Oh please. WTF difference does it make how well they're educated or what income they have or what age they'll die at. I'm dating the person, not trying to find a prospective Senator. You must be a swell guy at parties.
Nah, instead I'm going to take out a cigarette, break off the filter, light up that sweet tobacco, and put on some Denis Leary MP3's.
Listen up: We all know it smells bad/is messy/kills you/annoys others. We don't give a fuck. If you have such a strong objection to your friends smoking GET NEW FRIENDS. If any of my friends ever gave me a speech like that I'd send him home with an ashtray up the ass.
>Smoking may cause cancer by the time you are 33, but long before that you'll be a social leper.
No, not really. In fact I find I meet far more people who also smoke. Co-workers outside your building grabbing a butt together. People asking you for a cig/light and striking up a conversation. Hell, even non-smokers join the smokers just to get out of the office for a few minutes. In bars, cigarettes are a close second to drinks for conversational starters.
n games, reality can seem beside the point. Carved boards, decorated cards, dotted cubes and colored pebbles become instruments of war. The fate of a bouncing spheroid determines one's fortunes. The more artificial an object is, the more arbitrary the restrictions are on its movements, the simpler the rules governing the play, the more powerful a game seems to become. A game establishes its own world.
Yet over the last two decades, the evolution of video games has involved a quest for the opposite. One of the major goals of video game systems has been to simulate the real, to create images so lifelike, and movements so natural that there is no sense of artifice. There really is a haunted house being explored, a football team arrayed on a field, a car racing at 150 miles an hour through a city street. In the early years of arcade games, invaders from space were squiggly white doodles arranged in rows, threatening a player with oblivion. Now they can speak, gush green blood and wield advanced weaponry.
During the last year or so technological realism has claimed its greatest triumph yet, as three major game systems made their debuts. Lives there an 8 to 18-year-old -- or an adult guiltily aspiring to that state of mind -- who has not yet heard about the technological accomplishments of Sony's PlayStation 2, Microsoft's Xbox and Nintendo's GameCube? Elaborate textures and sounds make earlier games seem like playthings. The humble controller that once maneuvered a diminutive and plump plumber named Mario across a television screen, allowing him to jump, bop and run, has now been pumped up like Lara Croft's bodice; the bloated Xbox controller has eight buttons, two triggers, three toggling switches and untapped possibilities. And the promise and threat of these systems caused sales of video game systems and games to jump 42 percent last year to $9.4 billion.
Now, as if sensing the power boost, the Rochester Institute of Technology has started the first master's program in computer game design. Carnegie Mellon University has an Entertainment Technology Center teaching game development techniques. Histories of the video game have also been accumulating, mixing serious analysis with fans' passions.
Yet something odd has taken place along with technological progress. Technology is not altogether welcomed by the games themselves. One of the new games for Xbox, "Dead or Alive 3" is a martial arts game in which processors give sheen to muscles and flesh and simulate icicles or marble, but the world itself is premodern and the combat hand to hand. In "Oddworld: Munch's Oddysee," also for Xbox, an endangered species is being rescued and medieval machines abound; power is won through communal chant.
One of Nintendo's major offerings, "Pikmin," actually discards technology from the start: a spaceship crashes. It can be rebuilt only with the help of pixyish creatures known as Pikmin; the crucial technology in "Luigi's Mansion" is a vacuum cleaner strapped to Luigi's back that can suck up ghosts in a haunted house. The ante- and anti-technological content of these games provides a peculiar counterpoint to the boasts of technological advancement made by the game systems.
There are, of course, games in which technology is required and complexity is part of the point. The daunting model is still Microsoft's "Flight Simulator 2002" for the PC, in which the challenge of learning to fly a plane may be matched by the challenge of learning to control a plane using a computer keyboard. But in many video games, the technology is put in service to creating a world that could do very well without it and doesn't exactly welcome technology to begin with.
