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A Beastie Boys Documentary from Spike Jonze Coming to Theaters and Apple TV+ in April
Posted on Thursday, January 16th, 2020 by Ethan Anderton
You won't have to fight for your right to see a documentary about the hip-hop group Beastie Boys from Oscar-winning Her and Being John Malkovich director Spike Jonze, but you will have to pay for a movie ticket or Apple TV+ subscription.
A new documentary called Beastie Boys Story has been picked up by Apple for release in select IMAX theaters this spring, and afterwards it will be exclusively available to stream on Apple TV+. Read More »
Beastie Boys and Oscilloscope Laboratories Co-Founder Adam Yauch Has Died at 47
Posted on Friday, May 4th, 2012 by Russ Fischer
Today Adam Yauch, originally known to many as MCA of the Beastie Boys, passed away at 47. He was diagnosed with cancer in 2009 and was declared cancer-free months later. The precise cause of his passing is yet to be reported.
We don't often comment on the passing of figures in the music scene, but for several generations Yauch was part of the gateway to great films and music. Years ago I loved picking apart the ingredients in sample-heavy songs. Beasties tracks were a treasure hunt; if something had stuck with them long enough to make it into a track, it was probably worth looking into. Way before the internet was an easy to way to learn about forgotten media, Yauch and the Beastie Boys (with help from Spike Jonze) pointed the way to films like The Taking of Pelham One, Two, Three, and Danger: Diabolik. There was a bigger lesson in there, too: everything was fair game, every experience fed back into others. It's all connected.
Yauch also founded Oscilloscope Laboratories, part of which is the film label that in the past few years has consistently distributed movies worth seeing: We Need to Talk About Kevin, Exit Through the Gift Shop, Bellflower, Dear Zachary, A Film Unfinished, The Messenger, and William S Burroughs: A Man Unfinished, just for starters. Oscilloscope has Wuthering Heights, Samsara, and Shut Up and Play the Hits coming up. Being part of the effort to bring those movies to audiences would be a great legacy even without the decades of influence Yauch had with the Beastie Boys.
Watch the Full 'Fight For Your Right Revisited' Starring Seth Rogen, Danny McBride and Elijah Wood
Posted on Thursday, April 21st, 2011 by Russ Fischer
We were pretty curious and more than slightly excited when it was announced that Elijah Wood, Seth Rogen and Danny McBride would play the Beastie Boys in a short film called Fight For Your Right Revisited. The film picks up as the Beasties sneak out of the party they crashed in the 1986 '(You Gotta) Fight For Your Right (To Party)' video, and then carries on along a ridiculous path of destruction and minor mayhem that, somehow, ends with two incarnations of the Beasties in a dance-off that turns into a very literal pissing match. (So, yeah, perhaps consider this one NSFW.)
The short premiered at SXSW and aired last night on MTV and Comedy Central, and now the whole thing is online. Check it out after the break. Read More »
'Fight For Your Right – Revisited' Trailer
Posted on Thursday, April 7th, 2011 by Germain Lussier
Boasting one of the most star-studded casts ever to grace a short film, Fight For Your Right – Revisited had its world premiere at Sundance in January. Directed by Beastie Boy Adam Yauch, it follows the rap legends after their classic '80s music video Fight For Your Right and stars Elijah Wood, Seth Rogen, Danny McBride, Jack Black, John C. Reilly and Will Ferrell. Plus there are cameos by Susan Sarandon, Jason Schwartzman, Stanley Tucci, Will Arnett, Rainn Wilson and many more.
One of the main questions everyone asked when the film was announced was, when are we going to get to see it? Well, it seems like the full 30 minutes version will be released when the Beastie Boys put out their new album, Hot Sauce Committee Part Two, on May 3. Until then, you'll just have to watch the trailer, which is embedded after the break. Read More »
POTD: Seth Rogen, Elijah Wood and Danny McBride as The Beastie Boys
Posted on Thursday, December 9th, 2010 by Germain Lussier
How much would you pay to see Elijah Wood, Danny McBride, Seth Rogen, Will Ferrell, John C. Reilly and Jack Black all in one movie? If you said anything under the cost of a trip to Utah, you're out of luck. They make up the cast of one of the most highly anticipated shorts playing at the 2011 Sundance Film Festival. It's called Fight For Your Right Revisited and it's written and directed by Adam Yauch, aka MCA of the legendary Beastie Boys. He's assembled quite the cast to tell the story of what happens after the epic party in their classic 1987 music video for '(You Gotta) Fight For Your Right (To Party)'.
We told you about it on Monday and now we've got your first look at three of the stars – Rogen, Wood and McBride – as The Beastie Boys: Mike D, Ad-Rock, and MCA. Read more about the short after the jump. Read More »
Despite an Appeal to the MPAA, Holocaust Doc 'A Film Unfinished' is Stuck With an R Rating
Posted on Thursday, August 5th, 2010 by Russ Fischer
To quote Beastie Boy and Oscilloscope Laboratories founder Adam Yauch, "[the MPAA has] really gone too far this time. It's bullshit."
That was Yauch's response earlier this week when the MPAA slapped an R rating on the documentary A Film Unfinished, which examines a Nazi propaganda film made to supposedly depict the life of Jews in the Warsaw ghetto. Yauch and Oscilloscope resubmitted the film, but today it was returned with the same rating. Why? Because images of the Holocaust — surprise — are graphic and disturbing. Read More »
Beastie Boy Adam Yauch Starts Movie Company
Posted on Wednesday, February 6th, 2008 by Hunter Stephenson
When the eldest Beastie Boy grows a serious gray beard, you know the film business is calling, and today brings news that Adam Yauch aka the rapper known as MCA has started an indie film distribution and international sales company called Oscilloscope Pictures. Anyone who's grabbed the nachos and grape soda and plopped down to the visual wonders of Criterion's Beastie Boys: Video Anthology or watched the seminal rappers' delirious concert film Awesome: I F***in' Shot That! knows this news is cooler than "Fred Kelly as Bunny." And Oscilloscope's picture is big: Yauch wants to distribute two to 10 films (what an estimate, eh) in the company's first year.
His partner in the company is former ThinkFilm VP David Fenkel. Fenkel will run this new division of Yauch's umbrella company, Oscilloscope Laboratories, from its headquarters in downtown Manhattan, alongside former ThinkFilm dude Dan Berger. What kinds of films will the company be high planes drifting the planet to market and distribute theatrically? They want narrative features and documentaries, and they're looking to funnel funds into unfinished films. Their first film is said to hit theaters by summer '08, with an official announcement going out within a month's time.
As much as I like Yauch's music (his group's latest The Mix-Up is perfect muzak for finishing a script), the guy has an astronomical coterie of talent around him at all times. His elite friends-o'-film include the Coppolas, the Cassavettes, Adam Bernstein (Breaking Bad) and Spike Jonze. Oh, and he's also directed weirdness since he was 16, creating some of the coolest and most lager-gut-busting music videos ("Intergalactic") under his secret alias Nathanial Hörnblowér.
Slashfilm Question of the Day: Would you pay seven greenbacks to watch a Hörnblowér in a theater?
Source Link: Reuters


This is a rotating chair who is the current convention host. For questions about the AR-18 convention please contact Alan Ritter at jar@mtritter.org.
Don Holmes is the current chair. He shall recommend to the Board of Directors candidates for the awards set forth in Section 8 of the bylaws. Nominations for the Frank Ashley Award, Vin Hoeman Award and Paul Zumwalt Award should be sent to awards@highpointers.org. Due to its special nature, nominations for the Jack Longacre Award should be sent to the President of the Board of Directors at president@highpointers.org.
George Paynter is the current chair. He is responsible for conducting the Board of Directors election according to Article 2.9 of the bylaws. If you want to nominate a person to the Board of Directors send an email to nominations@highpointers.org. During a Board of Directors election you can vote by USmail or sending email to elections@highpointers.org.
Nikki Hemphill is the current chair and provides assistance and guidance as requested by the convention hosts. You can contact her at conventions@highpointers.org.
Alan Ritter is the current chair and is responsible for maintaining good relations between the Club and those persons or agencies who own the property at and around the state highpoints. You can contact him at liaisons@highpointers.org.
John Mitchler is the current chair and is responsible for the maintenance of Highpointers Club records as are appropriate. You can contact him at records@highpointers.org. Club members should contact updates@highpointers.org with their updated HP counts. As you approach 48 HPs please contact completers@highpointers.org so we can recognize your efforts to obtain "48 Finisher" or "50 Completer" status!
Joan Bauman is the current chair. All membership questions can be sent to membership@highpointers.org. Highpoint count updates (normally handled by the Membership Chair) should be sent to updates@highpointers.org. As you approach 48 HPs please contact completers@highpointers.org so we can recognize your efforts to obtain "48 Finisher" or "50 Completer" status!
Bomber Brown is the current chair and handles all things related to the Merc. You can contact him at hpmerc18@gmail.com.
John Mitchler is the current chair and handles all things related to the "Apex to Zenith" newsletter. You can contact him at newsletter@highpointers.org.
Kathy Dalsaso is the current chair and is responsible for the maintenance and modification of the Highpointers Club website highpointers.org. You can contact her at website@highpointers.org.


