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Wednesday, November 30, 2016

斯诺登完整高清電影


【斯诺登完整高清電影】
完整影片点击链接后请点击 "立刻前往"
Part A: http://boo.tw/nvLkA
Part B: http://boo.tw/_ALAZ
Part C: http://boo.tw/-jMUu
备用影片下载链接:http://boo.tw/VV68O  点击链接后请点击 "立刻前往"
记得收藏我们的blog,电影无限看!

Part A


Part B


Part C



备用影片

Tuesday, November 29, 2016

CHILDREN OF THE DAMNED

Anton M. Leader, 1964
Starring: Ian Hendry, Alan Badel, Barbara Ferris

A psychologist, Tom (Ian Hendry), and a scientist, David (Alan Badel), are working together on a study examining childhood development. They are fascinated when they come across the case of a young boy, Paul (Clive Powell), with remarkable mental powers and a very strange personality. They track down his mother (Sheila Allen), who ultimately reveals that the child forces her to do things, perhaps telepathically, and that she can’t stand to be around him because she was a virgin when he was conceived. Though they are reluctant to believe her story, they soon realize there are five other children from across the globe — countries like China, India, and the Soviet Union — who exhibit similar powers and soon run away from their respective embassies and gather together in an abandoned church in London. As government officials and British Intelligence close in, Tom and David attempt to prevent ultimate destruction.

This sequel to Village of the Damned is less of a direct follow up and more a film that happens to be set in the same universe. There are the requisite parallels, namely the fact that the children were all the result of virgin births from human mothers, they have a superior intellect, share knowledge, and are apparently telepathic. Where they different from the children in the first film is that, for starters, they don’t look alike: instead they represent a range of nationalities. They also seem to be more human than alien — some cockamamie explanation about blended DNA is given — and here they are clearly meant to be sympathetic. It’s actually the film’s saving grace; they recognize that they have no place on the earth and, once their true natures are revealed, will drive humans to desperate acts of fear-based violence despite their efforts to remain in obscurity.

This is also more overtly a Cold War-themed film, though its League of Nations approach to the second half of the plot hasn’t aged particularly well. It’s amusing to think of this set up in comparison to the last fifty years of cinema and television; somehow the British military (and intelligence service) have spearheaded a mission to kidnap or destroy the children that involves a number of embassies and diplomats, but is basically run by two scientists who just barge on the scene and do whatever they want (especially Ian Hendry’s Tom, though he’s known for this sort of arrogant kind of character, so either I’m just used to seeing him in a role like this or it really is plausible). There is an effectively moment when orders become confused and the different British regiments are basically firing on themselves, but overall it feels a bit ridiculous.

There are some eerie Quatermass and the Pit-like moments — particularly a scene where a child is killed and later raised from the dead — but overall the film beats you over the head with its anti-war/anti-nuclear terror message. The instances of the children forcing adults to become violent are a bit more ridiculous in this second film and I think someone was asleep at the wheel with those sequences, though part of the problem is that they don’t really seem to fit in with the film’s underlying thesis that the children aren’t inherently violent or dangerous, but will protect themselves when necessary. There is, however, a grisly sequence when British officials (it seems like a mix of military and intelligence) arrive to kidnap the children — who are newly arrived at the abandoned church — and they force the men to brutally murder each other.

Despite effective sequences like that one, there is a lot that patently doesn’t make any sense. Where Village of the Damned introduced some interesting religious themes, only to throw them away by the second half, Children of the Damned does something similar with its central location of the abandoned church; the children use parts of the structure to build an insane mega-weapon to defend themselves. If they’re so smart, surely they could have constructed something a little simpler and more innocuous? When the government officials realize they could use the children’s device — and the children themselves — as powerful weapons, they change their tune and immediately roll out every excuse from patriotism to common sense to try to get the scientists to convince the children to come on board. And while the first film has an admittedly downbeat ending, this one attempts to be more tragic in tone and winds up being a bit too sentimental and moralistic for my taste. Mild spoilers: the film more or less ends with someone postulating that the children are not alien at all, but advanced humans who have arrived before their time.


