Karen and I woke up fairly early. I think it was about 7:30 or 8. It was a cloudy morning. Zung would have been disappointed not to be able to take a Zungrise picture. Karen was going to check out the exercise facilities. I don't exercise when on vacation (if you're keeping track, I also don't cook or clean, wear a watch or carry a purse), so I headed off to the buffet for breakfast. Karen doesn't generally eat breakfast. She drinks it, but it's not what you think. She called room service for coffee and juice – orange and mango.
I was excited to go to Bella Vista for the breakfast buffet. Not for the food. I was excited to see Alex, my favorite breakfast and lunch waiter. We've seen him for years and it just wouldn't be a trip to the Grand without seeing him. I asked the hostess if he was working today and she took me to his section. He saw me coming and smiled. We hugged and then he asked where Zung was. I told him it was a girl's trip, but the other girl didn't do breakfast. He told me it was his last two days. I gasped and then he said until he was gone for 12 days on vacation. He was going to Vera Cruz to visit family. He had me worried there for a minute.
When he came back with my tea he said, "Well, since your husband is not here, that means we can go to Coco Bongo." I laughed. I am soooo not a Coco Bongo type of girl. He confessed that he had never been there and neither one of us were quite sure what goes on there.
I kept my breakfast simple – croissant, bacon (I'll work on my high cholesterol when I get home) and fruit. I read the news and emails on my iPad and posted on Trip Advisor. I said good-bye to Alex and told him I would see him at lunch and I would bring Karen.
I went back to the room and slathered on sunscreen and put on my bikini. I figure 50 is pushing it to wear a bikini. But I'll hold out until they pry it out of my dead, cold hands or I come to my senses. Whichever comes first. (When I was a young mother I thought it was unseemly to wear a bikini, so I'm making up for lost time). Besides, I'd had a request for bikini pictures. I couldn't disappoint.
The previous night I had asked Eder which beach waiters were working and where they would be. The awesome Humberto was working in front of Building 71, so that is where I headed. I was excited to see Humberto. But there was someone I was more excited to see. Someone I had pined for the three months I had been gone. I thought about him every day. I had missed him terribly. And there he was, waiting for me.
My beloved lounge chair. He was all ready for me.
Excuse me? A gentleman NEVER asks that question. I smacked him and he went back to whispering sweet nothings.
It wasn't long before that other very important man showed up, the awesome Humberto. I asked him if he remembered me from August and he was honest, "I see so many people." He gave me some water and took my order for a Coco Loco.
I took what I thought was a picture of it, but I had accidentally turned my camera to the video button. I would love to include the video, but it's pretty expensive to embed video on wordpress, and the link to photobucket doesn't seem to work, so for now, take my word for it. I ordered a Coco Loco. (If anyone knows how to do this photobucket link thing, feel free to send me a message or leave a comment).
Humberto is the best beach waiter ever. He comes by about every 30 minutes. He's just amazing. All day long. It was fairly crowded. But he always checked to see if we needed anything regularly.
Karen and I took some beach photos.
(Cuff, this one's for you – sorry, everyone else, inside joke).
That done, we went back to doing what we do best. We took advantage of having the most awesome beach waiter, Humberto, and ordered drinks. Karen drank champagne.
The weather, in a word, sucked. It was the cloudiest, coldest day I have ever spent on the beach. I doubt it was much warmer than it was back in Colorado (which was 67). I had to huddle under a towel to keep warm later in the afternoon. Drinking was a survival move. We had to drink to keep warm. That's my story and I'm sticking to it.
Drinking without eating can lead to trouble. We did not want to get into any trouble. At about one o'clock (when I was sure Alex would be there) we headed to Las Brisa for lunch.
A yummy and entertaining lunch it was.
(I talk a good game, but it would turn out, I'm a wimp).
Hi Andrea, I'm hoping you can assist.
Do you know if Champagne is served at the Lindo? If yes, which restaurant and / or bar? The friends we're travelling with will be celebrating their 15th wedding anniversary during our trip and I thought that it would be nice if we could go to the bar / restaurant on the evening of their anniversary and make a toast with champagne.
I noticed (in one of your pictures) that your BBF Karen was drinking Champagne at the Japanese restaurant at the Maya. I'm hoping it's available at the Lindo.
BTW, LOVE your blog. You're such an amazing writer. You've made me laugh out loud, cry and want to tear my hair out in frustration whenever you're frustrated.
Thanks for your comments. I'm so happy you enjoy my blog. I love writing it so much. It's gratifying knowing people read it.
The Lindo and Maya Libby bars both serve champagne as well as all the ala carte restaurants. Probably the main buffet too but I've never asked. Not sure about the beach bar. But the lobby bars for sure. Have a great time.


Check out photos and the recap video from Mad Decent x FKi 1st's GOOD GAS SXSW Takeover, held at Buffalo Billiards on Thursday, March 14th in Austin, Texas. Hosted by multi-platinum, Grammy-nominated artist and producer FKi 1st, the showcase featured performances by rising Texas rappers 10k.Caash, Dro Fe, and G.U.N, plus rising LA-based bilingual rapper Ratchetón. Performers and guests enjoyed signature cocktails courtesy of Arizona and Tito's Vodka. Watch the video recap here.
Good Gas' SXSW 2019 Takeover is the latest in a series of exclusive, signature events from FKi 1st. FKi 1st launched Good Gas in early 2018 with the release of Good Gas, Vol. 1 – a four-track showcase of FKi 1st's masterful production with features by 2 Chainz, A$AP Ferg, UnoTheActivist, MadeinTYO and more. Good Gas, Vol. 2 followed in September 2018, with 1st showcasing another selection of the most talented up-and-comers in the game including 03 Greedo, G Perico, KEY!, Kash Doll, Smooky MarGielaa, MadeinTYO and more, followed by the first loose Good Gas single "On Go Freestyle" feat. 10k.Caash and G.U.N. Over the past year, FKi 1st has cemented the Good Gas name with over 25M streams, a #1 on the Spotify Global Viral Chart, and a massive impact of new hits and visuals.


Wasabi + seaweed = nori crackers (or noriten) with some kick. Don't say we didn't warn you! Wasabi-flavored seaweed is the ultimate snack for those looking to add some spice to their day. It's a crispy treat you might not be able to stop eating once you open the bag. Want to get creative? Place a cracker on top of your bowl of ramen.
Facts 2.7 oz. Product of Japan.
Ingredients Wheat flour, soybean oil, seaweed, potato starch, salt, sugar, egg white, pepper, monosodium glutamate, licorice, artificial flavor. Contains wheat, soy and egg white.


text:
Reference: T2113
City/Town: Kalkan
Region: Mediterranean Coast
Villas T2110, T2111, T2112, T2113 & T2114 are a cluster comprising of 5 identical villas, perfect for large groups/families and all finished and furnished to the same excellent specifications. Each villa has a separate entrance and its own private swimming pool.
All villas enjoy views of the bay and open sea (but these vary, with some views better than others). The villas lay just 5 minutes' walk from both Mahal beach and Patara Prince Beach, which provide a short boat ride to Kalkan harbour. Alternatively, Kalkan town centre and harbour are a 5 minute drive away, or will take a pleasant 15-20 minutes on foot. All villas offer privacy in abundance, and have spacious, fully air conditioned interiors with understated, traditional decor.
Each villa has an additional 2 sofa beds.
Large living room and lounge area with satellite TV (limited English channels), DVD/CD player, fireplace
Bathroom with shower and WC
Kitchen includes full oven, hob, microwave, toaster, fridge/freezer with coffeemaker, dishwasher and washing machine
Utility room with Washing machine, ironing board and iron, clothes airier
Living room leads to pool terrace
Double bedroom with King sized bed; en-suite bathroom with shower
Twin bedroom with two single beds; terrace access
Family bathroom with shower
Satellite TV and DVD player
2 sofa beds
Pool and gardens cleaned daily
Free welcome food pack
Towels and linen
Kalkan centre 5 min drive
Dlaman airport 90 min drive
Grocery Store tempa süper market 0.10
Restaurant Patara Restaurant 0.16
Bar BOB RESTAURANT CAFE & BAR 0.42
Cash Machine Denizbank ATM 1.06
Pharmacy PATI VETERINARY CLINICS KALKAN/KAS TR 1.39
Doctor DR. NIYAZI ONCULER 1.54
Children must be supervised in the pool area at all times.
17th Jan 2021 to 1st Apr 2021 £722
1st Apr 2021 to 1st Jun 2021 £908
1st Jun 2021 to 1st Jul 2021 £1,482
1st Jul 2021 to 1st Sep 2021 £1,729
1st Sep 2021 to 1st Oct 2021 £1,142
1st Oct 2021 to 1st Nov 2021 £994
1st Nov 2021 to 1st Apr 2022 £722
1st Apr 2022 to 1st Jan 2023 Contact Us
All prices are per week for the villa only. Flexible changeover day. Villas are booked from 3:00pm on your arrival day to 11:00am on your departure day. Please note that availability shown is subject to confirmation - please call our reservations team.
When imagining the perfect idyllic Mediterranean harbour, you will have Kalkan in your mind. It has all the necessary ingredients; cobbled streets winding through the town, waterfront restaurants, roof-terrace bars, and beautiful bougainvillea covered white villas. An ideal place for your Premier Villas holiday in Turkey. The town itself lies at the foot of the striking Taurus Mountains and faces out on to crystal clear turquoise waters of the Mediterranean. The views are breathtaking, and while you're eating your freshly caught and cooked fish next to the harbour with your glass of local wine, you'll realise that this is a place you'll never forget - and you'll know that you'll return as do others time and time again. Kalkan caters for the interests of all, whether they are historical, cultural, water sports or just pure relaxation - you are sure to find what makes a holiday for you. In just a few short years, Kalkan has grown from a small fishing village in to a harbour town with its own modern marina, but still retains its own unique character and remains unspoilt by mass tourism. Those who visit Kalkan for the first time will enjoy its versatility, with the restaurants, hotels, and bars being owned by locals and Istanbul Turks there is a varied and eclectic atmosphere and menus not usually found in these places.
Kalkan is frequented mostly by British holiday makers who are drawn by its authenticity mixed with its refined atmosphere. There are many ancient sites to visit in the area such as Patara, Xanthos, Pinara, Letoon, and Tlos. During the day Kalkan is very quiet with most of its visitors heading off to the beaches and beach clubs nearby. From the town centre a dolmus (minibus) takes only ten minutes to get to the hidden Kaputas beach, a small sandy cove beach set at the base of a striking mountain gorge. If you're looking for something a little bigger, the world famous Patara beach is approximately 30 minutes away (by dolmus or car) and boasts an 18 kilometre stretch of white sand.
This coastal region of Turkey, commonly known as the Turquoise Coast, is almost 1,000 miles in length and is dotted with excellent sandy beaches and many ancient historical ruins.
It has to be the first place to consider when choosing a holiday in Turkey. While the Aegean coastal region is in itself fantastic, the Turquoise Coast has more and better beaches and a wider selection of places to visit.
The majority of the coast has the imposing and beautiful Taurus Mountains as a backdrop, often meeting the sea vertically.
A holiday along the Turquoise Coast offers something for everyone; whether you're into sunbathing, nature, photography, sports, sailing, or archaeology, you'll find it here.
The two main airports to access this region are Dalaman and Antalya, with most international airlines having direct flights to each.

