacks, a bottle of Veuve, and a golden rubber ducky so I basically had to.
In the morning we had breakfast in The Booking Office, which is part of the hotel, but open to the public (and any London-based folk, you should go to it as quick as you possibly can, particularly if you're taking the Eurostar anytime soon). They had the most amazing buffet, with basically the best version of everything you could want for breakfast. And you got to eat it in a room that looks like this. If you didn't guess already by the name, this is the actual former booking office of St Pancras railway station, and the bar and buffet is built up against the former booking tills.
After one last round in the steam room, followed by a swim, we eventually checked out. But we couldn't bring ourselves to leave just yet, so we whiled away our afternoon drinking cocktails and reading in the Booking Office for another few hours.
But eventually we had to say farewell to our short-lived life of luxury and go pick up our fluffy monster and eat a takeaway curry with Jon's parents to carry on the birthday celebrations. Our little flat never felt so small (but I don't mind, I promise!). We don't have any more fancy luxury holidays in our near future, and on our train home we took this picture – I feel like our faces make us look like two people who feel like they've really accomplished something. Ha! See also: awkward hand clasp. We are INCREDIBLY photogenic.
And one final thing – people live in the hotel year round! The whole top level is luxury flats. Can you even imagine?? Here's an article with a fella that lives in one of them. Swoon. Also, no surprise, he's a banker.
If you'd like to read more about the building, or book a guided tour, you can do that here. I may have to go back for the guided tour!
A Video: Christmas in London with Jon and Ashley
Football and a Curry (a very English adventure)
My love affair with Bath
A Parisian visit, part 3.
A December day in St. James' Park
Costa Blanca: A Benidorm Holiday
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2015 happened!
A quick weekend in Bristol
2 thoughts on "A luxe birthday weekend at the St Pancras Renaissance Hotel"
Omg! That stairway is amazing Liked the golden duck also I think I would have taken a lot of bubble baths
yodaddy says:
making serious memories there kid. happy for you. je t'aime.
I'm Ashley. Perma-immigrant currently in Barcelona, writer and traveler.
We moved to Barcelona two months ago
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