This sentiment is often accompanied by nostalgia and affection for more "primitive," earlier-generation games. "The Ultimate History of Video Games," by Steven L. Kent (Prima Publishing, 2001) lovingly chronicles the pioneers and corporate battles behind the classics. And last year M.I.T. Press published a lavishly illustrated coffee-table tribute to arcade video, "Supercade," by Van Burnham and Ralph H. Baer. One of Nintendo's latest games, "Super Smash Brothers Melee," even gathers Nintendo's classic game characters, ranging from Mario and Pikachu to Zelda and Donkey Kong, for a reunion; in a meta-Nintendo joke, they all slug it out for the championship.
There may be, in fact, a tension in the video game universe: technological powers are courted for their possibilities and resisted for their fetishistic demands. Technology's greatest achievement may be in the improvements in racing games, shooting games and fighting games. There, the simulation of realism is most important because the very point of the games is to create a physical sensation, an anxiety, punctuated by shocks and cries. An advertisement for a game called "Mike Tyson Heavyweight Boxing" boasted about the game's sophisticated "facial damage engine," calling it "brutal beyond belief."
This is what arcade culture was about. The dark booth-stuffed arcade was, by tradition, a forbidding, seductive place. It was a world in which carnival-barker voices might boom from cubicles, while from others, surrounded by teenage voyeurs, would come screeching tires or grunts. Quick death at the console, fast quarters in the slots, territorial claims on booths -- the arcade was a dream world of preadult fantasy.
Originally, home video systems couldn't satisfy the technological demands of these games, let alone simulate an arcade atmosphere. Now their increasing muscular power may make the atmosphere unnecessary. But the real foundation of the home video game came from another sort of arcade game whose images spurred less angst and spurted less blood, games like Pac-Man or Donkey Kong, with their pleasing blurps, amusing images and teasing difficulties.
Indeed, the great achievement of Nintendo's game designer, Shigeru Miyamoto, was to create an entirely new genre based on his "Mario" games in which the thrill of the arcade was domesticated. The ambition of realism was put aside; instead the intention was to create an elaborate world with its own regulations and peculiarities that the player would probe, gradually discovering its secrets. These fantastical worlds of labyrinths, puzzles and confrontations tapped into the classic strength of games as abstract worlds of arbitrary rules.
These are the two poles of the video game, still evident in the latest systems. But however different in character, the games share important preoccupations. The classic board game or card game begins with the rules; then comes the play. In video games the play begins and only gradually do the rules emerge. Finding the rules is part of the game.
What powers do they provide and what do they forbid? Can those rules be violated at all? And is everything revealed or can something be found by testing those limits? The spirit of violation is built into the video game; so is a demand for submission.
In this struggle, technology is an emblem of both the game's limits and its promises; it helps determine what can and cannot be done. And game designers -- like game players -- keep exploring those boundaries. But through every gaming generation, no matter what the technology, the player is still the classic adolescent: at once uncertain and arrogant, proud and disgusted, resenting the demands being made and, finally, cherishing the ability to master them.
Cydoor transmits advertising metrics (ad displays, clicks, etc.) and uses cookies just as advertising.com, doubleclick.com and all online ad agencies do. And if you delete it, then Grokster will cease to function properly. ---
Does this mean that if you delete Cydoor it will fail to open ads or Grokster will not let you get files?
Nah, I'll leave it running. I'd venture to say that it'll take me about a day or two to find a buffer overflow in either the client or server code. I'll submit it to Bugtraq, let a malicious hax0r write the worm, then head to the john and urinate on their stock.
But it is unintentional if Sony publicly states that their product will in no way HARM a CD-ROM/Computer/Flash/etc and it does. Crashing a computer means damages.
You're equating US dollars and Australian dollars. Your post should read:
---
According to the article it costs $3.50 to make a copy.....($2.50 for the burn and $1 for the blank, I assume you can't bring your own). If the record companies would sell their "music" or other products for that price, instead of $16.95 for a new CD, maybe it would not be an issue......Maybe instead of wasting money developing anti copy techniques that just make everyone angry, they should sell their "products" for a reasonable amount......
---
Though it only probably costs a dime to make the CD, you still have to compensate the stores, the producers, the artists, etc. etc. IMO $3.50 is a bit lowball. I think a fair price for a CD, considering that they're far easier to produce than tapes (which are less expensive in the store) would be $10.00 USD.