redpajama_set_name: RedPajamaCommonCrawl


text:
The American Comic Book and its Jewish origins
Posted on April 25, 2018 by cslamin1	Posted inArticleTagged Comics, history, jewish, superheroes, who let them make cap a nazi
At this point, I think it's safe to say that over the semester we've looked at comics and graphic novels in depth. Like…super in depth. I mean, what else can you do in a class like this? And while it's been great to see some historical stuff (Oldbuck), read some pretty out there stuff (Das Stadt), and talk about comics and graphic novels that have become pretty prolific in popular culture, I keep feeling like there's a very large piece missing. As I was sitting here trying to figure out what that missing piece was, it came to me: the origins of the American Superhero Comic Industry. Don't get me wrong, I totally get that this class wasn't necessarily about superhero comics, I still feel like it's important to talk about the people who started the craze. Now, I'm not saying "started" in the sense of "these people made the first 'comics/graphic novel' in America," but more in a sense of these are the people who laid the foundations down for the superhero comic book industry as we know it today. These people, like Jack Kirby, Stan Lee, and Bob Kane are all hall-of-famers for their contributions, and some (more than others) are household names, and have been for a while now. They also all have one thing (outside of comics) in common:
They're all Jewish.
As a writer, I'm of the mind set that writers will always write what they know. I've seen it plenty of times, both in creative writing classes as well as best selling books (it's no coincidence that all Stephen King novels are in Maine). With the abundance of Jewish writers and artists at the beginning of the American comic industry, I wanted to see how this background might have seeped into the superheroes we love. So, off to Google I went.
Most of the articles and think-pieces I found all start at the same point: the social and historical climate of America during the start of it all. Around the mid-1930's, New York City had become sort of a beacon of hope for immigrants, especially for Jewish Europeans. These immigrants, who were fleeing from rising, violent antisemitism, found themselves at Ellis Island with what they perceived as a new chance for life. According to Rabbi Joe Klein, in his lecture, these immigrants (and their children) had learned to "hide in plain sight" while living in Europe, and when they came to America, they sort of continued this hiding to a lesser degree. Jewish immigrants wished to climb the social and economical ladder of America, without disrupting the status quo. They became "men of action disguised as men of inaction."
To Klein, this is where the basis of the comic superhero comes from. It was a projection of power for the artistic Jewish youth, the children of immigrants. Take for example Superman, an alien sent to Earth for a new chance on life, with incredible powers that he uses to save the people of Earth. The "alien sent to a new place for a better life" is essentially identical to the stories of Jewish immigrants (and all immigrants of this time). However, Klein picks up on something I hadn't thought of before. Klein states that the story of Superman is most likely inspired by the Jewish stories of the coming Messiah, who would save his people with god-like powers. That Superman's creators, Jerry Siegel and Joe Shuster, had probably envisioned a hero that could save them from the impoverished socioeconomic status they had because they were Jewish. Klein also finds a parallel with the origin story to that of the story of Moses.
According to several sources, "Kal-El" could be Hebrew for "Voice of God"
Of course, this could all be summed up as "speculation" or "over-analysis", and there isn't much talk about the Jewish parallels of superheros to their creators outside of Jewish circles, but I do think this is an interesting topic. It is also pretty easy to accept, as most successful superheroes show some sort of parallel to the experience of a Jewish immigrant (Superman, X-Men, Captain America). They are all men of action disguised as men of inaction. They are still the powerful projections of disenfranchised people in America. And it's fascinating (to me, at least) to think about that history, and haunting to think about the almost complete erasure of it. It leaves me with a few questions. Would these heroes still work without that history to them? What happens to them when that history is completely erased and new creators wish to start story lines that can be seen as a direct perversion of that? Will we get more things like Nazi Captain America? I shudder to think about it.
This was the worst moment of my life
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Are you interested in visiting wine country? Whether you choose to visit the wine countries in California, New York, or Washington, you may be pleased with all of the options that you have, especially where wine tours are concerned. One of those options is making reservations for a guided wine tour, as compared to touring local wineries yourself. When it comes to deciding how you should tour wine country, you may be unsure which option is best for you and the rest of your traveling party. To help assist you in the decision making process, a few pros and cons to guided wine tours are outlined below. By examining these pros and cons and then applying them to your own personal wants and needs, you can determine if a guided wine tour is the right choice for you and your next wine country trip. As for the pros or plus sides to making reservations for a guided wine tour, you will find that there are a number of them.
Perhaps, the most influential one is that you automatically have a designated driver. This is an important factor that many do not take into consideration right away. For many individuals, a few sips of wine here and there can quickly add up. This is not an issue that you will have to worry about with a guided wine tour, as most companies will provide travel arrangements for you, like in a small bus or van. Another one of the many pros or plus sides to seeing wine country with a guided tour is the discounts that you may receive.
Did you know that some companies include admission and wine tasting fees in their prices? Many do so because it is not uncommon for local wineries to work with wine tour companies to offer discounts and other savings, which can benefit tourists just like you. If a wine country tour company provides you with discounts or other special savings, they will likely outline so on their online websites. Another pro or plus side to guided wine tours is the options that you have. As wine tours continue to increase in popularity, so do the number of tours that are offered in the area. This means that you should have a number of wine tour companies to choose from, especially if you travel to California wine country. When examining all of your options, which is easy to do online, be sure to examine rates, stops, length, and company reputation. Although there are a number of benefits to booking reservations for a guided wine tour, there are also a number of cons or downsides to doing so as well. One of those is the added expense. Should you choose a guided wine tour company that doesn't provide you with any deals or discounts for wine tasting, the cost should be looked at from an added expense. If you are on a budget, this is an important factor that needs to be taken into consideration.
Another drawback to guided wine tours is that you don't have much freedom. Many wine tour companies and their winery stops are predetermined. This, however, does allow you to do research online, as many companies will outline specific tours that they have available on their websites. You will want to research and compare wine companies to ensure that are able to visit at least a couple of popular and well known wineries. You will also want to take quality into consideration; make sure that you are getting a good value for your money. The above mentioned pros and cons are just a few of the many that you will want to take into consideration, when trying to determine how you should tour wine country. As a reminder, examine your own personal wants and needs. For example, does everyone in your traveling party want to drink and enjoy wine tasting? If so, a guided tour may be in your best interest. PPPPP Word Count 660 .


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Effect of Petroleum-Derived Substances and their Bioremediation on Triticum aestivum L. Growth and Chemical Composition
Janina Gospodarek 1
, Milena Rusin 1
, Aleksandra Nadgórska-Socha 2
Department of Agricultural Environment Protection, University of Agriculture, Krakow, Poland
Department of Ecology, University of Silesia, Katowice, Poland
Janina Gospodarek
Department of Agricultural Environment Protection, University of Agriculture, al. A. Mickiewicza 21, 31-120 Cracow, Poland, Al. Mickiewicza 21, 31-120 Kraków, Poland
Final revision date: 2018-05-21
petroleum-derived substances
Ground remediation
Heavy metals contamination of plants
The aim of our studies was to determine the follow-up (four years after the soil contamination) effect of petroleum derived substances (PDSs), e.g., spent engine oil (EO), diesel fuel (DF), and petrol (P) on the growth of winter wheat (Triticum aestivum L.) and on the content of nutrients and heavy metals in plant leaves. We also evaluated the supportive effect of bioremediation by the use of ZB-01 biopreparation upon the parameters mentioned above. In general, the studied PDSs had not affected the growth of winter wheat, which is indicative of its relative resistance toward this kind of contaminant. PDSs significantly modified the contents of some nutrients in plant leaves: soil contamination with DF resulted in a decrease in sulphur content, but contamination with P led to the increase in carbon content with a simultaneous decrease in iron content in the analysed organs of plants. Furthermore, oils contributed to the increase in the manganese content in plants. The contaminants used in the experiments contributed to the increases in the contents of such heavy metals, i.e., zinc, lead, cadmium, and copper in the leaves of winter wheat; nevertheless, this phenomenon depended on the kind of PDSs, with stronger effects caused by oils. The application of ZB-01 biopreparation on soil contaminated with PDSs evoked changeable effects depending on the kind of contaminant and the analysed parameter. It generally resulted in levelling the negative effects of EO and DF.
In vitro Germination and Phytoremediation Potential of Endemic Plant Species Verbascum phrygium Bornm. Growing under Zinc Stress
Speciation Analysis and Ecological Risk Assessment of Antimony in Xikuangshan, Hunan Province
Pollution Evaluation and Sources Identification of Heavy Metals in Surface Sediments from Upstream of Yellow River
Assessment of Heavy Metal Amounts of Spinach Plants (Spinach Oleracea L.) Grown on Cd and Chicken Manure Applied Soil Conditions