I don’t know that I can really recommend Children of the Damned, though it is an interesting film and it’s worth tracking down if you like atomic horror, British sci-fi, or weird children’s movies. It’s available on DVD as a double feature with Village of the Damned. Though I do have to admit that Losey’s These are the Damned is still my favorite “evil alien/atomic children” film — and perhaps you should make a triple feature out of these three — but hey, it’s Joseph Losey. Nothing against Village of the Damned’s director, Wolf Rilla, or Anton M. Leader, but come on now. Joseph Losey.

Monday, November 28, 2016

Instant Pot pressure cookers on deep sale today

I've written twice before about the Instant Pot, an electronic pressure cooker that helps make healthy food in a time-efficient manner (1, 2).  At some point, I'll write another review of my Instant Pot, but the gist is that it still works flawlessly and looks sharp after more than four years of frequent use.  Here are a few of the reasons why I like it so much:
  • It increases my efficiency in the kitchen, especially with beans, beets, artichokes, and bone broth.  It's automatic, so you can do something else while it works.
  • It's durable.  The inner pot is stainless steel without a nonstick liner, and the gaskets are silicone.  The whole thing has a solid, quality feel.
  • It replaces multiple bulky kitchen items.  It isn't just a pressure cooker, but also a steamer, slow cooker, and rice maker.  The latest version is also a yogurt maker.
Today only, Amazon is offering the Instant Pot on deep discount.  If you're considering getting one, today is the day.  The older version (LUX50) is only $49, and the newer version (DUO60) is only $69.  That's an incredible value for what this thing does.  

If you purchase through the following links, you'll be benefiting my work at no additional cost to yourself:



2016 秋季日本親子旅遊 (上)


這次的遊記記錄是由佩宜來寫,
因為她的文學素養坦白說真的比我好太多了,
平常她都嫌我寫一篇怎麼要花這麼多時間,
這次換她來寫,
而我來陪桐寶打電動哈哈哈 (≧∀≦)

開始~

這次的秋季親子遊是在八月份訂下的,
那時候我跟桐寶正在台南娘家度假,
有天半夜桐爸很興奮地打電話跟我說他訂好機票,
然後一定要帶桐寶去迪士尼樂園、安徒生公園blabla…,
結論就是「老婆妳可以開始排行程規劃跟準備行李,一切都交給妳囉!啾咪」。

以往的經驗讓我知道,行程不用排太多太細,
只要知道『要去哪?怎麼去?』大概有個概念就可以,
常用的網路連結存在iPad裡,就出發吧!

這次的必去行程:
☆安徒生公園
☆迪士尼樂園
☆上野動物園
☆鄰近旅館的Bookoff系列

Day1:日本住宿新地點「津田沼」以及發現南船橋的「Bookoff Super Bazaar」

我們是酷航早上的班機,深思熟慮後決定叫機場接送,
多睡幾小時都好,凌晨三點半幫桐小寶換好衣服他都沒醒過來,


不過到了機場倒是生龍活虎,剛好在機上睡到降落前半小時才醒。

爸爸要帶我去日本玩

養精蓄銳

到達之後,我們搭上JR直達津田沼的東橫inn,寄放行李後就覓食去,
第一餐就是我們這次旅程第二貴的一餐,因為對環境不熟悉又累,
所以就找了家看起來很好吃的餐廳,讓桐小寶自己也點了個餐,
算是旅程愉快的開始。

桐小寶的日本風套餐

返回旅館check in,稍作休息,我們就出發到南船橋的Bookoff Super Bazaar,
一看到幾乎占了半層樓面的店面,桐爸露出晶亮亮的眼神+大笑容衝鋒陷陣去,
然後我看到大君寶一直驚嘆東西齊全、這個是限定版好便宜、那個也好想要......,
然後又看到小桐寶把他所有想要的車子、軌道、玩具全放進籃子裡塞得滿滿......,
嗯,你們父子倆知道這只是第一天嗎?這只是第一天嗎?這只是第一天嗎?!