Maybe in single player mode, but wtf plays fighting games for that? I can assure you, as a Soul Calibur fanatic, that mashing will get you no where against someone with even moderate experience.
BZZZT. As I stated in an above post many vegetables have fat (and thus cholesterol). Ever cook with Olive Oil? Ever eat an avocado? From an above poster:
Nutritional Value: Florida avocados are lower in calories and fat than other varieties and are rich in vitamin A and potassium. However, avocados are one of the highest sources of fat (unsaturated) in the fruit and vegetable group. One-fourth of a Florida avocado (approx. lb) contains: 85 calories, 6.8 gm fat, 1.3 gm saturated fat, 1,2 fm protein, 6.8 gm carbohydrate, 371 mg potassium 1.6 gm fiber, 465 IU vitamin A. An interesting nutritional value comparison of Florida and California avocados showed for 3.5 oz of each: calories - FL avocado 112 calories, CA avocado 177 calories; fat grams FL avocado 8.87 gm, CA avocado 17.3 gm. Other nutrients were of similar value between the two.
but over time the bugs will be found by the thousands of people who are looking at the code every week. Meanwhile Windows will continue to have a steady stream of bugs that will never begin to taper off.
The amount of code that is being generated by Microsoft is much greater than the amount of lines Windows hackers can disassemble. Therefore the number of bugs is growing, but the number discovered is staying the same. IMO, I have written exploits and done disassembly for both Linux/BSD/Opensource and Solaris/Microsoft/ClosedSource and naturally it takes TONS more time to look over your average daemon in the latter. There are more holes, but they're more difficult to find. Eventually they will be found and the disparity will become more clear.
Bah. Linux would outscore MS by hundreds, but only because Linux distributions come with THOUSANDS more programs than Windows. Most of the bugs you find for Linux fall into 2 categories:
1. Local root/elevation holes for packages like SpaceCommander.03 Beta which require SUID privs for graphics libraries.
2. Daemons which Linux offers you for free, but would cost you hundreds on Windows, and are just as buggy.
If we're going to compare Windows to Linux in this way we have to set up two boxes that offer the exact same services and local user functionality.
Uhm, since this is a *closed source* application the only ways to test are by disassembly and throwing correctly formatted packets at the client. This requires you to know the protocol that the client application is using.
Dude, you're out of your mind if you think that introducing a bug that will get past QA isn't possible. When all the engineers at Microsoft can't take the strcpy()'s and sprintf()'s out of IIS, you think they're really gonna notice an off-by-one buffer overflow in a nested while{}?
Look people, it's not as though this guy has to do IF USER = BLADEN THEN GIVEADMINACCESS(), he simply has to change a buffer size to a few bytes smaller or something similar. Particularly in things like IIS it would be really easy to introduce a hole that it would take ages for competant MS auditors to find, much less the asm hackers on the scene.
let us not forget that Tolkien hated allegory in all its forms. He has repeated stated that while inspiration comes in many forms, he never meant LoTR to parallel the bible, nuclear arms race, or any of the dozens of theories that people with degrees love to speculate on.
Slashdot Mirror
Oh please. WTF difference does it make how well they're educated or what income they have or what age they'll die at. I'm dating the person, not trying to find a prospective Senator. You must be a swell guy at parties.
Nah, instead I'm going to take out a cigarette, break off the filter, light up that sweet tobacco, and put on some Denis Leary MP3's.
Listen up: We all know it smells bad/is messy/kills you/annoys others. We don't give a fuck. If you have such a strong objection to your friends smoking GET NEW FRIENDS. If any of my friends ever gave me a speech like that I'd send him home with an ashtray up the ass.
>Smoking may cause cancer by the time you are 33, but long before that you'll be a social leper.
No, not really. In fact I find I meet far more people who also smoke. Co-workers outside your building grabbing a butt together. People asking you for a cig/light and striking up a conversation. Hell, even non-smokers join the smokers just to get out of the office for a few minutes. In bars, cigarettes are a close second to drinks for conversational starters.