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text:
Who's Who in the Superman Comics
Lane, Lois
Daily Planet reporter and longtime friend, now wife, of Superman. Besides her reporting skills, Lois has undergone training with Metropolis' S.C.U. and has a black belt in karate. Born in West Germany, Lois was Sam and Ellen Lane's oldest child. Lois has a younger sister, Lucy. Sam was a career army man who was stationed in several places. When Lois was school age, the family moved near Metropolis when Sam was stationed at Fort Bridwell. On a trip to Metropolis, Lois was impressed by the Daily Planet and saw then-reporter Perry White. As a teenager her family was again in Metropolis and Lois tried unsuccessfully to be hired by Perry White. After managing to obtain information on Lex Luthor, Perry offered her part-time employment. After high-school Lois left her family and worked full-time at the Daily Planet while taking evening college classes. She also wrote some mystery novels. Lois first met Superman when Clark Kent used his powers in public to save a NASA space plane Lois had been a passenger on. In her newspaper report, she called the unknown rescuer a Superman. When Superman made his debut as a crimefighter in Metropolis, Lois tried to get the first interview with him, but was scooped by a new reporter, Clark Kent. At first considering Clark only as a rival, over the years Lois grew to love both Superman and Clark Kent. Lois met Clark's friend Lana Lang in Smallville, and was persuaded by Lana that Clark loved Lois. When Clark proposed, Lois accepted not yet knowing he was Superman. After Conduit attacked Lois and the Kents, Lois convinced Clark not to abandon his secret identity. After encountering Lori Lemaris, Lois became increasingly jealous and annoyed with Superman. Finally, following being poisoned (non-lethal) by the Joker, Lois argued with Clark and broke off their engagement claiming he spent too much time as Superman. Later, after Superman saved Lois when she was working with Prof. Hamilton to capture the Parasite, she decided to accept a new assignment as foreign correspondent and left Metropolis. Not long after, Lois decided she needed to be with Clark, and returned to Metropolis, where the couple soon married. Not long after, Superman changed into an energy being and split in two. Lois, forced to deal with Clark's two separate personalities, demanded that the two Supermen find a way to rejoin. Soon after he was mysteriously returned to normal, the Daily Planet closed down, forcing everyone to find other employment. Lex Luthor invited Lois, Jimmy Olsen, Dirk Armstrong, and Simone D'Neige to work for his new Internet news service, LexCom. Lois was upset that Luthor wanted her to copy the news from other sources instead of writing original stories, but she remained at LexCom to keep an eye on him. When Lex mysteriously sold back the Daily Planet, Lois returned to work for the great metropolitan newspaper along with Jimmy, Perry and Clark, however Lex made her agree to a secret bargain that she would bury one story of his choosing when the time came (SUP #151).
In recent times Lois had saved young Lena Luthor's life during the uproar when Brainiac 13 forced the technological upgrade on Metropolis. Luthor elluded to the fact that she only helped Lena because she would gain his favor and have their bargain nullified. Lois enraged that he could think her to value life as cheaply as he does refused the compromise. Lois was again endangered by Brainiac 13 as she and a host of other citizens of Metropolis were to be reprogramed into workers for Brainiac 13's conquest. Before that could happen, the combined effort of Superman and Lex Luthor closed him down.
This also began a definate mood change in the Kent household. Lois was increasingly aggrevated with Clark over minor things. Clark could not seem to find the love or even the common ground he once shared with Lois. Lois was not just unhappy with her home life, apparantly even work was getting to her. She argued with Perry White about needing time away and he responded by mentioning that he could call Clark back off his Foreign Correspondance posting. She simply stated that what she really needed was some time off. Lois encountered Clark at home late that night as he returned from a trip of soul-searching in Smallville, just as she was going out for the evening. She left him with three heart wrenching words as she walked out in a hot little number, "Don't wait up" (SUP #155).
While Clark was back in Smallville collecting his thoughts for their relationship, Lois' activities in Metropolis did not go unnoticed. Luthor, at the helm of the B-13 technology, noted large amounts of money Lois was moving between various accounts regularly (AOS #577). Clark returned from Smallville again refreshed and hoping to find resolution with Lois. He wisked her away from their brownstone and to the Metropolis Air and Space Museum where the spaceplane Constitution is on permanent display. Trying to start things over with Lois he gave her a gift of her newly repaired tape recorder she used in her first interview with a certain Superman. She used it one more time to say to Clark, "I need to be away from you for awhile." With no resolution in sight Clark took his frustrations out on the moon creating a new crator. Here we witness the first signs of a weakened Superman (ACT #764).
As if having an Amazon Princess stop at your apartment to see your husband isn't enough, (ACT #761) things are compounded with Lois' mood when she sees Lana Lang and Clark talking by her desk at the Daily Planet. After a mild catfight between the girls, leaving Lana and Clark trying to figure out what brought that on, Jimmy Olsen sails by the window outside prompting Clark to action. He encounters the juiced up Parasite and kocks a few rounds back and forth before Wonder Woman enters the fray. She had returned to Metropolis at the behest of J'onn J'onzz who passed along a message from Superman that he needed to speak to her. Parasite cringes at the sight of the lasso of truth and gets away before anything can be learned about his current activities. Lana also shows up and the picture is grim for Clark as he stands with Lana on one side and Diana on the other and Lois shows up. Words are exchanged and Lois and Clark go their separate ways. Lois finds her way to a private office in the center of Metropolis with an offer to satisfy the wants of one of the most powerful men in Metropolis, only it isn't Superman (SUP #156). An exotic get-away in space is one of the last hopes Clark has for a resolution with Lois. Taking J'onn's Martian spacecraft from the JLA Watchtower the two set off on a soul searching getaway to Sanctus 12. They encounter some dangers there with the locals but although things worked out with that situation, the journey there did not bridge the gap between them as Clark hoped, and Lois requests to be taken home and left to herself (AOS #578).
Clark buries himself in his work with John Henry Irons on the Fortress construct inside the tesseract, while Lois does little to mend relations. It definately seems like the honeymoon is over (MOS #100). An ailing Clark seems to be taking it badly and the mysterious ailment inside him seems to be getting the better of him. After a mild clash with Luthor, the Joker, and Harley Quinn, a bedraggled Superman pulls himself together and heads back to the Daily Planet to file his stories. While he is there a pizza delivery guy drops him a message from Lois. "Dear Clark, Can't face you... don't look for me... the living room isn't far enough away... I'm leaving forever." (ACT #765)
Revelations are stunning as Clark finally finds out why Lois has been so distant. After reading her note and returning home he finds her getting the last of her things. When he reaches to hold her and she becomes enraged and hits him... hard. Superman is thrown out the window and lands against LexCorp Towers. Lois 'flies' out the window after him. It is at this moment that he realizes that the problems he's been having with Lois are untrue because this is not the true Lois Lane. Taking into account everything that happens during the fight between the combatants. Superman realizes that he'd been distracted concerning the powers Lois appeared to possess. She didn't simply have powers LIKE his, they WERE his powers. In a twist of psychoses, Superman gets the Parasite to reveal himself in the guise of Lois Lane. After that edge is lost to Rudy, things spiral downhill. His powers ebb and Superman succeeds in taking him down. Superman finally realizes the reason he has felt so weakened recently was because he was being constantly drained by the Parasite. When he asks Rudy how long he had been pretending to be Lois, he relates his story to the Man of Steel. It seems that Strange Visitor's contact with the Parasite changed his powers enabling him to keep what he took longer. Somewhere he and his professor counterpart gained new powers by absorbing a shapeshifter as well. Now not only does he sap the life energy out of his victims he can actually become his victims right down to their DNA. During the B-13 induced blackout on New Years Eve he escaped from STAR Labs and stalked Lois and Jimmy to get to Superman. He had taken the form of one of his previous victims, an old man, and was run down in the pandemonium that evening when Lois came to his aide. Not realizing that she was actually in contact with the Parasite, the simple touch was all Rudy needed to get the lowdown on Superman. Rudy was as surprised at what he learned by touching Lois because he never realized that she knew it all. The secret identity and everything. He was attempting to get to Superman by taking one of his close friends not realizing how close Superman actually was to Lois. In his finaly moments he tells Superman that he still needed to have contact with Lois once every twenty-four hours to maintain his charade, confirming that she is still alive. He also tells him that Lois loves him more deeply than he could ever know. He states that whatever is weakening Superman was not simply his doing but something bigger. The same illness that is hampering Superman and his powers is killing him. He passes on before he can tell him where she is imprisoned (SUP #157).