We like our stuffed animals the same way we like our cookies at StuffedSafari.com, sweet and soft! That's why Milo the Sweet and Softer Stuffed Animal by Aurora is one of our favorites. The youthful and sweet face helps a little too. This stuffed moose measures about eleven inches from head to toe and is made with indescribably soft plush fabric. It is impossible to convey in words just how soft this plush moose feels but words like incredibly, amazingly, and unbelievably all come close. Milo is a true delight to hug and cuddle and has an extremely soothing feel. Is this the softest moose stuffed animal you will ever find? Probably, considering it would take a real miracle of science to create a softer fabric! This isn't just a one dimensional cuddle buddy though. Besides feeling fantastic, this amazing plush moose is also extremely adorable with its plump belly and stubby little limbs. Sweet, soft, and adorable? That's right! This moose stuffed animal is a triple threat, ladies and gentlemen. When it comes to cuddle time, Milo is a sweet and soft superstar!
Aurora World Inc. is one of the world's most popular plush companies with over 25,000 retail outlets worldwide. Their products can be found in major zoos, department stores, gift shops, and at StuffedSafari.com, of course! Aurora stuffed animals are incredibly well made with a focus on durability, safety, affordability, and most importantly, cuteness. The entire line of Sweet and Softer plush by Aurora, including Milo the Sweet and Softer Stuffed Animal, is made from all new, child safe materials and meets or exceeds all U.S. safety standards. Recommended for ages three and up, this stuffed moose is surface washable.


1. We provide our players with the finest lacrosse instruction, training and skill building. To give them the opportunity to develop and grow in an enjoyable learning environment.
We focus on teamwork, building character and time management to create the complete student athlete.
2. We provide our players with an opportunity to improve their English listening comprehension and speaking ability by participating in our practices, games and meetings. This gives our players additional time with a native English speaker. With a weekly minimum of 8-12 hours of practice, our players can improve their English.
Copyright (C) Sendai Ikuei Gakuen, Japan. All rights reserved.


EHA featuring expertise in national hydrogen infrastructure development.
7 March, 2013The EHA has been collaborating with its 21 national member associations to communicate relevant EU and project results to key stakeholders at national and local level. Over 300 companies active in hydrogen fuel cell development are represented by the EHA national associations. As an associate partner of the European Association for the Storage of Energy, EASE , EHA industry members have contributed relevant hydrogen storage information to the EU Roadmap for Energy Storage Technologies that EASE is developing collaboration with ERA and the Commission to map the technology development needs that could be included in future EU work programs. The EHA is also activating its national members to get in touch with their transport ministries to collect the responses of national governments to the EU Clean Power for Transport package that was presented last January.
6 March, 2013The 2013 Geneva International Motor Show 2013 has highlighted the technological development of car manufacturers and suppliers. It is the first international motor show to dedicate an entire section specifically devoted to the theme of vehicles powered by alternative energy systems and renewable fuel sources. With that in mind they created the Pavillion Vert to present to visitors the future of more economical and environmentally friendly vehicles.
Has anyone seen the fuel cell car?
6 March, 2013Dr Ulrich Schmidtchen from the German Hydrogen and Fuel Cell Association (DWV) gives an overview of the current situation. The new year has just begun, but we have already seen quite a number of changes concerning the car makers developing fuel cell cars.
5 March, 2013EHA Member, ITM Power the energy storage and clean fuel company, announced in February that it has sold the first reference plant based on the HPac platform to a company in Japan, which at this stage wishes to remain anonymous.
5 March, 2013On 26 February 2012, Hyundai delivered the first white Hyundai ix35 fuel cell vehicle at the company's Ulsan manufacturing facility at a launch event.
5 March, 2013UKH2Mobility, a new government cross industry programme has released a synopsis of its Phase 1 results.


Looking for an amazing value? This Volvo won't be on the lot long!
Luxury redefined! The engine breathes better thanks to a turbocharger, improving both performance and economy. Top features include front dual zone air conditioning, 1-touch window functionality, power front seats, and the power moon roof opens up the cabin to the natural environment. It features an automatic transmission, front-wheel drive, and a 2 liter 4 cylinder engine.


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2-way Radio Guide: Don't Get the Wrong 2-way Radio
2-way radios provide a very quick, cost-effective way to communicate among small groups of people, regardless of whether cell phone service is available in the area. They can also provide a greater degree of security for communications than cell phones. To determine the best 2-way radio for your purposes, consider a few basic factors, such as whether you want the radios for personal or business use, indoor vs. outdoor use, transmission range and features of the radio itself.
>> How do you intend to use your 2-way radio?
Personal use of 2-way radios, also called microtalk radios, is quite varied, from keeping in touch in an urban crowd to staying in touch on ski slopes, to remaining in contact during camping or hunting trips. Business use is popular wherever people need frequent and rapid communication between two people in an area or between a central location and people in the field. For example, this office technology is popular with construction crews on job sites and security firms with a central dispatcher and officers on a work site.
Note: It's a good idea to have all your radios be on the same brand to maximize their compatibility and privacy features.
>> Consider indoor vs. outdoor use
Before you buy 2-way radios, make sure that the radio you choose uses the frequency range and transmission mode appropriate for your needs. 2-way radios operate in one of two frequency ranges: UHF or VHF.
• UHF signals don't travel quite as far outdoors as VHF signals, but they do a better job of penetrating wood, steel and concrete, which makes them the best 2-way radios for indoor use.
• VHF signals don't penetrate buildings' structural elements as well as UHF signals, but they travel farther, making them the best 2-way radios for outdoor use.
>> Consider transmission range
Some 2-way radio Guides talk about transmission range in the same terms that manufacturers use: up to a large number of miles. For consumer-grade radios, though, under typical conditions, 1 -2 miles is the most range you can expect. Claims of much larger ranges are achievable only when there are no obstructions between callers, such as when one person is on a mountaintop talking to someone in a valley below.
The range for business-grade radios are typically expressed either in square feet or in building floors. Depending on the power (wattage) of the radios involved, they can have ranges of 150,000 -350,000 square feet or 8 -30 floors.
To extend the range of a 2-way radio, consider a model that works with a repeater. Repeaters listen for communications on one frequency and then immediately re-broadcast the transmission on a different frequency, usually at a significantly higher power. Repeaters are usually attached to antennas that are centrally located and in a high location at a site in order to provide the best coverage. Radios that can work with antennas are usually programmed by a radio dealer for particular frequencies.
>> Consider licensed vs. unlicensed communication
No 2-way radio Guide would be complete without discussing 2-way radio communication licensing. Most radios can use two different radio services that operate at different sets of frequencies:
• The Family Radio Service (FRS)
• The General Mobile Radio Service (GMRS)
If you operate a radio that has been approved exclusively under the rules that apply to FRS, you don't need a license, and there's no fee to operate the radio. If you operate a radio under the rules that apply to GMRS, you must have a GMRS license, for which there's a fee. No test is required to obtain a GMRS license.
A third service, called Extreme Radio Service (eXRS), doesn't require a license. Radios that use eXRS operate well indoors, similar to high-powered UHF radios, but typically don't have as much range outdoors as VHF radios. With eXRS, a radio "channel" is actually a sequence of 50 different frequencies between which the radio continuously hops. Eavesdropping is almost impossible with such a radio, making it a good choice if you need secure communications over a short range.
>> Consider analog vs. digital
Traditional analog technology for 2-way radios is widespread, but digital radios are gaining in popularity. This 2-way radio Guide can't discuss all the details of digital radio advantages, but here's a summary:
• More channels -double the number of analog channels
• Better security
• Better voice clarity, even when signal strength is low
• IP connectivity (RoIP) -allows you to connect multiple systems and bases together over a digital network to interconnect sites, provide wide-area coverage and remotely manage the system
• Increased battery life -up to 40% over analog models
>> Think about features Here are some of the features found in the best 2-way radios: Privacy codes: Most analog 2-way radios can use privacy codes, which split up each radio channel into sub-channels, making it more likely you'll find a frequency that no one else in your area is using and less likely that others will overhear your conversation. Privacy codes, however, don't prevent unauthorized people from listening to your conversation.
Voice activation (VOX): This feature lets the radio begin broadcasting automatically when you speak in the direction of the radio. This allows hands-free operation when your attention must remain on the task at hand, such as driving a vehicle.
Channel scanning: This feature scans through all channels or through a preset selection of channels, making it easy for you to find and join ongoing conversations.
Call alerts: Some radios provide a choice of different tones to notify you of an incoming message. If you use your radio when hunting, for example, you might want a radio with a vibrate alert to avoid spooking your quarry when you receive an incoming call.
Weather channel: This feature allows a radio to listen to channels where you can obtain the latest weather information, an especially useful feature for camping or hunting.
Low-battery alert: This feature notifies you when you need to replace the radio's batteries.
Rechargeable batteries: If you use your radio a lot, battery replacement can become expensive, so you might prefer a radio that uses rechargeable batteries rather than regular ones.
With the information in this 2-way radio Guide, you can easily do a 2-way radio comparison to find the best one for you. You can find these radios in the phones and accessories or headsets and accessories sections of retail electronics stores.
How to Buy a Humidifier: Don't Get the Wrong How to Buy a Humi
70-inch Tv Guide: Don't Get the Wrong 70-inch tv →

redpajama_set_name: RedPajamaCommonCrawl


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Lycianthes moszkowskii är en potatisväxtart som först beskrevs av Friedrich August Georg Bitter, och fick sitt nu gällande namn av Friedrich August Georg Bitter. Lycianthes moszkowskii ingår i Himmelsögonsläktet som ingår i familjen potatisväxter. Inga underarter finns listade i Catalogue of Life.