In conclusion, fuck off.
Personally, I hate dating non-smokers since I smoke. An ex of mine used to be the same way, so I'm not too worried about it.
oh please.. when I posted it there were numerous "someone please post the text" topics and no one had done it yet.
Anyone who gives a damn about Karma is a fuckwit, I was trying to save people some aggravation.
April 6, 2002
Realism May Be Taking the Fun Out of Games
By EDWARD ROTHSTEIN
n games, reality can seem beside the point. Carved boards, decorated cards, dotted cubes and colored pebbles become instruments of war. The fate of a bouncing spheroid determines one's fortunes. The more artificial an object is, the more arbitrary the restrictions are on its movements, the simpler the rules governing the play, the more powerful a game seems to become. A game establishes its own world.
Yet over the last two decades, the evolution of video games has involved a quest for the opposite. One of the major goals of video game systems has been to simulate the real, to create images so lifelike, and movements so natural that there is no sense of artifice. There really is a haunted house being explored, a football team arrayed on a field, a car racing at 150 miles an hour through a city street. In the early years of arcade games, invaders from space were squiggly white doodles arranged in rows, threatening a player with oblivion. Now they can speak, gush green blood and wield advanced weaponry.
During the last year or so technological realism has claimed its greatest triumph yet, as three major game systems made their debuts. Lives there an 8 to 18-year-old -- or an adult guiltily aspiring to that state of mind -- who has not yet heard about the technological accomplishments of Sony's PlayStation 2, Microsoft's Xbox and Nintendo's GameCube? Elaborate textures and sounds make earlier games seem like playthings. The humble controller that once maneuvered a diminutive and plump plumber named Mario across a television screen, allowing him to jump, bop and run, has now been pumped up like Lara Croft's bodice; the bloated Xbox controller has eight buttons, two triggers, three toggling switches and untapped possibilities. And the promise and threat of these systems caused sales of video game systems and games to jump 42 percent last year to $9.4 billion.
Now, as if sensing the power boost, the Rochester Institute of Technology has started the first master's program in computer game design. Carnegie Mellon University has an Entertainment Technology Center teaching game development techniques. Histories of the video game have also been accumulating, mixing serious analysis with fans' passions.
Yet something odd has taken place along with technological progress. Technology is not altogether welcomed by the games themselves. One of the new games for Xbox, "Dead or Alive 3" is a martial arts game in which processors give sheen to muscles and flesh and simulate icicles or marble, but the world itself is premodern and the combat hand to hand. In "Oddworld: Munch's Oddysee," also for Xbox, an endangered species is being rescued and medieval machines abound; power is won through communal chant.
One of Nintendo's major offerings, "Pikmin," actually discards technology from the start: a spaceship crashes. It can be rebuilt only with the help of pixyish creatures known as Pikmin; the crucial technology in "Luigi's Mansion" is a vacuum cleaner strapped to Luigi's back that can suck up ghosts in a haunted house. The ante- and anti-technological content of these games provides a peculiar counterpoint to the boasts of technological advancement made by the game systems.
There are, of course, games in which technology is required and complexity is part of the point. The daunting model is still Microsoft's "Flight Simulator 2002" for the PC, in which the challenge of learning to fly a plane may be matched by the challenge of learning to control a plane using a computer keyboard. But in many video games, the technology is put in service to creating a world that could do very well without it and doesn't exactly welcome technology to begin with.
This sentiment is often accompanied by nostalgia and affection for more "primitive," earlier-generation games. "The Ultimate History of Video Games," by Steven L. Kent (Prima Publishing, 2001) lovingly chronicles the pioneers and corporate battles behind the classics. And last year M.I.T. Press published a lavishly illustrated coffee-table tribute to arcade video, "Supercade," by Van Burnham and Ralph H. Baer. One of Nintendo's latest games, "Super Smash Brothers Melee," even gathers Nintendo's classic game characters, ranging from Mario and Pikachu to Zelda and Donkey Kong, for a reunion; in a meta-Nintendo joke, they all slug it out for the championship.