The search for Lois Lane begins and is immediately interrupted by the arrival of the Prankster and Advisary in Metropolis. Superman's ailment gets worse after the confrontation and his body starts to glow green (AOS #579). Even after this development he presses on, determined to find his wife. After a quick energy boost care of John Henry Irons, his quest continues with a visit to LexCorp Towers. After a tussle with the automated defenses and Luthor's personal bodyguards, Hope and Mercy, Superman learns that not even Luthor knows where Lois is. In a final effort to escape their custody in his weakened state he breaks free of the tower and falls to the earth where he is assisted by Batman. Together they set out on a search for the truth (MOS #101). Batman approaches the case analytically searching for clues everwhere. They are not sure of the exact point of time Rudy made the switch with Lois. He looks at everything. Her clothes, he personal effects, everything. They set out on the trail of feeding the Parasite left in his wake, a disturbing pattern pretty easy to follow. Parasite localized himself to the town of Endicott, NY and used it as a feeding ground while he was keeping Lois alive. After a few interigations they find themselves at the Parasite's lair. A sickening smell permiates the cave, the smell of death. Batman cannot fathom that they will find Lois alive, but they press on. They find all of the missing victims' remains and then Superman takes heart when he hears Lois' breathing from an adjoining chamber. Using the last of his strength as the illness overcomes him, he moves the boulder out from in front of the chamber and finds Lois alive and well. Then Superman collapses due to his illness (ACT #766). Lois is alarmed by this sudden change of events. Just to be back with her love and now she's about to lose him all over again. She stands by and observes as the preparations to save the Man of Steel by Team Superman are formed. While they are battling on the inside, she is questioning everything on the outside to try and find out who is behind the attack. Team Superman is infiltrated by the Prankster in Steel's armor as they find out that a nanobot carring Kryptonite is what everything has been caused by. An appearance on the outside by La Encantadora reveals the cause to Lois and she relates that to the team safeguarding Superman, effecting a full recovery (SUP #158 through ACT #767). Lane meets with Luthor at another late hour to reassure Lex that she had a glimpse into the Parasite's memories and has a pretty good idea about what went on in LexCorp Towers the night that her doppleganger made his visit. This was not to negate her standing deal with Luthor concerning the story, but just an FYI (SUP #159). She keeps up her investigation in to who had hired La Encantadora, Prankster, and Deathstroke for the attempted assasination of Superman. She is hampered in this effort only by Superman's constant state of awareness of where she's at. She finally tells him to back off and let her find her own leads. Of course when he does this and gets involved with helping Captain Marvel, CM3, and Mary Marvel, she freaks asking where he was when she thought she needed her butt dragged out of the fire. He simply states that he knew she had things under control and that he trusted her (ACT #768).
The world is turned upside down when a visit to Arkham Asylum by Mr. Mxyzptlk lands the power of the 5th Dimension in the hands of the most insane of the asylum resident, the Joker. His warped version of Metropolis has Lois in Luthor's spot and a whole host of other oddities. When Superman finally got a grip on the reality and overcame the Joker's hold on reality (SUP #160 through ACT #770).
It doesn't seem like poor Miss Lane can get a break. After waking up from the dreamland the Joker had laid out, another one seemed to confront her. Lex Luthor running for President. Her story on Superman's assasins on hold, she turns her reporter's eye on the candidate for the highest office in the United States and what this means for Metropolis and the world. After finding few things of use to her in a story on Luthor she returns to the original story. She searches high and low, bringing clues closer to the surface concerning the who and the why in Superman's poisoning (ACT #771).
Lois and Clark do sometimes have some time to themselves once and awhile. Clark has taken to showing her the Kryptonian mental discipline of Torquasm-Rao. Lois has proved herself adept at this ability a number of times, being able to separate herself from her own body and view the world from a new perspective. She's used this ability a number of times. Once when Clark first instructed her and a terror that was Lord Satanus moving his tendrils across Metropolis snapped her out of it that time (AOS #585). Another was when she used the 'out of body' experience to lead Superman back out of the Phantom Zone with the cyberqueen Luna he had entered to rescue.
Lois continues her search for the mastermind by challenging the League of Assasins for knowlege about the job against Superman. While the Scarlet Scythe explains to Lois that the League had no knowlege of the job against Superman's life, he says that they do know of someone that infiltrated the League and used their resources to stage an attempt on the Man of Steel's life and then promptly dissappeared taking security and honor, not to mention one of their ships of the line from them. We find out that it was Ra's Al Ghull who was using his power and influence to disrupt things to his advantage, to engineer The Crucible, a Lazarus Pit so potent that a man will enter and a god emerge, a god of the earth.
If having Luthor as President was not enough, Lois had to deal with having her father as the Secretary of Defense. However when the White House came under direct attack by the cosmic threat known as Imperiex, Sam Lane personally took the fight to one of the Imperiex Probes where he ultimately sacrificed his life to save his daughter and others (ACT #781).
After she found out that Lex Luthor knew about Topeka's destruction before it happened, she exposed Luthor through Clark. This failed, but nonetheless, Luthor fell.
Of late, Lois has dealt with her husband's extended disappearances only to disappear herself for an extended period of time following being shot in Qumec as a way to manipulate a war. She survived, barely, only to be taken in the Vanishing (SUP #204).
Returning from the Vanishing, Lois continues on in her role as reporter for the Daily Planet.
First Appearance: MOS #1 (July 1986)
This is a listing of many of the notable characters and a few places that have appeared in the Superman comics from the 1986 revamp up until around 2008.
NOTE: A new, and more current version of the Who's Who is currently being worked on and can be accessed by clicking here.
Although Superman often appears in other DC Comics, this text's information is limited mainly to what has occurred in the regular Superman comics.
Many thanks to Scotty V, Derrick Lyle Coleman, Dean Vanek, Genevieve Clemens and Benjamin Grose who all helped out at one time or another with writing and updating these Who's Who descriptions.
The listings are displayed as follows:
Surname, Firstname - Text describing the character, place, object, etc...
Relevant issues of the Superman comics are listed as such:
SUP = Superman
MOS = Man of Steel
AOS = Adventures of Superman
ACT = Action Comics
MOT = Man of Tomorrow
The Issue Number for each of these titles is written in this manner: "#000". (e.g. SUP #123)
"First Appearance" refers to the issue since 1986 unless otherwise noted.
Alpha Centurion
Amazo
Apokolips
Dirk Armstrong
Ashbury Armstrong
Atom, The
Frank Berkowitz
Bibbo Bibbowski
Big Belly Burgers
Manchester Black
Cabinet (President Luthor's Cabinet)
Cadmus Project
CAELOSS
Carapax
Cave Carson
Ceritak (Scorn)
Clan MacHinery, The
Composite Superman/Batman Rocket Ship
Creeper, The
Simone D'Neige
Contessa Erica Alexandra Del Portenza
Earth-Prime
Morgan Edge
Flamebird (Nightwing and Flamebird)
Fortress of Solitude
Jeb Friedman
Funky Flashman
Futuresmiths
Galaxy Communications
Green Lantern - John Stewart
Casey Griggs
Professor Emil Hamilton
Hawkman and Hawkgirl
Hellgrammite
William James Henderson
Hope and Mercy
Imperiex
Injustice Gang
Injustice Society of the World
Intergang
Barbara Johnson
J'onn J'onzz
Justice Legion A
Justice League of America (JLA)
Justice Society of America (JSA)
Kal-el
Kalibak
Kara (from Superman vs Aliens saga)
Clark Joseph Kent
Chris Kent
Kents
Keystone City
Khyrana
Thaddeus Killgrave
La Encantadora
Sam Lane
Legion of Super Villains
Lt. Lupe Teresa Leocadio-Escudero
Father Daniel Leone
LexCom
LexCorp Towers
Lena Luthor
Alexander Luthor
Mr. Majestic
Bruno Mannheim
Martian Manhunter (J'onn J'onzz)
Master Jailer
Meta-gene
Metropolis Generals
Metropolis Mammoths
Metropolis Meteors
Metropolis Metros
Metropolis Monarchs
Metropolis Union Station
Mercy (Hope and Mercy)
Mongal
Tom Moyers
Mxyzptlk
National Whisper, The
NewsTime Magazine
Nightwing and Flamebird
Planet Krypton Restaurant
Question, The
Quex-ul
Qurac
Replikons
Royal Flush Gang
Lord Satanus
Secret Society of Super-Villains
Special Crimes Unit
STAR Labs
Starbreaker
Starro
Franklin Stern
Strange Visitor
Captain Strong
Stryker's Island
Supergirl (Kara Zor-El)
Supergirl (Matrix)
Supergirl - The Legend of Supergirl
Superman (of Earth-2)
Superman (Golden Age)
Superman (Silver Age)
Superman Revenge Squad
Superman Robots
Superman Supremacy Squad
Supermen of America
Blackbriar Thorn
Thorn, The
Tolos
Ronald Troupe
Dan Turpin
Ultra-Humanite, The
World's Greatest Super-Heroes
Mr. Z
Zaora
Lor-Zod