Källor

Himmelsögonsläktet
moszkowskii

redpajama_set_name: RedPajamaWikipedia


Our success is built on the quality of our people and together we deliver excellence in both our products and services and we are proud of the positive difference we make to our customers' businesses.
See our current vacancies below. We are always happy to hear from enthusiastic, talented people with relevant skills that can make a difference to our customer's businesses - you never know you might fit something we are thinking about right now!
Pixel Power is an established developer and manufacturer of specialised automation and graphics systems for broadcast television. Based in Cambridge with offices in the USA and Dubai the company has a strong reputation for quality, innovation and technical excellence.
Our customers include the Sky, BBC, ITV, Disney, MBC, OSN, SWR as well as many other major broadcasters throughout the world. Pixel Power is a privately owned, engineering led company where we work together as a friendly team with a passion for developing state of the art software in an Agile software development environment.
Working within a small responsive team, you will be responsible for supporting the Pixel Power sales teams with demonstrations and detailed product knowledge.
The position is based in Pixel Power's Cambridge office. Travel world-wide will be required.
Planning and carrying out equipment and systems demonstrations at customer locations or remotely via Webinars.
Pre and post sales discussions with customers on the workflow impact of our master control playout, automated branding and production graphics solutions.
Configuring solutions for "Proof Of Concept" evaluations remotely and at customer sites.
On site consultative visits to customers and potential customers to advise on changes needed to their workflow to more efficiently utilize assets and staff.
Managing the collection and creation of demo content needed for successful demos and ensuring that systems are kept updated with current content loads.
Coordination with the Creative Services team for production and modification of new demo content as needed.
Coordinating equipment and demo content for trade shows when required.
Fill the role of product expert to support the sales force with answers to detailed and complex product questions.
Coordinate production and distribution of demo assets.
Able and willing to travel extensively world-wide.
Expert in presentation and customer facing skills.
Knowledge of broadcast technology and a good appreciation of system configuration and work flow.
4+ years' experience working in a customer facing role within the Broadcast or IT Industry.
Experience with Adobe Photoshop, Adobe After Effects, 3D Studio Max/Maya/Cinema 4D.
Cloud, VM and IP knowledge.
Detailed familiarity with Pixel Power products.
Experience working in a broadcast production or playout environment.
Bachelors' degree in Media Production/Engineering or equivalent industry experience.
As Pixel Power's first hire in Asia you will play a pivotal role in helping the company develop its business in the region, working closely with the local Rohde & Schwarz sales team.
You will be the local expert in Pixel Power's products and solutions, supporting the sales process with demonstrations and detailed product knowledge as well as working with the Cambridge based services team to provide 1st line support to customers in region.
After an initial training placement in Cambridge UK the position will be based at Rohde & Schwarz Singapore office. Travel throughout Asia and regular training visits to the UK will be required.
Managing the collection and creation of demo content needed for successful demos and ensuring that systems are kept updated with current content loads and software versions.
Coordination with the UK office for production and modification of new demo content as needed.
Fill the role of product expert in the Asia operation in order to support the Rohde and Schwarz sales force with answers to detailed and complex product questions.
Coordinate production and distribution of demo assets for the Asia region.
Providing technical and operational advice, guidance and support to customers via phone and email to ensure the speedy resolution of problems.
Logging and tracking calls on the CRM system.
Acting as a technical interface between customers and development engineers to ensure that issues are resolved satisfactorily.
Visiting the customer as and when required to help diagnose an ongoing issue or help with installation.
Developing specialised knowledge of products.
Providing out of hours phone support for selected customers.
4+ years experience working in a customer facing role within the Broadcast or IT Industry.
Able and willing to travel extensively in region and world-wide.
We're searching for an experienced technical author to join our Team and help take our internal and external documentation to new heights. You have proven experience creating documentation in a highly technical field, such as software development, computer science, or engineering. Your ability to evaluate and analyse complex information is second to none, and you have a natural desire to help people understand things that are hard to understand.
Obtain a deep understanding of products and services to translate complex product information into simple, polished, and engaging content.
Produce documentation that can be presented either electronically or as hardcopy.
As a member of our Workflow Applications team you will be working on the development of our enterprise grade client/server automation software suite.
This role offers a huge variety of technical challenges and requires a willingness to work on many diverse aspects of the software with a pragmatic approach to delivering high quality reliable code at all stages of the product life cycle in an Agile environment.
As a member of our C++/OpenGL team you will be working on the development of our StreamMaster and Create product ranges.


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Q: Linux Kernel: Getting packets from a netdevice I'm trying to write a simple program that takes a packet from an interface and prints out its destination and source MAC addresses at the Linux Kernel level. This is my first project working with the Linux Kernel and I have been reading through a lot of source code and books to do with netdevice, loopback and skbuff. Now, from what I have learnt so far skbuff looks like where packet data is placed, but I cannot see how a network device driver takes packets from an interface and places them into an skb or how you get skb's related with a particular interface.
Could someone tell me how I look at skb's linked to a netdevice such as eth0? Is there some sort of transmit and receive ring I need to pick them up off?
Some sample code would be amazing! Failing that, if someone could point to a some source code (more than just the filename...line number and function name would be great).
Sorry if this is a vague question I have tried to research as much as I can.
Thanks in advance.

A: You can try using netfilter hooks.
Register your callback with nf_register_hook(), and it will be called for the given address family (e.g. AF_INET is IPv4) and type (e.g. NF_IP_LOCAL_IN for incoming packets). Your hook will also get the skb and the network device via which the packet came in or is going out.
The prototype for your callback looks something like this:
unsigned int my_hook(unsigned int hook,
                     struct sk_buff *skb,
                     const struct net_device *in,
                     const struct net_device *out,
                     int (*okfn)(struct sk_buff *));

There is an (outdated) example at http://www.sikurezza.org/ml/12_99/msg00063.html as well, but you can also dig into the kernel source, there are several examples how the network stack or iptables modules use netfilter hooks.

A: Take the dame codes of one ethernet chip which PCI based as example: ./drivers/net/pci-skeleton.c. Maybe this code is old style of ethernet driver, but it's userful for study.
The packet receive flow: netdrv_rx_interrupt() --> allocate/replace sk_buff --> call netif_rx() passing the packet/sk_buff received to upper stack layer;
The packet send flow: netdrv_start_xmit();
The device init flow: one can start from init_module();
The common functions can be found in ./net/core/dev.c, such as netif_rx...;