爸爸,這個我要

因為太好逛了,所以我們根本沒逛其他樓層,連旁邊的lala port都沒進去,
搭公車回津田沼後就休息,準備明日到安徒生公園去。


Day2:星期日的「安徒生公園」和京城幕張的「Bookoff Super Bazaar」

起床看見陽光,感謝今天是個好天氣,
先到旅館附近的7-11買安徒生公園的門票可以打9折,
在走到京成地鐵新津田沼站的路上,買了小點心跟果汁,
一整個就是要去野餐的氣氛。
搭車過程很順利,只是在太陽下等公車等了40分鐘,
一入園,人真的超級超級多,
桐寶最愛的燒屁股溜滑梯要排15分鐘左右才能輪一次,
就當作是迪士尼的行前排隊練習吧!

吃完午餐,要繼續玩

下午我們展開桐小寶很喜歡的小動物親近之旅,
跟半年前一樣,抱小兔子、騎馬、和綿羊近距離接觸,
也坐了心心唸唸的『爺爺的小火車』,在桐寶氣力放盡之前,
我們一家一起吃了個冰淇淋,就準備搭公車離開囉!


小羊來,我摸摸

小兔子來給桐寶哥哥惜惜唷

安徒生公園,下次還要再來唷

本來我們抓好時間,選擇在16:00閉園前半小時離開,
結果看到公車站前有30個國小夏令營的學生跟6個帶隊的大哥哥大姊姊,
是跟我們一樣等同一班公車的(崩潰!!!)
結果上車擠到無法動彈,桐小寶讓桐媽抱著睡了一路,桐媽手快廢了,
桐小寶直到換車到京成幕張之後才醒來。

公車抱睡姿勢說明圖

到了京城幕張的Bookoff Super Bazaar,桐媽我驚覺到彷彿回到昨天,
一看到占了整層樓面的店面,桐爸露出晶亮亮的眼神+大笑容衝鋒陷陣去,
    然後我看到大君寶一直驚嘆東西齊全、這個是限定版好便宜、那個也好想要......,
    然後又發現小桐寶已經醒來,正準備拿籃子把他所有想要的玩具通通放進去......。
等到逛完回神出了店門才驚覺,天黑了啦!
回到津田沼覓食,發掘新津田沼站的超市更好逛,
之後已經沒有力氣再去南口的Bookoff,
畢竟還要回旅館整理行李,迎接明日移動日的來臨。


Day3:臨別逛逛–津田沼南口商場與Bookoff+前往東橫inn東西線西葛西

這次桐媽決定放桐爸先去Bookoff,桐媽自己帶著桐小寶在商場晃晃,
然後到Bookoff的童書區,由桐小寶選書,媽媽唸給他聽,
桐媽還記得是個小女孩帶著雨傘出門,陸續遇到動物沒帶傘,
好心的小女孩邀請動物們一起撐傘,雨傘很神奇的可以變大變寬變長的故事。
故事時間=桐爸的shopping時間

因為這是上午,桐小寶精力滿滿的狀態下,基本上不可能逛太久,
但是桐媽發現附近有很多小孩出沒,觀察了一下,這個商場太適合帶小孩逛了,
TSUTAYA跟星巴克結合,交界有一小區是小孩的閱讀區結合餐飲區,
所以有很多媽媽喝咖啡聊是非,然後小孩跑來跑去追逐(!)嬉鬧(!)跟看書(?),


桐小寶在這區淪陷在新幹線的音效書裡,捨不得把書放下,
有個小男生本來在哭鬧,後來看到桐寶手上的書,剛好我們也要離開了,
把書給他之後,他就不哭了。(小男生哭很久,媽媽超淡定的!)