text:
Sediment dredging has fallen short of achieving cleanup goals at many contaminated sites
At many projects to dredge contaminated sediments from U.S. rivers and other bodies of water, it has not been demonstrated that dredging has reduced the long-term risks the sediments pose to people and wildlife, says a new report from the National Research Council. Many dredging projects have had difficulty meeting short-term goals for reducing pollution levels.
Whether dredging alone can reduce long-term risks was difficult to determine at many sites because of inadequate monitoring data and other limitations, the report says. It calls on the U.S. Environmental Protection Agency to improve and intensify its monitoring at dredging and other projects intended to remediate contaminated sediments at the nation's Superfund sites.
Dredging's ability to achieve cleanup goals depends on a site's characteristics, the report also concludes. If a particular site has one or more unfavorable conditions -- the presence of debris such as boulders or cables, for example, or bedrock lying beneath the contaminated sediment -- then dredging alone is unlikely to be sufficient. The presence or absence of such conditions should be a major consideration in deciding whether to dredge at a site, said the committee that wrote the report.
Contaminated sediments can be found at the bottoms of many U.S. rivers and other water bodies near former mining, agricultural, or industrial sites. Tainted with polychlorinated biphenyls (PCBs), heavy metals, or other toxic substances, the sediments can pose risks to people, fish, and aquatic animals. Many of these sites are slated for cleanup by EPA under federal Superfund legislation, and a minimum of 14 of them are sediment "megasites" -- sites where the cost of remediating sediments is expected to reach at least $50 million, or has already done so. Decisions about whether to dredge at these sites have proved controversial, so Congress asked the Research Council to evaluate the method's effectiveness. To inform its conclusions, the committee examined 26 dredging projects, five of them at megasites, and evaluated whether they had attained their cleanup and risk-reduction goals.
Dredging is effective at removing contaminated sediment mass permanently from the environment, the report says. But removing mass may not be enough to achieve desired cleanup levels or long-term goals for reducing risks, because dredging inevitably leaves residual contamination behind. Dredging alone achieved expected cleanup results at only a few of the sites the committee analyzed. At many others, capping -- placing a layer of uncontaminated material over the tainted sediments -- was also necessary to contain the remaining contamination at acceptable levels. Assessments of the sites also revealed that the dredging process releases contaminants into the water, which in the short term can have adverse effects on fish and other aquatic animals and could potentially raise health risks in people who consume them.
Dredging remains one of the few approaches available for cleaning up contaminated sediments, the report says, and EPA should continue to consider its use among other methods. In locations where buried contaminated sediments could be dislodged by storms, for example, dredging the sediments to prevent them from being transported may reduce risks. If dredging is used, planners need to recognize that residual contamination and releases of chemicals into the water will invariably occur; they should estimate the effects of these processes in advance, and employ best practices to minimize them, the committee said. Using a combination of methods should also be considered, particularly if a site has any characteristics unfavorable to dredging.
The typical Superfund approach, in which EPA conducts an investigation and a feasibility study that establishes a single path to remediation, is not the best way to choose remedies for these sites, the report says. Given the long time frames and many unknowns involved in cleaning up megasites, adaptive management -- which uses monitoring data to review progress and adjust plans when needed -- should be used to select and implement cleanup methods. In addition, dredging and other remediation projects should be designed to meet long-term goals for reducing risks to people and wildlife, instead of objectives not directly related to risk, such as removing a specified amount of sediment.
The report emphasizes that without adequate monitoring before and after dredging, it is impossible to evaluate the degree to which cleanup objectives have been reached. EPA should invest in better and more consistent measurement tools to monitor conditions in the field reliably and efficiently. Monitoring data should also be made available to the public in electronic form, so that evaluations of remedies' effectiveness can be independently verified.
In addition, to help ensure that megasites with contaminated sediments are cleaned up as effectively as possible, EPA should centralize resources, responsibility, and authority for these sites at the national level, the report recommends. Such a shift would help the agency make sure that monitoring is adequate and that adaptive management and best practices are followed.
Source: The National Academies
Over half a million corals destroyed by port of Miami dredging, study finds
Citation: Sediment dredging has fallen short of achieving cleanup goals at many contaminated sites (2007, June 5) retrieved 17 July 2019 from https://phys.org/news/2007-06-sediment-dredging-fallen-short-cleanup.html
Rockstrøm et al - Planetary boundaries
Greenland Wildfire
Mw6.6 Quake offshore of NW Western Australia, Australia ... NOW
M 7.3 Nthrn Indonesia ... 2nd large quake for the day
Mw 6.4 and 7.1, Ridgecrest, Southern California earthquakes
10x more U in Earth's core?
More from Earth Sciences
New study links dredging to diseased corals
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PCBs found in soon-to-be-dredged Indiana Harbor and Ship Canal
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Oct 15, 2002 in "Epcot International Food and Wine Festival"
LAKE BUENA VISTA, Fla. – A hip new food-and-wine-tasting party, an outdoor concert series with name entertainment, an elegant Signature Dinner series and the prestigious Bordeaux Wine School program join the popular lineup of events Oct. 19-Nov. 17 at the seventh annual Epcot International Food and Wine Festival.
Returning by popular demand around the park's World Showcase are more than 20 international food-and-wine-tasting marketplaces, culinary demonstrations at The Terrace and "History of Beer in America" tastings and seminars by the Boston Beer Company, makers of Samuel Adams beer.
Dozens of performers ranging from acrobats to musicians add street-festival energy to the daily fun of this seasonal culinary celebration. Walt Disney World Resort guests can toast the festival with champagne and gather information at the new Festival Welcome Center across from the Future World Fountain and Innoventions Plaza. An exciting new "Discover Andalucia, Spain" cultural experience celebrates the region's olives and olive oils, famous tapas, fine sherries, skilled craftsmen and dazzling Flamenco dancers.
The food and wine festival around the World Showcase Lagoon is one of the world's largest and expands with new offerings each year. More than 100 wineries offer tastings, and cuisine is featured from more than 20 countries and regions of the world at international marketplaces. In addition to the 11 World Showcase countries, festival marketplaces will serve up samplings from South Africa, Scandinavia and other regions, with appetizer-sized tastings from $1-$4.50.
"Eat to the Beat!" Concert Series with performances by popular entertainers on the America Gardens stage, daily at 5, 6:45 and 8:15 p.m.
Bordeaux Wine School, a one-day wine education program with lunch and wine school certificate presented upon completion, Nov. 7-10, 8:30 a.m. to 3:30 p.m., for $100 at Bistro de Paris in the France pavilion.
Party for the Senses, a hip, hot celebration of the senses featuring more than 30 wines with flavorful foods every Saturday, 6-9 p.m., for $79 in World Showplace.
Food & Wine Pairings, featuring wine principals pairing great food and wines, every Wednesday, Thursday and Friday, 4-5:30 p.m., for $30 at the Coral Reef Restaurant in The Living Seas pavilion.
Reserve Dinners, for an elite dining experience that marries great wines and food and includes VIP viewing of "IllumiNations: Reflections of Earth," Thursdays and Fridays, 5:30-8:30 p.m., for $150 at the Wonders of Life pavilion VIP Dining Room.
Signature Dinner Series, with five courses and wine pairings from up to three selected wineries, Sundays, 6-9 p.m., starting at $100 to be held at a different venue each week including California Grill at Disney's Contemporary Resort, Jiko-The Cooking Place at Disney's Animal Kingdom Lodge, Cítricos at Disney's Grand Floridian Resort & Spa and Bistro de Paris at the Epcot France pavilion.
Vertical Tastings, a rare opportunity for wine lovers to sample 10 vintages from stellar producers and hear VIP wine speakers, Saturdays, 2-3:30 p.m., starting at $75 at Ariel's at Disney's Beach Club Resort.
This year, dozens of wineries will conduct free seminars in tents alongside World Showcase, and talented chefs will explore culinary customs and food trends at the complimentary Lifestyle Culinary Demonstrations at The Terrace, an alfresco-like setting between the Morocco and France pavilions. Also at The Terrace, guests can explore the Festival Wine Shop and see Artisans Among the Arbors -- an eclectic array of artists.
Entrance to the Epcot International Food and Wine Festival, including The Robert Mondavi Family of Wines tour, wine and beer seminars and cooking demonstrations, is free with regular Epcot admission of $50 ages 10 and up, $40 ages 3-9.
The festival takes place during 100 Years of Magic, Disney's celebration honoring founder Walt Disney on the 100th anniversary of his birth. Guests are treated to new parades, live shows and attractions in a four-park celebration.
Guests can call 407/WDW-DINE for information or reservations for special events and programs during the Epcot International Food and Wine Festival, or visit the Web site: www.disneyworld.com and link to Epcot for festival details.