redpajama_set_name: RedPajamaStackExchange


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In efforts to rebuild south Minneapolis from unrest following the George Floyd murder, a push for more community control.
More than 130 businesses were damaged or destroyed, and some fear that outside investors will determine what kinds of businesses move in as the area rebuilds. The community wants to determine its own fate.
by Andrew Hazzard April 26, 2021 April 27, 2021
A lot on Lake Street sits empty where the Roberts Shoes building formerly stood. The Real Minneapolis, a nonprofit group, has launched a youth-run garden there. Credit: Ben Hovland | Sahan Journal
Mary Claire Francois brushed multicolored paint into letters that read "MGM is Open" on a mural outside of Midtown Global Market on Lake Street in south Minneapolis as the city awaited a verdict in the Derek Chauvin trial last week.
Francois works with The Real Minneapolis, a nonprofit organization that formed after Chauvin murdered George Floyd. Francois and her co-founders, two other women of color, want to build a new Minneapolis, one that reflects what residents desire and fosters opportunities for marginalized communities.
"We really just want to bring the community into it and get them involved," Francois said.
The Real Minneapolis is one of many organizations working to help rebuild areas of the city that were devastated by civil unrest after Floyd's murder. Groups and individuals are working to fill the void in a way that gives more control to the diverse communities who live there, creates space for neighbors to gather, and is more environmentally sustainable.
Mary Claire Francois, a co-founder of the nonprofit organization The Real Minneapolis, works on a mural outside of Midtown Global Market on April 20. Photo by Andrew Hazzard | Sahan Journal
Space for community
The Real Minneapolis and local artist Simone Alexa are doing 10 pieces for a public art project called the Hope and Healing murals. It was commissioned by the Friends of Midtown Market, a nonprofit group supporting the mall that sells food and goods from across the globe. Francois, Alexa, and other group members worked on the murals in the early afternoon, before the verdict was announced on April 20.
"You guys are doing a great job!" a man driving past on Lake Street called out from his window at the painters.
The Real Minneapolis also has launched a youth garden in a vacant lot at Lake Street and Chicago Avenue where it pays teenagers to maintain the space and mentor younger kids. The group planted and maintained flower baskets at businesses damaged during civil unrest and started the Hope Youth Center, which provides free education support and snacks for children who are distance learning. They have a more ambitious goal of creating a new community center in south Minneapolis that will serve as a gathering place and a hub for accessing resources and education.
"We came together because we want positivity and hope and healing for Minneapolis," co-founder and creative director Marni Lewis-Harvey said.
Across Lake Street, a lone blue crane sits on a vacant lot where a U.S. Bank branch was destroyed in the unrest. The branch is rebuilding with a large community room for people in the neighborhood, according to Matt Kazinka, a senior strategic missions manager with the nonprofit Lake Street Council.
Adding community rooms and public green space for new buildings "is on a lot of people's minds," Kazinka said.
Lake Street Council has distributed about $6 million in cash to local businesses in the corridor, many of which are operated by immigrants.
There's no one story about where the recovery efforts stand today, Kazinka said. The unrest came on top of a COVID-19 pandemic that foisted new challenges onto small businesses everywhere. But local shops have been resilient.
"We had a lot of fear in the first few months that this event would lead to a lot of vacancies," Kazinka said. "But that is not what we've seen."
Hope Community is a nonprofit organization that has operated in the Phillips neighborhood of south Minneapolis for 44 years. It switched focused in the mid-1990s from shelter work to building stable affordable housing, community gardens, and organizing residents to help create the neighborhood they desired.
Since then, the organization has developed 300 housing units, more than 70 percent designated as affordable. Their primary property is at the intersection of Franklin and Portland avenues. The group also maintains a robust community garden program.
Hope associate director Will Delaney said the group learned early that whoever owns the land makes the decisions. He recommends investing as much as possible up front for nonprofits or philanthropic groups trying to purchase destroyed sites to ensure rents for stay low.
"We have to invest in community control of land as we think about rebuilding Lake Street or any of these places," Delaney said.
The City of Lakes Community Land Trust is one group investing in that type of control. The north Minneapolis-based nonprofit typically helps first time home buyers by acquiring land and holding it "in trust" while allowing people to purchase a home and raise equity. Because the trust owns the land, when the homeowner moves, the property continues to be affordable for the next buyer as opposed to being on the open market.
The land trust has traditionally stuck to housing, but is developing its first commercial initiative with a city of Minneapolis-owned property at 19 East 26th Street, about four blocks north of Lake Street.
Domonique Jones is the program director for the initiative. She said the group did a feasibility study, which found that African Americans and other people of color face discrimination and high prices when they try to rent commercial spaces. A persistent issue is that buildings are often owned by investors outside of the community, Jones said. With the recent unrest, there is a fear that properties near Lake Street will change hands and that outsiders will determine which types of businesses will go into the community, forcing out shops owned by immigrants and people of color.
"They are always at risk of losing their space as gentrification happens," Jones said.
The commercial land trust initiative is processing applications for the 19 East 26th Street site. The goal is to attract a Black or person of color-owned businesses. The land trust will provide up to 40 percent of acquisition costs and help cover development expenses. The nonprofit would have rights to continue owning the property if the business decided to sell.
The nonprofit is in the process of acquiring two more commercial sites in north Minneapolis, Jones said. The group isn't saying it has the solution to help people of color afford commercial space, she said, but is earnestly trying out this option.
The Lake Street Council is also working to promote redevelopment that is conscious of existing communities. The group is preparing to issue predevelopment and acquisition grants to those thinking about building and developing on destroyed sites.
Grant recipients are required to submit an equitable development criteria checklist, which asks them to commit to a community engagement process. The applicants are encouraged to include sustainable features such as energy efficiency installations, green space with native plants, and community gardens. The process seeks to attract developers of color and projects that will create opportunities for diverse residents.
Having a patchwork of local groups aiding redevelopment helps, Kazinka said, but significant financial aid from the state and federal government is needed to truly rebuild.
"We've been left having to fend for ourselves," he said.
Building back greener
More than 50 Minneapolis businesses were destroyed and nearly 90 more suffered damage during the civil unrest after Floyd's murder, according to a city assesment. Many immigrant owned businesses along Lake Street were hit in the unrest, including Somali eatery Qurxlow Restaurant and Chicago Lake Family Dental.
Minneapolis has adjusted its Green Cost Share Program to help small businesses impacted by the unrest. The program was established in 2012, mainly to provide matching loans for dry cleaning businesses to upgrade their equipment to limit perchloroethylene, a cancer-causing pollutant, in their operations.
When the city began rebuilding efforts, it decided to offer damaged properties higher matches, according to Mónica Romero, a small business community liaison for the city. The program typically provided a 20 percent match for up to $40,000 worth of improvements that decrease pollution or boost energy efficiency. For property hit by civil unrest, the city raised the rate to 40 percent.
The city did not immediately have numbers available, but Romero said the potential cost savings from energy efficiency and the idea of becoming more environmentally friendly encouraged immigrant-owned businesses to apply.
Minneapolis officials also helped environmental groups like MN350 and Minnesota Interfaith Power and Light connect with property owners, Romero said. The groups are helping connect those buildings to community solar gardens that will help tenets save money and lower carbon emissions.
The city has been fielding all kinds of requests from businesses hit by unrest and the pandemic, she said. The issue of how to build trust and encourage people to come back to local shops still needs to be resolved.
"This year has been really up and down," Romero said.
Tagged: Hope Community, Lake Street, Lake Street Council, Midtown Global Market, Minneapolis, Rebuilding
Andrew Hazzard
ahazzard@sahanjournal.com
Andrew Hazzard is a staff reporter with Sahan Journal who focuses on climate change and environmental justice issues. After starting his career in daily newspapers in Mississippi and North Dakota, Andrew... More by Andrew Hazzard


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MYTH: Defensible borders are unrealistic in an era of ballistic missiles.
Myths & Facts. 23/10/2019	Comments Off on MYTH: Defensible borders are unrealistic in an era of ballistic missiles. 889 Views
History shows that aerial attacks have never defeated a nation. Countries are only conquered by troops occupying land. One example of this was Iraq's invasion of Kuwait, in which the latter nation was over-run and occupied in a matter of hours.
Though the multinational force bombed Iraq for close to six weeks, Kuwait was not liberated until the Allied troops marched into that country in the war's final days. Defensible borders are those that would prevent or impede such a ground assault.
Israel's return to its pre-1967 borders, which the Arab states want to reimpose, would tempt potential aggressors to launch attacks on the Jewish State – as they did routinely before 1967. Israel would lose the extensive system of early-warning radars it has set up in the hills of Judaea and Samaria. Were a hostile neighbor then to seize control of these mountains, its army could split Israel in two: from there, it is only about fifteen miles – without any major geographic obstacles – to the Mediterranean.
At their narrowest point, these 1967 lines are within nine miles of the Israeli coast, eleven miles from Tel Aviv, ten from Be'er Sheva, twenty-one from Haifa, and one foot from Jerusalem. To defend Jerusalem, the US joint chiefs concluded in a 1967 report to the secretary of defense, Israel would need to have its border "positioned to the east of the city."
Control over the Jordan River Valley is also critical to Israeli security because it "forms a natural security barrier between Israel and Jordan, and effectively acts as an anti-tank ditch," military analyst Anthony Cordesman noted. "This defensive line sharply increases the amount of time Israel has to mobilize and its ability to ensure control. Borders and Boundaries over the West Bank in the event of a war."
He added that sacrificing control over the routes up to the heights above the West Bank makes it more difficult for the IDF to deploy and increases the risk of Jordanian, Syrian, or Palestinian forces deploying on the heights. Even in the era of ballistic missiles, strategic depth matters.
The Jaffee Center for Strategic Studies, an Israeli think tank considered dovish, concluded: "Early-warning stations and the deployment of surface-to-air missile batteries can provide the time needed to sound an air-raid alert, and warn the population to take shelter from a missile attack. They might even allow enemy missiles to be intercepted in mid-flight…As long as such missiles are armed with conventional warheads, they may cause painful losses and damage, but they cannot decide the outcome of a war."
Published by http://www.JewishVirtualLibrary.org an excellent information resource.
Tags Defensible Borders Security for Israel
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I'd like to start with a moan. Could Frank Lampard's Derby County politely piss off into oblivion. 'Oooo don't they play good football. Oooo they gave Chelsea ('s reserves) a good game. I bet Stoke fans wish they didn't have Rowett.' Piss off. (If any Derby fans are reading this yes, I'm rattled). Put bluntly, … Continue reading Shithouse? What Shithouse?


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We carefully select our local partners, some we've worked with for over 25 years. They have a proven record in training guides to set a good example in their respect for the surroundings and the local communities. Throughout the tour, they make sure to pass on advice and encouragement to visitors on how to preserve the environment, including by refilling water bottles, disposing of rubbish in a responsible way and not disturbing the local flora and fauna.
Moreover, during this holiday you will spent some days hiking, can join optional hikes, as well as bike rides. You will also enjoy two rail journeys. These means of transport are the most sustainable ways of travelling.
Furthermore, the accommodation used on this holiday are built sensitive to the environment and blend harmoniously with the landscape in which they are sited. The El Mercado hotel in Cusco for example is built in an old market building and the lodges in the Lares Valley are small and purposely built. Finally, Inkaterra Machu Picchu resembles an Andean village with tiled stone cottages set amid lustrous grounds.
We've developed strong relationships with local suppliers who all share our vision and agree to uphold a commitment to local communities and their development through fair employment policies and responsible energy use, and ensure that benefits from tourism filter down to local communities. In the Sacred Valley of the Incas for example you will stay at Lamay Lodge, which is operated by Peruvian firm Mountain Lodges of Peru, in conjunction with the local community.
Furthermore, we promote interaction with local communities and want our clients to have unforgettable experiences. On this holiday you really can get under the skin of Peruvian culture and set foot on wild landscapes little trodden by visitors. Enjoy a chocolate, coffee and pisco tasting tour, visit local and artisan markets in for example Pisac and Lares, explore archaeological sites on for example the Inca Weaver's Trail and learn more about the local communities in the villages you visit.