There may be, in fact, a tension in the video game universe: technological powers are courted for their possibilities and resisted for their fetishistic demands. Technology's greatest achievement may be in the improvements in racing games, shooting games and fighting games. There, the simulation of realism is most important because the very point of the games is to create a physical sensation, an anxiety, punctuated by shocks and cries. An advertisement for a game called "Mike Tyson Heavyweight Boxing" boasted about the game's sophisticated "facial damage engine," calling it "brutal beyond belief."
This is what arcade culture was about. The dark booth-stuffed arcade was, by tradition, a forbidding, seductive place. It was a world in which carnival-barker voices might boom from cubicles, while from others, surrounded by teenage voyeurs, would come screeching tires or grunts. Quick death at the console, fast quarters in the slots, territorial claims on booths -- the arcade was a dream world of preadult fantasy.
Originally, home video systems couldn't satisfy the technological demands of these games, let alone simulate an arcade atmosphere. Now their increasing muscular power may make the atmosphere unnecessary. But the real foundation of the home video game came from another sort of arcade game whose images spurred less angst and spurted less blood, games like Pac-Man or Donkey Kong, with their pleasing blurps, amusing images and teasing difficulties.
Indeed, the great achievement of Nintendo's game designer, Shigeru Miyamoto, was to create an entirely new genre based on his "Mario" games in which the thrill of the arcade was domesticated. The ambition of realism was put aside; instead the intention was to create an elaborate world with its own regulations and peculiarities that the player would probe, gradually discovering its secrets. These fantastical worlds of labyrinths, puzzles and confrontations tapped into the classic strength of games as abstract worlds of arbitrary rules.
These are the two poles of the video game, still evident in the latest systems. But however different in character, the games share important preoccupations. The classic board game or card game begins with the rules; then comes the play. In video games the play begins and only gradually do the rules emerge. Finding the rules is part of the game.
What powers do they provide and what do they forbid? Can those rules be violated at all? And is everything revealed or can something be found by testing those limits? The spirit of violation is built into the video game; so is a demand for submission.
In this struggle, technology is an emblem of both the game's limits and its promises; it helps determine what can and cannot be done. And game designers -- like game players -- keep exploring those boundaries. But through every gaming generation, no matter what the technology, the player is still the classic adolescent: at once uncertain and arrogant, proud and disgusted, resenting the demands being made and, finally, cherishing the ability to master them.
Or we could just spend 8 hours finding a buffer overflow in Brilliant's Distributed Kazaa software and do it that way.
Ugh. From the website:
---
Ok, so practically what does it do?
Cydoor transmits advertising metrics (ad displays, clicks, etc.) and uses cookies just as advertising.com, doubleclick.com and all online ad agencies do. And if you delete it, then Grokster will cease to function properly.
---
Does this mean that if you delete Cydoor it will fail to open ads or Grokster will not let you get files?
I searched the topics down to 1 and can't find a definitive answer.
Nah, I'll leave it running. I'd venture to say that it'll take me about a day or two to find a buffer overflow in either the client or server code. I'll submit it to Bugtraq, let a malicious hax0r write the worm, then head to the john and urinate on their stock.
But it is unintentional if Sony publicly states that their product will in no way HARM a CD-ROM/Computer/Flash/etc and it does. Crashing a computer means damages.
Woah there, oxygen thief. How come I can buy the tape of the latest Backstreet Boys album for $5 less than the CD?
You're equating US dollars and Australian dollars. Your post should read:
---
According to the article it costs $3.50 to make a copy.....($2.50 for the burn and $1 for the blank, I assume you can't bring your own). If the record companies would sell their "music" or other products for that price, instead of $16.95 for a new CD, maybe it would not be an issue......Maybe instead of wasting money developing anti copy techniques that just make everyone angry, they should sell their "products" for a reasonable amount......
---
Though it only probably costs a dime to make the CD, you still have to compensate the stores, the producers, the artists, etc. etc. IMO $3.50 is a bit lowball. I think a fair price for a CD, considering that they're far easier to produce than tapes (which are less expensive in the store) would be $10.00 USD.
How bout on a park bench or out on the Corporate Veranda?