Interview with Takashi Nishiyama, Street Fighter and Fatal Fury creator.
(12-14-2011) Originally appeared in 1UP Presents #3: The Sketch Issue.
The game industry has a long and sad list of thriving developers who rarely do interviews. Jason Jones at Bungie, Sam Houser at Rockstar, Doug Church now at Valve.
One name you might not know, which should be on that list, is Takashi Nishiyama, who designed the original Street Fighter at Capcom before leaving to run SNK's development division, putting games like Fatal Fury, King of Fighters, and Samurai Shodown under his belt. In 2000, he founded the company that would become Dimps, itself a below-the-radar team that's worked on the Sonic the Hedgehog, Dragon Ball Z, and Street Fighter series, amongst others.
met with us at a satellite business office in Tokyo (seen here).
Nishiyama has intentionally shied away from media over the years. In fact, he hasn't done a single interview in the 12 years since founding Dimps. Until now! He recently agreed to meet at Dimps' satellite Tokyo office because he says he wants the company to change and move into developing original properties, and feels it's important to announce that publicly to make it happen. So we'll get to that. But to kick things off, I wanted to talk about his history.
● Let's start easy. How did you get into the game industry?
Wow, that was almost 30 years ago. I started at Irem, and current Capcom chairman Mr. Tsujimoto was in charge at the time. This was around the end of the Space Invaders boom, so a lot of new companies had formed, and Irem was looking for the next big thing. They were putting a lot of effort into new games, and I just happened to be in the product development division at that time.
● Is that what you planned to do growing up?
Not at all. I originally actually wanted to become a newspaper journalist. I just happened to get a part time job at Irem, and it was a time when they were putting a lot of effort into development, so I wrote up a concept document and showed it to my boss. He read it, liked it, and suggested I pursue this as a career.
● Nice. Do you remember what was on that document?
The first game design I worked on was UniWar S. I doubt you're familiar with it, but it was a ROM-based game that used Namco's Galaxian hardware. The second game was Moon Patrol, and I believe that was distributed by Williams in the U.S. You might remember that one -- the player drives a buggy across the moon's surface while avoiding craters and rocks and being attacked by UFOs.
● Yeah, it's pretty well-known in the U.S. But you're probably best known -- at least based on your time at Capcom -- for the original Street Fighter. How did that come about?
When I was still at Irem, I made a game called Spartan X; I think it was called Kung-Fu Master overseas. Basically, I was the producer on that game and Capcom headhunted me. Then after I moved over, I was able to improve on what I did there, and that became Street Fighter.
to spawn one of the industry's most popular genres.
● Was that basically your design concept, or was there more to it?
Part of it came from practicing martial arts at the time. But I was also thinking games up to that point were rather simple. Prior to Street Fighter, there were shooters and driving games where enemies or objects would appear, and the player would shoot them down or avoid running into them.
And I wanted to add depth with a story. It just happened to be a fighting game, but I wanted there to be a story so it would feel like a movie. We even conceptualized details for the characters that we didn't put in the game itself -- what the characters might like to eat, do they have sisters, other family members, etc. Street Fighter was different from prior games in the amount of depth we gave the characters.
● OK so apart from the story, what were your main contributions on the team?
My biggest contribution was pushing for the eight-directional joystick and six buttons. But initially I created a cabinet that used pressure-sensor mechanics. At the time, Capcom didn't have any experience making large arcade machines, only tabletop games, and we had a mission to make a large machine. So we worked with Atari to make a punching bag where the game used pressure-sensor mechanics to measure the player's punch strength.
Unfortunately, that didn't sell too well because it was expensive, and it had a low replay value because playing the game was exhausting. On top of that, Capcom didn't have expertise in selling large machines, so we shifted our direction and went for the joystick and buttons.
● What about the fireball and dragon punch? Were those your ideas?
Yeah, those were mine. I was inspired by anime and manga from the time, so for example the Hadouken was inspired by a Japanese anime called Space Battleship Yamato. In that, the battleship has a laser missile called Hadouho -- it collects energy and then blasts it into space, destroying the enemy. That that's where I got the idea for the Hadouken. The Shoryuken and Tatsumaki Senpuukyaku were original ideas -- I took martial arts moves and exaggerated them so they looked like special attacks.
for the first Chinese character used to spell Nishiyama's name "Takashi" can also be pronounced "Ryu."
Dimps submitted the above Sumi-e drawing showing off this trivia for this story.
● I ask this question a lot, but were there any big close calls during development -- things in that game that came close to happening, but then changed along the way?
The most interesting story that comes to mind is that most games at the time used a joystick and two buttons, so when I proposed the joystick and six buttons, the sales team said that the game wouldn't sell because it was going to be impossible for players to control. But I forced the development team to make it and explained that although there were more buttons, the layout fit people's natural form. I remember struggling to convince people that it would work.
● How did you convince them?
I explained that the top three buttons controlled punches and the bottom three were kicks, so it felt natural for players to perform special moves by combining those -- at least that's what I thought. But since all six were attack buttons, and players would attack no matter what button they pressed, that helped convince them that having more buttons wouldn't make the game overly complicated.
● Were there other big ideas that didn't quite make it into the game?
There were a lot of things that didn't make it in. But I was headhunted by SNK after its release, and many members of the development team and I moved over. So we went on to make Fatal Fury, and we put in a lot of the things we couldn't in Street Fighter. So for me, Fatal Fury is my "Street Fighter II." And the actual Street Fighter II was created by someone else at Capcom after I left. So that's where the vision for Street Fighter diverged; the continuation of Street Fighter that I had in mind with Fatal Fury, and the Street Fighter II that Capcom created.
the sequel, with a heavier focus on combos.
● Which specific ideas that you wanted to put in Street Fighter did you incorporate into Fatal Fury?
The depth of the characters that I mentioned earlier -- that was a big thing. The story and the character backgrounds were more polished in Fatal Fury. We came up with character details that weren't included in the game, and shared that information through the media, in magazines and books, to get the users more emotionally attached. We did a lot more marketing and strategic planning for that game.
Also, for me, the difference between SNK's Fatal Fury and Capcom's Street Fighter II is that Fatal Fury is more about special attacks. It's crucial when players release their special attacks, whereas in Street Fighter II it's more about combos. That's not something Capcom and I discussed ahead of time, but it happened to turn out that way.
● You mentioned you were headhunted by SNK. Was it a hard decision to leave Capcom?
Yes, it was very difficult. I was close to a lot of people there -- Mr. Tsujimoto even hosted my wedding, and we had a personal relationship from back when I was at Irem and he was the president there. He left Irem for Capcom and I eventually followed him. But there were some differences in the direction that Capcom was heading and the direction I wanted to go, so there was a bit of a rift when I left to go to SNK.
I'm going on a tangent here, but this is the first time I've talked to the media, including Japanese media, since founding Dimps. Even when I was at Capcom, I never really talked to the media. But Dimps is celebrating its 12th anniversary this year and we're looking to change the direction of the company, so your interview request came at a very good time for us and I'm grateful to be given this opportunity. Since I've never really talked too much to the press, this is the first time I'm sharing these stories with the media.
Street Fighter as his favorite of the company's franchises.
● I should thank you! I was very happy you agreed to meet, since we always hear your name but rarely hear from you directly... So what kinds of things were you disagreeing with Mr. Tsujimoto about at that time?
At the time, Capcom had three development teams: Development Team 1, 2, and 3. Again, this is going to be information that is not very well known. Development Team 1 was led by Mr. Fujiwara, who's known for making Ghosts 'n Goblins. I was the head of Development Team 2, and Mr. Okamoto was the head of Development Team 3 -- he moved on to become Capcom's senior managing director, and eventually left and founded Game Republic.
So there were three unique individuals leading the development studios, and my management style differed from the other two in that rather than being the sole creator of a game, I liked to appoint producers underneath and distribute the various ideas I had and have them flesh out the details. And that's what I wanted to do but wasn't able to at Capcom -- I was constantly put in the role of a producer and it was becoming uncomfortable. In addition, I wasn't getting along with my direct supervisor, so that was another factor for why I left.
● Who was your direct supervisor?
Hmm... Well, he passed away, so I don't want to be insensitive to his family. Though to be completely honest, that was the main reason why I left Capcom.
● Ah I understand. When you say you wanted to work with many producers, is that what you were able to do at SNK?
Yes, exactly. I was able to do everything I wanted at SNK. In that sense, I was able to work in my ideal environment, even more so than here at Dimps.
● OK, so in your SNK days, you're credited with a lot of games. Which did you specifically spend the most time on?
I was the head of development so I was involved with every title. I contributed to the initial concepts for the majority of them, like Fatal Fury, King of Fighters, and Samurai Shodown -- Metal Slug less so. But I was able to manage the development teams the way I wanted. I would discuss a game idea with one of the producers and hand off the development to them while checking in every so often to make sure it was heading in the direction I envisioned.
The first major project I was involved in was actually the Neo-Geo hardware. Until then, and I believe it was the same worldwide as it was in Japan, arcade operators would have to purchase a machine for each game. But Neo-Geo systems used ROM cassettes so, like with consoles, operators could purchase the hardware once and switch cheap ROM cassettes to run different games. I'm the one who proposed this idea at SNK, as well as the idea for the home console version.
The main reason I thought it was a good idea is it was very difficult to sell new arcade games in China, Central America, and South America because of piracy. By creating a hardware system with cheap software, we were able to sell a lot of games even in pirate-heavy markets, and I think that was one of the main factors that led to SNK's success.
● During your time at SNK, how much time did you spend on the business side and how much time was spent on the creative side?
I spent about 80% of my time working on the creative side. I was the executive managing director of the creative department, so most of my time was spent there, but I was also on the board of directors so I was involved with the business side as well.
the interchangeable arcade software, or "Multi-Video System," was his idea.
● OK, so when you came up with a game idea there, how much would you flesh it out before handing it over to the team?
In that sense, the ideas were rather vague. I didn't give specific ideas for the plot or scenario, but I gave ideas for characters and the general storyline -- basically setting the game's mood -- and I would specify general mechanics. I left the rest up to the teams, and I'd check in at various stages to make sure things weren't deviating from the initial idea.
● Which game at SNK are you most proud of?
Hmm... I hope this doesn't get misinterpreted. I still consider myself an active game designer, even though my title is president of Dimps. But I've never made a game that I want to play myself, because I think I have a different kind of outlook.
I try to look at society from a wider, more objective view to figure out what might be popular in the market, rather than deciding based on my own preferences. I've always made decisions based on what I think will be popular amongst the mass market...so it's very complicated. I think it's the difference between art and design.