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October 31, 2021 October 31, 2021 @estebanthinks Leave a Comment
What Does Metroid Taste Like? (October 2021)
Whoa, it's the end of October. I started this as a New Years resolution back in January, and I guess there are only two more of these left before the end of the year! I haven't decided yet whether I will continue this in 2022, so let me know what, if anything, you'd like to see from me. Every one of these has been longer than the last, so maybe next year's resolution should be to have less thoughts??
When I think back on this month I remember a couple of weeks ago there was wind so strong that I was unsure whether I could manage the brief walk between my office and home. For myself and many others this October has felt like an escalation of stakes. The year exiting its second act, and the foreboding of an impending climax. Even in Los Angeles, a place where time does not move, the weather is different. Subliminally, we all know the beach is now off limits. We weren't going to the beach anyways, but the closure of that possibility still dampens my mood.
In games, COVID related delays have meant there have been blissfully few new releases this year that have captured my immediate attention. This month provided one exception: Metroid: Dread, the first totally new Metroid game since 2010's lambasted Metroid: Other M. The initial announcement made me skeptical, but curious. Here is a 2D game, coming out while everyone is waiting for the in-development 3D Metroid Prime 4. It is developed by MercurySteam, who could be considered the most qualified people in the world to make "Metroidvania" games; they are the only people in the world who have spent the last decade developing both Castlevania games and Metroid games. However, that pedigree is tempered by the consensus that their games so far have been uneven at best. Nevertheless, this studio was given the enviable opportunity to realize not only a canonical mainline entry in a hallowed Nintendo franchise, but it was the infamous "Dread" project! This game was originally planned for the DS system two hardware generations ago, but languished in development hell for unknown reasons. In marketing Nintendo touted it as the final entry in the "Metroid saga." There is a great deal to be curious about!
Yet gameplay footage had me very concerned. "Free aiming" and countering features were returning, after first appearing in the studio's remake of Metroid II: Samus Returns. These two abilities utterly sabotage the classic style of Metroid's level design, and signaled to me and other designers a critical misunderstanding of how Metroid's game design functions. Fortunately, it exceeded my expectations. The parts of the experience that are lost are truly lost, but the replacements are well developed. Dread is not a weak Metroid, but a new flavor of one.
Even before playing it, the mandate for Metroid: Dread was clear. "Return to a classic style, but update it for modern sensibilities." The question then is what needs updating, how did they tackle it, and what are the ramifications? If we are feeling ambitious we can also ask: What do these changes say about the culture of players in 2021? I'm excited to dig into it!
Criticism 1: "Metroid is clunky"
Many players quickly turned away from older Metroid games because they found the character of Samus cumbersome to maneuver. The armour she wears is heavy, and the physics of the games communicate that by giving the character slow momentum. From a standing position, it takes a couple moments before she can move at full speed (even though that full speed is very high). This offers a lot of fine control, but it makes it painful for some to frequently start and stop.
Addressing this was clearly a high priority for MercurySteam. The first thing many reviews for Dread will say is that the game feels silky smooth to move around in. More so than any new gimmick or feature, this is what gives Dread its character. Samus runs at 100 mph with the slightest tilt of the stick. Like an Assassin's Creed character she will automatically vault over low barriers, and can pull herself up from ledges right from the start. She is a cursor, instantly sprinting towards whichever direction you want her to. This fluidity is supplemented with dozens of small character animations that flow seamlessly across movement states. The player character looks comfortable in her environment, and it makes the player feel comfortable and in control as well.
The biggest new traversal ability in Dread is the slide action. Samus can use the slide to get under narrow passageways, which previously would be locked off until the player gets a "Morph Ball" ability. Unlike the ball form, sliding is a natural movement that easily maintains the players momentum and allows them to keep running. The ball form is still required to access narrow passageways that are off the ground, which is a fantastic way to expand the subtle gating system in the level design. Sliding allows for levels to have plentify one-way passages, which can compartmentalize the map. (Whether this is a good or bad thing is up to taste, and GMTK has a great video explaining how it affects Dread's level design.) Because of how many narrow tubes are used in Metroid, the Morph Ball is usually unlocked early on. Expanding the core movement set allows Dread to keep the ball locked until very late in the game, which makes its discovery a very tantalizing and cathartic moment. Beyond just being a meta-joke, withholding the Morph Ball gets the players very familiar with the slide action, which is crucial for Dread's combat goals. I'll get into that more later, but suffice to say that the slide is an efficient addition that hits several birds with one stone.
All these movement adjustments and additions seem to have accomplished their goal. Players have responded overwhelmingly with praise for how good it feels to traverse through the world of Dread. How does this change affect the experience though? If game design is the careful control of friction, then losing so much movement friction separates the player from the environment.
Because the player moves so quickly, it is too difficult for a level designer to construct platforming challenges that require a great deal of precision from the player. The character moves wildly and abruptly with any slight input. This makes the game feel responsive, and the character powerful. It also means that the character cannot make small adjustments to move tightly. It's a tradeoff. The older games feel "clunky," but they allowed for the player to make micro adjustments to movement. Platforming challenges could frequently ask the player to land on a platform no wider than Samus' own sprite. By contrast, Dread has very few platforming challenges, and the ones that do exist have wide platforms around four times Samus' width. Isn't it weird that you never have to jump across platforms over a lava pit? They have lava — it is not an accident that you never have to jump over it. The game is not about controlling Samus' "placement" beyond the broadest strokes. This will have spillover consequences to every other aspect of the game.
Even in an abstract sense, the player is unable to connect with the environment. While the background art is phenomenal, there is no way for a player to slowly walk through and linger in it. Walking is impossible, there is only running. Each room is briskly passed — the suggestions and contemplations of each space passing by in blinks. More primitive graphics did not stop players from attaching to the spaces in older Metroid games; being forced to carefully consider each room imprinted those areas in players' imaginations, even when the background art was a pitch black void.
Criticism 2: "Aiming is so complicated"
I definitely shared this criticism the first time I tried to play Super Metroid, as a child. I know what I want to do, the bad guy is right up there, why is it so hard to shoot where I want? I would stumble over the buttons constantly, mashing the controller when I wanted to fire a missile, until I would accidentally jump into a lava pit. There is fun friction, but stumbling over complicated controls is not one of them. I wanted to be able to aim wherever I wanted to.
"360 degree free-aiming" is a monkey paw wish fulfillment. By holding down the L-bumper, Samus locks in place and the movement stick is instead used to point her gun in any direction. MercurySteam first implemented it in their remake of Metroid II, but the consequences of that feature sabotage the careful level design of the original. In the original Metroid games, Samus could fire in eight directions, with a bumper being used to aim in 45 degree diagonals. These locked angles forced the player to move in precise locations, where other enemies or hazards could pressure them, and create the unique challenges of each combat setup.
To give an example: Say there is an enemy on the ceiling. You could stand beneath it and shoot up, but maybe this enemy would drop straight down and damage you. Maybe you can jump up some platforms and be high enough to hit it from the side, but this depends on those platforms being present. Most likely, the only way to hit it is by firing diagonally. Since the diagonal firing angle is locked to 45 degrees, there is only one place you could comfortably stand and shoot. The level designer knows this, and can add an additional enemy that threatens that specific location. Perhaps there is a projectile that fires at that spot in regular intervals, and you must take your shots at the ceiling before dodging the incoming fire. Perhaps there is a swarm of bees which must be cleared out first. Perhaps there is a wall, forcing you to only hit it underneath, and risk taking damage if you aren't fast enough.
These modular possibilities are the essence of level design. Free-aiming ruptures this setup by allowing the player to stand wherever and easily circumvent any traps. This is a disastrous outcome for a remake of an older game, but Dread has the benefit of being built specifically for this new aiming scheme. It depends on it too — because of the changes in mobility, it is impossible to maneuver precisely and stand in tight locations. Even without the changes in aiming, the example above is nearly impossible with Dread's movement. How, then, can Dread replace the game's core combat loop?
Dread takes the disadvantages of free-aiming and builds a new "action"-centric combat loop around it. While holding the aim button, Samus is locked into place. She can shoot anything with an unobstructed sightline, but so long as she is aiming she is vulnerable to being hit. If there is an incoming attack, the player must let go of the aim button and dodge the attack. This would be trivial, except that aiming is much harder to do when there are 360 degrees of possibility. The further a target is, the more precise the aim with the joystick needs to be. (This is, in fact, so difficult that the game gives the player a "Wide Shot" power-up early on). It takes more time, focus, and dexterity to aim than with the previous movement scheme. This would be a disadvantage, except that the game turns it into the primary challenge. The new combat loop is thus:
Player locks into place
Player aims at a target
Player must fire before the enemy responds
Player must disengage the aim and deal with incoming attacks
This new combat loop primarily challenges reaction time. We would call this more action-based, since action genres primarily challenge reflex. The older Metroid games were more platforming-based, because they challenge character placement. This adjustment is harmonious with the change in player movement abilities, which also dropped platforming challenges in favor of instantaneous responsiveness. It is also more in vogue with the generation defining Dark Souls style of combat. Yes, "____ is the Dark Souls of ____" is a meme, but that is because it genuinely recalibrated everything to its gravity. Metroid: Dread follows the Dark Souls style of combat — pellet the enemy, watch the attack pattern, then roll (well, slide) away. Placement doesn't matter too much in Dark Souls, it is all about reaction.
The downside to this loop is that it risks making Metroid's combat encounters very monotonous. To their credit, I think MercurySteam is aware of this and does a thorough job of introducing as much variation as possible. At the most basic, Dread introduces multiple enemies with varying attack patterns. By combining them in combat encounters, the player has to buckle down and aim at one, while watching the others. The way these attacks have to be dodged also grows increasingly complicated over the course of the game. Do you have to jump over, slide under, phase shift to the side, or hit the counter button? It is, essentially, a natural quick-time event. Aim, spam fire, then hit the right button or you will take damage.
This approach is not perfect, though. The combat only grows more complex by introducing more actions that the player can do, and it overburdens the controller with too many inputs. Boss encounters, in particular, feel like a battle with muscle memory rather than a battle with a boss. The combat actions are almost only used in combat situations, so I would die to each boss a half dozen times just because I had to relearn the controls each time.
This is made most egregious with the counter mechanic. Samus Returns was criticized for letting the player counter almost every single enemy, which reduced the game to a far too simple loop of "run at enemy, wait for them to attack, then counter." That has thankfully been changed in Dread, and only a slim selection of enemies can be countered. However, the bosses have each been balanced around the counter mechanic. Missiles do considerably less damage than countering a boss, encouraging the player to wait and focus on dodging attacks until there is a move that can be countered. The reason for this direction is because the counter leads into a lavish animation where the player can actively fire missiles while Samus performs some cool acrobatics. These sequences are cool, expensive, and not to be missed, which is why the fights are designed so that you must not miss them. The canned acrobatic animations are needed, because those acrobatics are much less possible with the combat loop.
Older Metroid games used platforming as the basis of combat, and that brought certain boons which Dread lacks. For one, because battles were affected by level design the same enemies would require different strategies in different layouts. For another, acquiring new mobility abilities would offer new vantage points and naturally change combat. Lastly, the player would use nearly the same mental muscle memory for combat as they would for platforming. Dread's boss battles feel like difficult swerves because they are mode shifts.
To compensate for all this, Dread challenges player reactions, but complicating those challenges over the course of the game requires them to add more and more abilities that are only useful in combat. The result is a bloated control scheme, which backfires on the original complaint. It is more natural to aim, perhaps, but it is not less complicated. In Super Metroid, I complained about firing a missile because I had to hold down a bumper to aim diagonally, but in Dread I have to hold down that same bumper, and also press the joystick in the exact direction, and I cannot move until I release. It is in these complications, however, that Dread finds its friction to replace the effortlessness of movement. It is fun friction, in the way an action game like Dark Souls is. It does not fit the model Metroid was first built for, but it perhaps better fits the model of today's games.
Complaint #3: "Pixel art is cheap looking"
While I sympathize with the previous complaint of old Metroid games, I definitely do not feel any kinship with this one. The pixel art of the old games is masterfully evocative and eerie. It takes a great deal of skill to accomplish, but because it can be produced cheaper, many people in the broader consumer base do not believe a pixel art game can be worth the price of a AAA title today. Alas. So while Metroid: Dread has 2D gameplay, MercurySteam constructed lavish bespoke 3D models for each environment. Each room has unique assets, carefully lit and arranged by a hundred artists. For some people it seems like even that is not enough, I saw people online saying a side-scrolling game could never be worth a full price tag. Alas.
The art is gorgeous though. I particularly like the decision to flip the negative space from typical Metroid games. The original Metroid had a stark black background, with illustrated foreground sprites. Dread has lush backgrounds, while its platforms are silhouetted in black shadow. This gives Samus a nice backlight, allowing her neon glowy details to really shine. Consequently it also makes Samus feel more divorced from the world, since she is literally on a separate plane from most of the visible environment. This is not a particularly good thing, but it is at least harmonious with how the mobility changes in Dread changed the relationship between player and space.
(The only thing that doesn't look great are the E.M.M.I. chase sequences. The game heaps multiple shaders at once, and blows out the lighting contrast in a way that makes the textures look muddy. It smells to me like a quick attempt to make these sequences scarier, and it might be pushing past the technical art assumptions that had been set, and which everything had previously been built on. That's just a guess on my part though, I don't know much about technical art, it just looks notably inconsistent to me and I wonder if there is a story there.)
I'm bringing up the art because it does have an interesting design consequence. Since the collidable terrain is mostly in shadow and made up of large assets, they can't really hide secrets in the same way the pixel ones did. Metroid games were infamous for hiding secret routes behind innocuous looking tiles, but Dread's art direction does not afford that same approach. The level is still mapped to a tile grid, but the large assets do not have obvious seams. A player could not shoot at every tile, because the bounds of each tile are invisible. Now, a player would not need to shoot at every tile in a pixel game, because the Metroid series subtly teaches a consistent shape language that clues players in to where secrets might be hidden. This technique has been so effective that it established the same language across a genre, and while watching Austin Walker stream Super Metroid I was amazed at how he could instantly intuit where every hidden object was despite never playing a game in the series before, just because he knew the grammar from other games. It is an unfortunate impossibility in Dread. If the collision is all in silhouette, then any object which is not obviously stands out. MercurySteam leans into this, and makes every critical "shoot this tile" a pulsing, glowing brain.
Metroid is all about finding hidden objects, though, and they cannot discard that critical feature, so how do they disguise the secrets? Rather than be hidden, many of the bonus items are locked behind "shinespark" challenges which require a bit of cleverness and a lot of dexterity. This is, again, harmonious with the pattern of other gameplay changes. Dread replaces obfuscation with action. It is not always immediately clear what you need to do, but it is clear that there is something that can be done. Figuring it out lets you feel smart, but it is only half of the battle. Reaching these hidden objects requires using a complex series of moves which challenge timing — not exploration. There is no more shooting at every tile in case something is hiding beneath, and this is as much a good thing as a bad thing. For my part, I never bothered to double back and collect any of the secrets I missed. I fought the final boss with half the number of missiles as my friends, because it seemed like the more fun way to go about this particular game.
Metroid: Dread has silky movement, tough action, and lavish backgrounds. It is not a bad flavor, but it is a new one for Metroid. I have been very critical of the consequences of these directions because I miss the old taste, but I respect the dedication to developing each of these changes to complement each other. In isolation, any of these changes would have broken the game design completely. Together, they are a harmonious vision for what 2D Metroid needs to be for today's audience. Dread declares, with its design, that to be modern, laborious platforming is out, and instant action is in.
These modernizations, though, are not a linear advancement of progress — they are born from a living culture that responds to taste-making hits. Would Dread be this way if Dark Souls hadn't come out? Was Dark Souls popular because there was a craving for tight action, or is there a craving for tight action because of Dark Souls? Is there Dark Souls without Castlevania, and is there Castlevania without Metroid? The mainstream success of Dread shows that Metroid is not destined to be a dinosaur, but it is not, this time, the taste maker. Looking at this game, I wonder how tastes will continue to change, and how Metroid could continue to adapt in the future.
I can't write about Metroid: Dread without also talking about the outcry from former developers at MercurySteam over their exclusion from the credits. MercurySteam says their policy is to only credit people who have worked on the project for at least 25% of the development time, ostensibly to encourage retention, but there are many holes with that motive. For one, it is not transparently communicated to the people who work there, but also MercurySteam are the ones who choose how long a contractor is employed, and Spanish media has reported that they cycle through contractors just barely within the bounds of Spanish labor law. Developers who weren't credited also say that some people they worked alongside for the same period of time did get credits, so I wouldn't be surprised if the policy is baloney and the crediting situation is a mix of negligence and pettiness.
The crediting stuff is just the tip of the iceberg though, compared to what the Spanish press has reported. MercurySteam's management allegedly kept everyone working in-person through the entire pandemic, while only implementing superficial precautions. (This would explain why it is the only major Nintendo release this season — they might have been the only ones trying to operate at full capacity during the pandemic). The scope of the game sounds like it could have also been out of control, with one person claiming there were supposed to be twice as many boss fights — which the final game shows some evidence of but certainly would not be improved with. The people who speak about the game say they are proud for contributing to the most prestigious game Spain has ever released, but the road to its release sounds messy. Management bullied people around, and even forbade the use of any microwaves for some reason or another.
All the stories tell me is that the pressure of delivering a good game led to some intense paranoia from the management. They put people in danger by working through a deadly time, they pinched pennies by cycling through a load of contractors without benefits, and they acted out on the staff when the output wasn't up to snuff. A team that is confident in their abilities doesn't have to cycle through a hundred artists to stitch together something. People who are only brought in to do work on the spot produce spotty work, it ain't their fault. I have no doubt that excellent results could have been achieved with less strenuous circumstances if the production was better. I can only hope that MercurySteam uses the success of Dread to invest in stabilizing itself rather than taking the opportunity to expand and reach for the next thing, which might be out of its grasp.
Double Bonus!
So Smash Bros. Ultimate is DONE now, huh? Everyone is so exhausted that I don't think we're able to fully appreciate what this journey means, now that it is over. I believe there will never be another Smash Bros. game like it. Sakurai repeatedly said that the opportunity to do "Everyone is Here" will never happen again, and I don't doubt that. Licensing only becomes more complicated as time goes on, and there are more than 80 characters to juggle. A future entry will have to redefine what Smash Bros. is, so that the scope can reset.
Why does any of that matter? Because this massive game is a rosetta stone for so much design vocabulary. Each character tries to adapt different genres, and in doing so demonstrate a diverse set of systems which can interact in surprising new ways. Wii Fit Trainer's special moves are about slow timing, to convey patience. Inkling feels slippery because the dodge is quick and wide, and you have to run away to recharge. Minecraft Steve has to forage for resources. All of these characters have inventive special moves, which are easy to use as reference in a variety of contexts. "This punch should feel like Captain Falcon's." "What if we have a jump that feels like a metal Jigglypuff?" "Touching this should lock you in place like being hit with Ness's side-b." The quality of the game is so high that every part can be studied and replicated as a base. Steal the frame timing of an attack! Copy VFX! Mimic how characters pull weapons out of nowhere! Need some examples of responsive jumping? How about walk cycles? You got 80 characters to look at in this game, each at their very best!
None of that goes away now that the game is done, obviously, but I will miss the community. We would all come together and say, "Do you think there will be a reveal at this event? Who do you think it should be?" Then we could talk about literally any and all videogames, talk about how we would condense their unique essence into a familiar Smash form. Those water cooler chats made everyone game designers. There will be other Smash games, but they will never be Ultimate. "Everyone is Here" meant that all the old, known quantities were spoken for. Each new character reveal meant something new, expansive, and full of potential. I'm going to miss it.
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September 2021 – You Can (Not) Sell Out
Good Goomba (November 2021)
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We have made some changes on the way the proposals page works on the site.
We are going to completely remove the page with the Pending Proposals for a Job and replace it with a new one that will be accessible by the Buyer that posted a Job by clicking the Job itself.
Except for the new design of this page (e.g. the filters and the proposals), users will have more filters available like, Sellers' feedback. There is a new "expanded" option that shows more information when selected. New features like the option to hide a Proposal and some small enhancements.
This is what the new page looks like.