I work at home and I'd love to be able to get a couple hundred k/s on my deck.
Difficult is the flying noses in Kid Icarus.
Difficult is being naked in Ghosts and Fucking Goblins.
Difficult is DODGING THREE MISSLES FROM A SUBMARINE IN "TOP GUN" LEVEL 4 THEN HAVING TO REFUEL *AND THEN LAND*
Ugh. They were fun for about 1 afternoon before you got so frustrated that you burned them in effigy and went back to playing Kung Fu.
>...and the gameplay was total button-mashing.
Maybe in single player mode, but wtf plays fighting games for that? I can assure you, as a Soul Calibur fanatic, that mashing will get you no where against someone with even moderate experience.
Difficult is the flying noses in Kid Icarus.
Difficult is being naked in Ghosts and Fucking Goblins.
Difficult is DODGING THREE MISSLES FROM A SUBMARINE IN "TOP GUN" LEVEL 4 THEN HAVING TO REFUEL *AND THEN LAND*
BZZZT. As I stated in an above post many vegetables have fat (and thus cholesterol). Ever cook with Olive Oil? Ever eat an avocado? From an above poster:
Nutritional Value: Florida avocados are lower in calories and fat than other varieties and are rich in vitamin A and potassium. However, avocados are one of the highest sources of fat (unsaturated) in the fruit and vegetable group. One-fourth of a Florida avocado (approx. lb) contains: 85 calories, 6.8 gm fat, 1.3 gm saturated fat, 1,2 fm protein, 6.8 gm carbohydrate, 371 mg potassium 1.6 gm fiber, 465 IU vitamin A. An interesting nutritional value comparison of Florida and California avocados showed for 3.5 oz of each: calories - FL avocado 112 calories, CA avocado 177 calories; fat grams FL avocado 8.87 gm, CA avocado 17.3 gm. Other nutrients were of similar value between the two.
Really? Funny how they can make things like corn oil and olive oil.
but over time the bugs will be found by the thousands of people who are looking at the code every week. Meanwhile Windows will continue to have a steady stream of bugs that will never begin to taper off.
The amount of code that is being generated by Microsoft is much greater than the amount of lines Windows hackers can disassemble. Therefore the number of bugs is growing, but the number discovered is staying the same. IMO, I have written exploits and done disassembly for both Linux/BSD/Opensource and Solaris/Microsoft/ClosedSource and naturally it takes TONS more time to look over your average daemon in the latter. There are more holes, but they're more difficult to find. Eventually they will be found and the disparity will become more clear.
Bah. Linux would outscore MS by hundreds, but only because Linux distributions come with THOUSANDS more programs than Windows. Most of the bugs you find for Linux fall into 2 categories:
.03 Beta which require SUID privs for graphics libraries.
1. Local root/elevation holes for packages like SpaceCommander
2. Daemons which Linux offers you for free, but would cost you hundreds on Windows, and are just as buggy.
If we're going to compare Windows to Linux in this way we have to set up two boxes that offer the exact same services and local user functionality.
Uhm, since this is a *closed source* application the only ways to test are by disassembly and throwing correctly formatted packets at the client. This requires you to know the protocol that the client application is using.
Since we all know the holes won't stop here, anyone who wishes to further investigate problems can start their research here and here.
Dude, you're out of your mind if you think that introducing a bug that will get past QA isn't possible. When all the engineers at Microsoft can't take the strcpy()'s and sprintf()'s out of IIS, you think they're really gonna notice an off-by-one buffer overflow in a nested while{}?
Look people, it's not as though this guy has to do IF USER = BLADEN THEN GIVEADMINACCESS(), he simply has to change a buffer size to a few bytes smaller or something similar. Particularly in things like IIS it would be really easy to introduce a hole that it would take ages for competant MS auditors to find, much less the asm hackers on the scene.
is the suprising revelation that there are more children with autism or that programmers are having children?
let us not forget that Tolkien hated allegory in all its forms. He has repeated stated that while inspiration comes in many forms, he never meant LoTR to parallel the bible, nuclear arms race, or any of the dozens of theories that people with degrees love to speculate on.