● OK I'll phrase it a little differently: which game at SNK did you personally spend the most time working on?
[Laughs] I probably spent the most time on the Fatal Fury series. King of Fighters already had characters from other games, so I was able to apply those to a party game. But I think the game I put the most effort into was Fatal Fury -- especially because that was the first game I made after leaving Capcom.
Actually, there's a bit of a story there. Because we released Fatal Fury after Street Fighter II, the public criticized SNK for copying Capcom without knowing that I was the one making Fatal Fury and that we started development before Street Fighter II was released. So I felt a certain objection to that criticism. Now people know, but back then SNK and Capcom didn't get along. There was a big rivalry, especially on the business side.
some of the same people who made Street Fighter were behind it..
● Was it uncomfortable being in the middle of that?
On the development side, we all get along -- even now at Dimps there are people who moved with me from Capcom to SNK. So the companies didn't get along, but the developers remained friends and would go out for dinner and such. The rivalry was at the top, but the teams saw each other more as friendly competition.
● Can you remember pulling any pranks on each other?
[Laughs] There were things like that, but we included them in the games -- we didn't do anything in-person. They were things that only Capcom's team would pick up on, or inside jokes that only the SNK team would notice. Of course, the public wouldn't be able to pick up on most of them, but we put them in as inside jokes.
● Do you remember any examples?
Hmm... They were minute details, so I can't recall anything specific, but I know that things like that were going on at the time. For example, SNK made a character as homage to a Street Fighter character.
● Dan? [Edit: I mixed up SNK and Capcom in Nishiyama's answer above -- my reply here should read "Ryo" from Art of Fighting instead.
[Laughs] Yeah. There are a bunch of stories like that.
● Was it strange for you to eventually see the Capcom vs. SNK crossover games?
Actually, I initiated that. Mr. Okamoto, who I mentioned earlier was the head of Development Team 3, was running Capcom's development at the time. And SNK was struggling financially -- we had built large facilities and were manufacturing original hardware. So I tried to come up with a project that utilized both companies' assets and was a win-win situation.
fallen on hard times with trouble at his company Game Republic.
● Since you mentioned Okamoto... are you aware of what he's said about you in the press in the past?
I've heard that he's mentioned me, but I don't know the specifics.
● Well... In one interview on 1UP, actually, he said you were attracted to men. Yeah, I know. It's weird. He was joking, but some websites reported on it as a fact.
[Laughs] Me? No, no -- I'm straight. He likes to joke around. It's usually hard to tell if he's telling the truth or lying. That's who he is.
● Ah, right. OK well to get back on track -- why did you decide to leave SNK to form what was to become Dimps?
Well, SNK started to lose direction. The company had exploded to the point where there were over 600 people just in development. They made some wrong business decisions and were about to be bought out by Universal Entertainment Corporation, a Japanese slot machine company. As the head of development, I had to take responsibility for the situation and leave. So I submitted a letter of resignation, but when I resigned, I didn't have any plans for what to do next. I just felt I had to leave.
In Dimps' earliest days, Nishiyama had a desk in a corner of the office, and little else in place.
● So, then you created Sokiac?
I didn't have specific plans right away. After I left, various individuals who I will leave anonymous approached me and offered positions at companies in Tokyo. But at the same time, the core SNK development team members also left, assuming I had plans. SNK's headquarters was in Osaka so if I was to take a position in Tokyo, they would all have to move to join me. So by creating a company in Osaka, I didn't have to worry about moving my team and their families.
Then a handful of individuals supported me: Former president of Sammy and current chairman of Sega Sammy Mr. Satomi, former head of Bandai and current chairman of Bandai Namco Games Mr. Sugiura, former SCE president Mr. Kutaragi, and CSK founder Mr. Okawa. We all met in Tokyo and they told me that if I were to make a company, they would help. At the time, we were all competitors. There was talk of Sega and Bandai merging, but that plan fell through, and Sega and Sony were both console manufacturers at the time -- Sega with the Dreamcast and Sony with PlayStation. So they were all competitors but they came together for the industry and to support software development.
● From the outside, that seems pretty unusual. How much does that structure affect your day-to-day work?
Our company name, Dimps, is short for "Digital Multi-Platforms." In other words, we don't limit ourselves -- we want to provide our services to a variety of genres and platforms. That's our company's mission, and that's one of the reasons why we changed the name from Sokiac to Dimps.
Just because Sony releases a new console doesn't necessarily mean that we'll make software for that system. And the same goes for Microsoft, Nintendo, or any other platform. So although we started with a lot of support from different companies, none of them told me that I had to make games for a specific system -- only to make good games that would support the industry as a whole. In that sense, it's a very noble gesture by all parties involved.
● In recent years, Dimps has been known for its work on Street Fighter IV. I was looking through some old notes the other day, and I saw an interview on 1UP with Yoshinori Ono from Capcom where he said you were one of the main reasons that game got off the ground. How did that come about?
Keiji Inafune worked under me when I was at Capcom, and in the old days after Street Fighter III didn't do so well and the fighting game market shrunk, Capcom decided to leave the genre behind. But later he took over the company's development and proposed Street Fighter IV, and I don't think Capcom had people available to form an in-house team to develop it, so Mr. Inafune proposed that they should have Dimps make it, and Capcom approached us with the proposal.
● I think a lot of people are confused about that game, and whether they should think of it as more of a Capcom title or a Dimps title, and as far as I can tell the answer is split down the middle. What's your take there?
Many of our key staff members at Dimps are former Capcom developers, myself included. So we make games for various platforms and work with a variety of companies, but we're most familiar with Capcom's culture. And Capcom has extremely strict quality control.
Mr. Tsukamoto, our director who worked on this title, lost about 10 kilograms during its development, and he's not a particularly big man to begin with -- maybe 60kg or so. Mr. Ono and our development team clashed a lot and it was a very stressful title, especially for Mr. Tsukamoto. But Capcom was the client so he had to try to satisfy them as best he could while trying to motivate Dimps' development team.
As a development studio, we're dependent on three things: The budget, delivery date, and timing. We need to receive a budget and a delivery date from the client and if the timing doesn't fit with the schedule of our other titles, we won't have the manpower to take on the project. So those three things have to come together and Mr. Tsukamoto had a difficult time trying to coordinate that.
However, we were able to improve our quality control by utilizing a new project management system called Scrum while working on Street Fighter IV. We actually gave a seminar at [Japan developer conference] CEDEC this year regarding our experience using Scrum to manage game production. I believe that Capcom's strict quality control pushed us to utilize a more efficient project management system.
In 2000, Dimps rounded up its staff members to pose for this photo.
● So the fact that your company was working on Street Fighter IV -- did it feel like you were coming full circle in your career, back to where you started?
Yeah, especially since Capcom had left the fighting game genre. When they approached us to create SF4 for release on the day of the 20th anniversary of the original Street Fighter, it felt almost like destiny to me.
● Did you put any personal Easter eggs in the game because of that?
No. I left the game's development solely up to the team. I don't get involved in development at Dimps like I did at previous companies. There may be rare instances where I'll say something, but for the most part I don't give input on development these days.
crossover, mixing characters from Nishiyama's past with those of his former competitor.
● Looking back over your career, is there something that you're most proud of?
I'm turning 55 this year, and when I look back on the 30 years I've been working in this industry, I'm proud that I've survived. I've seen the industry change from the arcade days to consumer games and now to social and browser games. It keeps changing. And the fact that I've been able to adapt to the changes means I'm a survivor. It's like Darwin's Theory of Evolution -- only those who adapt best to their environment can survive.
This is one reason why I don't talk to the media, actually. I'm a great admirer of Soichiro Honda, the founder of Honda Motors, who said, "The product doesn't lie." Working in this industry, it's tempting to show off and talk on a grand scale. But development is background work; we work behind the scenes. So I want people to judge the product, and I accept both praise and criticism for it. It's my policy that I let the products speak for themselves while I remain in the background. That's why I've avoided the media. But the fact that I've been able to survive in this difficult industry amongst many people who have come and gone -- that's something that I'm very proud of.
● Since you've gone so long without talking to the press, why did you decide to come out of hiding now? You mentioned Dimps' 12th anniversary before -- is that related?
I still don't feel the need to come forward into the spotlight, but the reason I agreed to this interview was because, first, the Japanese media had given up contacting me since I hadn't spoken to anybody in years, and second, because Dimps needs to change. Dimps is a development studio that takes on projects from clients, but we want to start creating our own intellectual property. We come from working at publishers, so our background is in creating our own IP, and I feel that it's time that we need to create our own social and browser IPs. In order to do that, I felt it was time for me to come forward and announce that to the public.
un sistema online muy adictivo que tuvo muy buena crítica..
● Is your goal to make these specifically for phones and browsers, or are you thinking about consoles, downloadable services, etc.?
Well, console development costs have exploded -- in Japan, it costs over a billion yen to make a console game. And for a studio of our size to create a new IP, there's too much risk to create something of that scale. So we're going to start with things that have more manageable budgets, like social and browser games. I believe that's more realistic.
We're looking at smart phone games first, and if they succeed, we'll release them on other platforms. I'm sure the market for smart phones is growing in the United States as well, but in Japan and the rest of Asia it's growing at a very rapid pace. It's hard to explain, but we're currently working on a social media application that has game-like qualities. It's more like a communication tool. There's a company in Japan that has been very successful and has expanded the market here, and I think this market is going to continue to expand in Japan and other countries in Asia, like China, Indonesia, and Vietnam.
● And you're not talking about the specifics of this product yet, right?
No, we're currently moving in that direction. We need to be careful in our announcement because we are currently working as a development studio that receives projects from publishers. From a publisher's point of view, we're a very convenient work-for-hire company. But as soon as we announce that we're creating original IP, we become their competitor. So we need to approach it carefully and be sensitive to the politics involved. That's why we've waited until now to announce it.
● OK let's finish with a broad question: Where do you see Dimps in 5 to 10 years?
Hmm, I get asked this question a lot. We all make predictions about the future and try to foresee what will happen, but the reality is we're rarely right. I mentioned this earlier but I think the key is to be adaptable to the changes in our environment. Our industry is going to continue to see many changes, both technological and culturally. But Dimps will survive by staying alert to these changes and adapting quickly. We don't want to merely survive, but also be a source of change through the new IPs we create.