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DOI:10.1109/TSE.1977.229900
Structured Analysis (SA): A Language for Communicating Ideas
@article{Ross1977StructuredA,
title={Structured Analysis (SA): A Language for Communicating Ideas},
author={Douglas T. Ross},
journal={IEEE Transactions on Software Engineering},
volume={SE-3},
pages={16-34}
D. Ross
IEEE Transactions on Software Engineering
Structured analysis (SA) combines blueprint-like graphic language with the nouns and verbs of any other language to provide a hierarchic, top-down, gradual exposition of detail in the form of an SA model. The things and happenings of a subject are expressed in a data decomposition and an activity decomposition, both of which employ the same graphic building block, the SA box, to represent a part of a whole. SA arrows, representing input, output, control, and mechanism, express the relation of…
cs.txstate.edu
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Structured analysis
Formal language
Refinement (computing)
Top-down and bottom-up design
Section 508 Amendment to the Rehabilitation Act of 1973
Log-structured file system
A language and system for making definitions of technical concepts
D. Skuce
J. Syst. Softw.
A simple English-like language is described in which one can make clear definitions of certain types of technical concepts needed in computer systems design and should become an essential component of software design as influences from artificial intelligence become more common in software design.
Rigorous EBNF-based definition for a graphic modeling language
Yong Xia, M. Glinz
Tenth Asia-Pacific Software Engineering Conference, 2003.
This work presents a text-based technique for the syntax definition of a graphic specification language and explains its syntax definition technique by applying it to the modelling language ADORA, which is being developed in the research group.
View 1 excerpt, cites methods
Abstraction and context in requirements engineering: Toward a synthesis
C. Potts, Idris Hsi
Ann. Softw. Eng.
This paper analyzes what it would mean to combine the best features of abstractionism and contextualism, and ground the discussion in an illustration of abstractionist and contextualist thinking about RE through goal refinement (GR).
View 2 excerpts, cites methods and background
An integrating view on the viewing abstraction: Contexts and perspectives in software development, AI, and databases
R. Motschnig-Pitrik
This paper presents an overview on various manifestations of viewing mechanisms in formal notations including software development techniques, knowledge representation languages, and data models and argues that the full power of viewing can be exploited by supporting both notions: contexts as well as perspectives.
A Syntax Definition Method for Visual Specification Languages
Today, the syntax of visual specification languages such as UML is typically defined using metamodeling techniques. However, this kind of syntax definition has drawbacks. In particular, graphic…
On Structured Manuals Analysis and Design for Japanese Enterprises
Y. Masuzawa
An analysis and design method for internationally intelligible Japanese business manuals compilation, using a theory of transformation between a natural language and a systems language which consists of DFDs, ERDs and Mini-specs, and a transformation theory called Structured Manuals Analysis and Design Theory is established.
Highly Influenced
The IDEF Family of Languages
Christopher Menzel, R. Mayer
The purpose of this contribution is to serve as a clear introduction to the modeling languages of the three most widely used IDEF methods: IDEFO, IDEF1X, and IDEF3. Each language is presented in…
The value and limitations of using process models to describe the manufacturing organization
J. Busby, G. Williams
Abstract Process models offer a systematic, well-denned way of representing the structure of a firm's manufacturing operations. They record the activities that are performed in order to achieve a…
Abstraction and Context in Requirements Engineering : A Synthesis of Goal Refinement and Ethnography
Most requirements engineering (RE) research and practice embodies a philosophy that we will call abstractionism, which involves the building of simplified models of domains of discourse and proposed…
View 2 excerpts, cites methods
Incremental Construction of Structured Occurrence Nets
B. Randell
This note discusses strategies for constructing representations of the actual or presumed behaviour of a complex evolving system in such a way that these representations remain manageable and understandable, despite the complexity of the activities they portray.
The magical number seven plus or minus two: some limits on our capacity for processing information.
G. A. Miller
Psychological review
The theory provides us with a yardstick for calibrating the authors' stimulus materials and for measuring the performance of their subjects, and the concepts and measures provided by the theory provide a quantitative way of getting at some of these questions.
Automated Software Engineering Through Structured Data Management
C. A. Irvine, J. Brackett
The SEF is easily transferable and can be used with vaxious hardware/operating system configurations where it will provide a host-independent software development system and in such a role will provide to the software developer standard facilities across a variety of host systems.
Structured Analysis for Requirements Definition
D. Ross, Kenneth E. Schoman
The needs for requirements definition are examined, and a proposed approach to meeting those objectives with three interrelated subjects: context analysis, functional specification, and design constraints is proposed.
Software Engineering: Process, Principles, and Goals
D. Ross, J. Goodenough, C. A. Irvine
This paper attempts to define the principles and goals that affect the practice of software engineering into a framework that rationalizes and encourages their proper use, while placing in perspective the diversity of techniques, methods, and tools that presently comprise the subject ofSoftware engineering.
Human-directed activity cell model
CAM-I, long-range planning final rep
Human-directed activity cell model," in CAM-I, long-range planning final rep
Guest editorial. It's time to ask 'why?'
It ' s time to ask why ? " Software Practise Experience
Software engineering : Process , principles , and goals
A generalized technique for symbol manipulation and numerical calculation
T. RossDouglas
Structured analysis for requirements definition," this issue
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Home Columns & Interviews Edible flowers
on: June 01, 2008 In: Columns & Interviews, Travel & LeisureTags: No Comments
Near Seven Stars Village, Chongqing Municipality
109.55.25 East
31.06.25 North
Distance from Shanghai – 1,131 km
Distance from Lhasa – 1,804 km
I was about 40 kilometers northeast of the river town Wushan, up on the mountains at about the 1,250-meter level, when I came upon four young boys dancing along the road, waving bouquets of flowers around as if they were ecstatic bridesmaids. They were shouting and laughing, thrusting the bunches of pink flowers into the air and grabbing at each other's blooms.
As I caught up with them, they were striking poses before a traffic mirror on a sharp curve in the road, holding the flowers high and admiring themselves. All rather camp.
Then I noticed they were eating the petals. Or almost gobbling them up. I asked them for the name of the flower, and after some discussion they decided on "Ying Shan Hong" (Reflecting Mountain Red).
"Are you sure you can eat them?" I asked.
"Oh yes!" they shouted.
"They taste sour," said one boy. I pulled a petal off one of the bouquets and nibbled at it. It tasted more tangy than sour, a sweetish tartness that was reminiscent of berries.
We walked together for a while, but they were not really paying attention to anything except for the flowers. Before we parted, they gave me a big sprig, and I continued to nibble on the petals throughout the day, enjoying the taste but getting none of the buzz they seemed to be experiencing.
As I passed a toll booth later in the day, still chewing on a petal, the guy in charge confirmed the name of the flower but added: "You can't eat it." Too late, I already had.
Close to the top of the ridge, I saw three guys, maybe late 20s, sitting in a doorway, and said hello. They invited me to sit with them, as does everyone in this hospitable region.
"What are you doing on this road?" asked one, who later gave his name as Mr Yuan.
"Walking," I replied. "I have walked from Shanghai."
"And where are you going?"
"Tibet, and then maybe Kashgar and Kazakhstan."
"Tibet? Don't you help the Tibetan independence people."
"That is not my problem to solve," I replied, with a smile. "The fate of Tibet is in your hands, not mine. But it is a problem that needs solving."
"Tibet is part of China," he proclaimed.
"I don't think anyone is disputing that Tibet is now a part of China," I replied. "From what I know, the people there are not asking for independence, they are asking for respect for their culture."
"China is a powerful country," he declared.
"I am sure everyone in Tibet today can feel that power," I replied.
"Which country do you come from," he asked.
"I was born in England."
"England is a friendly country toward China," he said, as if he was in training for a job with the Information Department of the Foreign Ministry.
"Is it? Okay," I said. "That's good."
"China wants peace, but America always wants to go to war. Look at Iraq," he said.
Now, I believe that the US made a terrible blunder in 2002 by not focusing on finding and killing bin Laden and thereby ensuring al Qaeda was headless before plunging into regime change in Iraq. But on the other hand, my instinct in these random political discussions in the countryside is to offer an alternative point of view wherever possible, to introduce the concept of pluralism and especially to challenge official mouthpiece pronouncements such as those offered by Mr Yuan.
"Well," I said, "a key cause of the Iraq war was 9/11 and the ultimate goal of the US in the Middle East is stable oil supplies, which China needs as much as the US. China is now dependent on imported oil and needs a stable Middle East. So we all have to hope the US does not lose."
"Taiwan," he said, changing the subject. "That is our biggest problem."
"Taiwan," I replied, "is no longer a problem. The Kuomintang are back in power, they have renounced independence and everyone in Taiwan just wants the status quo."
"But we must unify the motherland!"
I mentally rolled my eyes.
"The Communist Party right now absolutely does not want unification with Taiwan," I said. "They also want the status quo. Unification could destabilize the mainland political situation in all sorts of ways."
"Chairman Hu and Premier Wen love the people," he said.
"Is it possible they would hate the people?" I asked. "But they do seem to be doing a pretty good job. China is more and more open and linked into the rest of the world, which is good. It was closed for so long."
"You are English," he said.
"The opium war …" he said.
"Well, the opium war was an act of exasperation by the West to open China," I said, holding to my determination to challenge all clichés. "China was selling huge quantities of tea and porcelain to Europe but would buy nothing back. Finally, they found something the Chinese people wanted to buy."
"Do you think the Olympics will be successful?" he asked.
"Should be. I hope so."
"What happened in France to the Olympic torch was not right," he said.
"Maybe, but that was one person, or a group of people. It was not France. For people in the West, a basic principle is freedom of speech. The sight of all those Chinese people stopping other people expressing their views – this is the Communist Party taking a short-term benefit for itself but sacrificing the long-term image of the Chinese people in the eyes of the world. Not good," I said.
It was not an aggressive conversation, just an exchange of views on a rainy day, and we parted with an exchange of names and mobile numbers. Peaceful evolution, one person at a time. It was good to get it all off my chest, anyway.
My overall impression is that ordinary Chinese people are just beginning to think about politics again for the first time since 1989. The consequences of that reawakening could be huge, and will overall be positive, even if we don't feel comfortable with some of the things we hear along the way.
The conversation had to start somewhere, and it could be that the Beijing Olympics will one day be viewed as the trigger for significant changes with the Chinese people not only standing up, but also speaking out.
Globalizing education
CMB to buy Wing Lung for $4.7b
China Eastern takes delivery of first Chinese-made plane
BOC Aviation buys 40 Boeing 737 Max planes
Many Chinese wary of foreign travel
Avatar 2 gets China approval
China confirms $17bn Airbus deals
Shanghai Disney Resort closes for second time in 2022
China's largest beer brewer acquires baijiu stake


The Lurker seems to think that we will sign Hymel Hunt.Take it with a grain of salt.
I don't really see him as much of an improvement on Ross.
Id be happy if we got rid of ross to make room for someone like Oates but Hunts not that exciting.
Where is Thornborough who told us it would be confirmed three weeks ago? Agree krusty nothing out of the box there.
Haven't seen much of Hunt but he has size over Ross at the very least and although i've only seen the 1 game with Drinkwater playing.. wow... wish we had got him he played great footy .
Perfect example a few weeks back he said we were talking to Jack bird again, rumours of Bird wanting out of Brisbane and us going for him last year added up to Lurker claiming we were pursuing him.
I just read Hymel Hunts Wiki page and it says Newcastle Knights 2019 so maybe we have signed him .I wouldn't think they would put it up there unless he had agreed to terms but then who knows .
Yeah I didn't really know that but my son just told me so its probably crap .
They generally change the erroneous edits back again pretty quickly. But I doubt the first we would hear about the signing would be from wiki, they are not really a news breaking organisation.
His page was edited a month ago so someone obviously jumped the gun when the news broke that we were in talks with him.
Does Napa's one say at Knights in 2019 as well?
88Knight4life and Joshhh like this.
Nope, and now neither does Hymel's.
He wasn't in the Rabbitohs top 30 team list either. So I recon it's him as well.
Wobbles, Joshhh, packo and 1 other person like this.
He'll be a solid signing if it's Hunt. Good depth in the centre/wing position being created. If we can nab Robert Jennings as well, we'll have recruited well again this offseason. Now just for Klemmer to sign and perhaps another prop and we're a great looking team.
Whoever edited Hunt's Wikipedia page initially to say he was with Knights probably jumped the gun. If we've signed Hunt, then the editor's recent deletion of that part of the Wikipedia page is jumping the gun again haha.
When I'm right you'll all say it was a fluke. I confirmed Hunt about 3 months ago and at the time Napa was a huge chance.