text:
Q: Negative lookbehind in regex (Note: not a duplicate of Why can't you use repetition quantifiers in zero-width look behind assertions; see end of post.)
I'm trying to write a grep -P (Perl) regex that matches B, when it is not preceded by A -- regardless of whether there is intervening whitespace.
So, I tried this negative lookbehind, and tested it in regex101.com:
(?<!A)\s*B

This causes "AB" not to be matched, which is good, but "A B" does result in a match, which is not what I want.
I am not exactly sure why this is. It has something to do with the fact that \s* matches the empty string "", and you can say that there are, as such, infinity matches of \s* between A and B. But why does this affect "A B" but not "AB"?
Is the following regex a proper solution, and if so, why exactly does it fix the problem?
(?<![A\s])\s*B

I posted this before and it was incorrectly marked as a duplicate question. The variable-length thing I'm looking for is part of the match, not part of the negative lookbehind itself -- so this quite different from the other question. Yes, I could put the \s* inside the negative lookbehind, but I haven't done so (and doing so is not supported, as the other question explains). Also, I am particularly interested in why the alternate regex I post above works, since I know it works but I'm not exactly sure why. The other question did not help answer that.

A:
But why does this affect "A B" but not "AB"?

Regexes match at a position, which it is helpful to think of as being between characters. In "A B" there is a position (after the space and before the B) where (?<!A) succeeds (because there isn't an A immediately preceding; there's a space instead), and \s*B succeeds (\s* matches the empty string, and B matches B), so the entire pattern succeeds.
In "AB" there is no such position. The only place where \s*B can match (immediately before the B), is also immediately after the A, so (?<!A) cannot succeed. There are no positions that satisfy both, so the pattern as a whole can't succeed.

Is the following regex a proper solution, and if so, why exactly does it fix the problem?
(?<![A\s])\s*B

This works because (?<![A\s]) will not succeed immediately after an A or after a space. So now the lookbehind forbids any match position that has spaces before it. If there are any spaces before the B, they have to be consumed by the \s* portion of the pattern, and the match position must be before them. If that position also doesn't have an A before it, the lookbehind can succeed and the pattern as a whole can match.
This is a trick that's made possible by the fact that \s is a fixed-width pattern that matches at every position inside of a non-empty \s* match. It can't be extended to the general case of any pattern between the (non-)A and the B.

redpajama_set_name: RedPajamaStackExchange


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If you're experiencing any problems with your lock, it's better not to risk your safety and the safety of your property. Simple rekeying or lock replacement can solve all of your lock issues in the blink of an eye, but how do you know which one you need? Here's a guide that will clear your doubts.


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Every day we find ourselves surrounded by the supernatural. There are wonders to behold, glory to discover and miracles everywhere. We just don't know how to see them.
This little playground on the web is where I want to share some of these crazy, astonishing stories of where an ordinary believer intersects with the God of the universe. I have many stories to tell of His faithfulness and my encounters.
I'm a bit older now and reflecting on my past, I clearly understand where, when and how the hand of God covered me. Stories of delight, deliverance, warfare and miracles. Soon I'm sharing a story of which I'm certain God saved me as a small child when I was drowning in a public pool. Amazing….. Stay tuned.
But right now, and mostly for me, I want to share my balloons. Many of my friends and readers at SUM know about these balloons. But it's a story I need to write out for me.
But here are a few more and what the message was in the season and circumstances I found myself at the time.
This balloon arrived one morning while on a walk-n-pray. I had been through a long season, six months, of illnesses, colds, sniffles, laryngitis over and over, flu.... the works. One morning after a prolonged illness that left me on the couch for two weeks I finally was able to go on a morning walk. Not too long into my walk I spied this balloon floating two feet above the ground. It was waiting for me. When I walked over to it I said out loud, "O Lord, I've missed you."
Immediately He replied right back, "NO! I've missed you." I broke down in snotty sobs *grin* as my heart was filled with His unconditional love. To think that our Papa, God loves us and missed us when we don't pray or are too sick to walk with Him and that He cares when we are ill. It is ..... A holy mind-blow. This was a powerful and holy experience I treasure in my heart.
I will often receive balloons before and/or following a major speaking event. Recently I spoke at my local church on a Sunday morning. I shared with the congregation several of my balloon stories and wouldn't you know it, just to show off a bit. The next day, Monday, bright and early while on my walk-n-pray, I spy a shinny balloon on the dirt. I walk toward it and clearly see it's a baseball.
I say to the Lord, "Baseball??? Lord, Baseball? Why a baseball?" I puzzle.
Then all of a sudden, I hear Him reply to me, in what I can only describe as a tone with a bit of mischief, "Look closer."
Good grief! I look closer and I see a very large "A" and a halo.... I immediately hear again, "Angels are all around!"
I giggled like a little girl and just knew that they were!
I have more stories likes these to come. I wonder, do you hear the Lord speak? Do you want to?


text:
package com.hss01248.net.volley;

/**
 * Created by Administrator on 2016/9/4.
 */
public class MyBaseStringRequest  {//extends Request<String>
   /* protected Map<String,String> mMap;

    private Response.Listener<String> mListener;

    public MyBaseStringRequest(int method, String url, Response.ErrorListener listener) {
        super(method, url, listener);
    }

    public MyBaseStringRequest(int method, String url, Priority priority, Response.Listener<String> successListener,
                               Response.ErrorListener listener, RetryPolicy retryPolicy, Map map) {
        super(method, url, priority, listener, retryPolicy);

        mListener = successListener;
        mMap = map;
        setParams(mMap);

    }

    @Override
    protected Response<String> parseNetworkResponse(NetworkResponse response) {
        String parsed;
        try {
            parsed = new String(response.data, HttpHeaderParser.parseCharset(response.headers));
        } catch (UnsupportedEncodingException e) {
            parsed = new String(response.data);
        }
        reSetCacheControl(response);
        Log.e("data","parseNetworkResponse:"+parsed);
        return Response.success(parsed, HttpHeaderParser.parseCacheHeaders(response));
    }

    @Override
    public void setParams(Map<String, String> params) {
        super.setParams(params);
    }

    @Override
    protected Map<String, String> getParams() throws AuthFailureError {
        return super.getParams();
    }

    @Override
    protected void deliverResponse(String response) {
        Log.e("deliverResponse","deliverResponse:"+response);
        if (mListener != null)
        mListener.onResponse(response);
    }

    public void setRequestHeadCacheTime(int timeInSecond){
        try {
            getHeaders().put("Cache-Control","max-age="+timeInSecond);
        } catch (AuthFailureError authFailureError) {
            authFailureError.printStackTrace();
        }

    }

    //todo 用依赖注入改写

    long cacheMaxAge;//毫秒

    public boolean isFromCache = false;
    public int cacheHitCount = 0;

    @Override  //怎么判断是从缓存中取的还是从网络上取的?
    public void addMarker(String tagForCancle) {
        super.addMarker(tagForCancle);
        if ("cache-hit".equals(tagForCancle)){
            cacheHitCount++;
        }else if ("cache-hit-parsed".equals(tagForCancle)){
            cacheHitCount++;
        }

        if (cacheHitCount == 2){
            isFromCache = true;
        }
    }

    private void reSetCacheControl(NetworkResponse response) {
        this.setShouldCache(true);//重置cache开关
        if (!isFromCache){
            Map<String, String> headers = response.headers;
            headers.put("Cache-Control","max-age="+cacheMaxAge);
        }

    }

    *//**
     * 缓存key的生成规则:url+body
     * @return
     *//*
    @Override
    public String getCacheKey() {
        String bodyStr = "";
        try {

            byte[]   body = getBody();
            bodyStr = new String(body,"UTF-8");
        } catch (AuthFailureError authFailureError) {
            authFailureError.printStackTrace();
        } catch (UnsupportedEncodingException e) {
            e.printStackTrace();
        }

        if (bodyStr != null){
            return super.getCacheKey()+bodyStr;
        }else {
            return super.getCacheKey();
        }

    }*/
}

redpajama_set_name: RedPajamaGithub


It's official: Justin Bieber is finally legal and celebrated just how we expected him to. The newly 21 J.Biebs was shirtless, popped champagne and shared plenty of bad selfies while broadcasting his birthday shenanigans on social media for all of the world to see.
Justin Bieber back when he was 20.
Justin started preparing for his birthday early, tweeting a few hours before, "Almost 21…." and later tweeted a variety of tweets confessing how 'grateful' he was to be '#21'.
Despite cozying up with both Hailey and Yovanna, Selena Gomez was no where to be found.


text:
Robots Learn How to Play Catch With Soulless, Mechanical Precision
By McKinley Noble
Last year, the Institute of Robotics and Mechatronics at the German Aerospace Center created the "Rollin' Justin" robot, a technical marvel that could catch a ball through a mix of precision, user input, and motion sensors. It proved to be a success, but there's only so much research you can do with a single-function robot. Enter "Agile Justin," the counterpart machine that can pitch a ball with a great deal of finesse.
Huffington Post relayed video footage of the two robots in action, as each unit showed off their respective skills in a short game of catch. It's a neat thing to watch in terms of mechanical detail, especially when you consider that each robot has to mimic the hand-to-eye coordination required for a seemingly simple thing. Researcher Berthold Baumi breaks it down in more technical detail in his write-up of the team's "Justin" programs.
Overall, it's pretty impressive to see in motion. Luckily, Justin and Justin aren't equipped with any degree of artificial intelligence, because they could easily be throwing lethal objects through the air at unsuspecting humans. (Hey, it could happen.)
Headmounted HD stereocameras track the thrown balls. The rapid catching motion introduces vibrations to the system, which the control can not cancel completely. Therefore, a supporting inertial measurement unit is used for predicting the ball's trajectory.
During the flight the predictions continuously improve and a realtime path planner decides where, when, and in which configuration to kinematically optimal catch the ball. For this, a non- linear optimization problem (including simple collision avoidance) is repeatedly solved on an external computing cluster (32 cores).
Either way, it seems like the next logical step will be a third "Justin" robot that can pitch and catch a ball in one fluid motion. It's all about baby steps, though. Maybe one day, all the different robotics teams out there will figure out how to make a fully functional multi-use humanoid machine that can play a full game of baseball.
[Huffington Post; Image via Hizook]
McKinley Noble is a former GamePro staff editor, current technology nerd and eternal mixed martial arts enthusiast. He also likes Japanese sports dramas and soap operas. Follow him on Twitter or just Google his name.
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