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Lee Wilson > relationships > What Is Limerence?
Coach Lee compares limerence vs love and discusses what you can do if they are infatuated with this other person (known as the limerent object).
If your marriage is in trouble and/or you are separated due to your spouse (or boyfriend/girlfriend) having a limerence affair, Coach Lee's video explains what is going on and why it seems you can't compete with this other person or even effectively communicate with your ex.
Limerence is a state of mind where people often leave marriages or long term, stable relationships to, instead, be with someone they haven't known for a long time at all but have amazing, sky-high feelings for.
Dr. Tennov studied people in this situation and coined the term/word limerence.
Coach Lee will also discuss how you may fight for the heart of the one you love.
When a spouse, boyfriend, or girlfriend is experiencing limerence, they are under the influence of the chemicals associated with that mental state. It could be described as a chemical addiction to some degree.
Those brain chemicals include dopamine and serotonin.
The spouse in limerence with another person is addicted to those chemical highs (or alterations) and is often chasing the greatest high experienced in the relationship.
What they don't realize is that they can never duplicate that high again – though they might come close. It is this chase and pursuit that creates a major distraction in the life of the person caught up in this situation. To get Coach Lee's explanation of limerence and how it affects you, watch the video above.
by Coach Lee – As the developer of the Emergency Breakup Kit, he has constantly improved and upgraded his strategies to help people get back with their ex boyfriend, ex girlfriend, or spouse.
← Just Dumped? Don't Panic!


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text:
How To Be a Victim in 6 Easy Steps
By: Dr. Evan Marlowe
So You Can Avoid It
The benefits of being a victim are clear, right? You never need to take on any responsibility, nor do the work to make changes, nor worry about repercussions if the work fails. Those are the advantages. On the flip side, the problem is you will never succeed while assuming the victim role.
1. Don't pay attention to
Ignoring the teach
Most people start off here. They pretend there isn't a problem, or if they admit to a problem, then they don't see how it affects them. This is often observed among dudes who aren't involved in the pick-up community. You know, that coworker who insists it's all cheesy, manipulative bullshit, and yet from your perspective he's not doing too well in his own dating life. He fails to see the need to work on his inner game, because it's unnecessary to dating.
Guys who take the leap and come into the community usually have accepted that they do in fact have problems with their psychology, and do see that it can affect their success with girls. What distinguishes this guy from the last tends to be the size of his ego; an overwhelming ego will blind a person from clearly viewing his weaknesses. The ego is there to keep you comfy, but is averse to risk and pain. When it comes to self-improvement, view the ego only as an obstacle.
Never have ignorance and denial contributed to long-term success. Set aside your ego and seek the truth behind your source of discontentment and stagnation.
2. Don't Take Responsibility
One way to avoid taking on extra responsibility is to point the finger at someone else whose job it is.
When it comes to dating, guys often hope to deflect some of the duties of seduction and romance to the girl. But it is the man who must put himself out there, risking his pride. He alone is expected to get the number, set up the date and escalate to sex. None of this is the girl's "job."
At the end of the day, when the interaction never blossoms, he may be tempted to lay blame with the chick for not putting in her share of the work: "she didn't text back," "she couldn't make her mind up," "she didn't seem interested in me." But in fact it's your fault for not being persistent, it's your job to plan the date and work logistics, it's your responsibility to get her attracted. Make the assumption, here and now, everything is your job.
3. Blame Others
When interactions don't go well, guys often try to put the blame on someone or something else. Girls. Wings. The venue. Their "state." The list goes on and on. We've all been guilty of it. Ultimately, when you instead take full responsibility for the outcome, the results are two part:
First, you have to bear the weight of bad outcomes. This can make you feel like crap. But second, you find yourself with a new-found power; you are no longer at the mercy of others, but the master of your own destiny. This sense of empowerment that comes with taking full responsibility is liberating, and far outweighs the burden of shouldering the blame, or the sense of defeat you feel from being the powerless victim.
Stop pointing your finger, and instead put it somewhere women would appreciate it.
Simple Trick Tells You if a Girl Wants You to Kiss Her
Do girls leave you confused as to whether or not they like you?
Let's face it. Girl's don't make it easy for you. She will often send mixed signals leaving you unable to tell if she is being friendly or flirty. If you read her signals wrong you risk rejection and embarrassment. Or worse, you blow it with a girl who wanted to kiss you.
Here is a simple and innocent move that will instantly tell you if you're in the friend zone, or if she's waiting for you to kiss her.
Click Here, it's FREE!
About Dr. Evan Marlowe Evan Marlow is the dean and founder of Man School. You can visit at Manschool.cc
1 #1 Mistake Preventing You From Creating a "Sexual Vibe"
3 How to Keep Your Power Edge with Women
5 How to Raise Your Status Around Girls
6 3 Reasons a Girl Will Test You (How to Respond)
7 10 Commandments of the First Date
8 7 Behaviors Killing Your Game
10 The Shit Test Formula
1 Post Sex Texts (Send After Sleeping With Her)
2 Never Run Out Of Things To Say… (Here's How)
3 #1 Way to Get Her Obsessed (Proven by Science)
4 Second Date Tips to Make Her Want You
6 Super Power of Jerks (Why Women Love Them)
7 3 "Older Guy" Mistakes to Avoid with Women
8 What to Talk About to Make Her Fall in Love
9 2 "Girlie Man" Mistakes Men Make
10 How to Get Her to Make the First Move
1 She Guy's Solution to Meeting Women
2 Body Language Signs She Likes you
3 How to Avoid the "Nice Guy" Trap
4 1 Powerful Trick to Make Her Want You
5 When She's Sending Mixed Signals
6 Jedi Mind Trick to Peak Her Interest
7 How to Score a Milf
8 Don't Chase Girls (Bait Them)
9 When She Doesn't Respond till the Next Day
10 How to Answer the "What Are We" Questions
Homepage Dating Inner Game How To Be a Victim in 6 Easy Steps