算算時間,桐爸決定先用完午餐再移動,
餐飲區也很棒,桌子前面有一小區讓孩子活動的地方,
桐寶吃完還可以在裡面玩,就在我們的眼前,爸爸媽媽可以安心用餐。
接著準備移動到下一個據點囉!

氣力放盡的桐小寶與他愉快的父母

幸運的是,到達東橫inn東西線西葛西時才開始飄小雨,
check in之後,我們在附近逛逛跟吃晚餐,就休息並祈禱明天是個好天氣。

待續~


Saturday, November 26, 2016

【生死疲勞】思念是一種病.《百日告別》

最好的故事是源於真實的經歷,面對同電影一樣失去摯親的經歷,導演林書宇就經歷過,雖然不是什麼光彩的事,但電影雖然是虛構的但也有真實的一面、日常的一面。這使《百日告別》在情感上是一部好作品,正因為它有同理心、有人性的真善美與瑕疵,所指的瑕疵並不是電影的毛病,而是人與人之間那種複雜但又共通的點,但每個人都不可以要求別人為你做太多,但人總會分誰好誰壞、關心也是會有冷漠的、甚至只是掛在嘴邊比較隨口的關心。接不接受就要看個人的看法,畢竟沒可能做到人人明白你的情感、你的想法,對於現實的無奈,大概要學一下景隨心轉與隨和一點,讓自己多一點同理心。《百日告別》之所以感動人也是同理心,兩位主角喪偶後走進新的狀態,未知的、混亂的、生活的新階段早就開始,但上帝卻回收了眼前美好的一切,林嘉欣演的心敏要結婚了,石頭演的育偉要有新的生命,但通通撲空。

  面對一下子喪失親人會迷失,真正的痛並不是當下,而是往後接受了事實後才會有的孤獨感。思念是一種病,導演以寫劇本為悼念親人的儀式,他在訪問提到會把那個人永遠放在心。拍電影是為自己釋懷、鼓勵同樣的人、去認識死亡、接觸死亡、不忌諱去談生死、去放下但仍然要記住、去記住但不能沉淪於悲痛、去關心而不是寒暄。電影裡可以令到主角釋懷、感到安慰的人都不是他們的家人,而是通過對身後事的處理、瑣碎的事情令到主角們看到亡夫/亡妻的啟示,令他們相信與心安理得。電影是很注重細節與人的關係,比如心敏在未婚夫離世後與他的家人有疏離感,除了往後是未婚夫的弟弟有交集外,基本上未婚夫的家人是冷淡的,在靈堂上甚至不當作是家人。而育偉的太太是基督徒,但她的家人下不到決定所以無法尊重她的信仰。人生已經走到終點,不完美,到死後還要成為別人吵鬧的對象。就這樣各自喪偶的一男一女參加百日的法事,經過了頭七、三七、五七、七七、相信鬼魂輪迴了、亦經過面對死亡的幾個階段。憤怒、自責、消極、接受、重生,情緒的過渡期有先後次序,男女主角因人而異,但他們有共通點,就是有一段時間曾嘗試自殺,不願承認愛人已離開。



  男的經歷過性愛的放縱、怨天怨地、質問上帝、女的去了沖繩完成未婚夫安排的行程、過程中感覺他在身旁,從沒遠離。但旅行終究有完結的一天,回國仍然要面對往後的生活,看似一臉堅強實則柔弱女子。女人用旅行當作儀式去紀念未婚夫,男的到處去太太的前學生處還學費。其實當中發生的事情都是小事,有些對白微不足道卻很重要,大概是一份同理心與尊重,也側寫了二人的生前的刻劃。而最後的公映版刪減了一段戲,就是心敏與未婚夫的弟弟有一段床戲,導演最後刪走是深怕華人觀眾反感,但其實這段戲的目的是讓對方感受到未婚夫的氣息,那種熟悉的氛圍與感覺讓他們親近。

  在《百日告別》裡有幾個畫面會有感覺,男方那面一方面很恨車禍的司機,但聽到死者媽媽的電話傳來的聲音也怪不了多少,失去親人的並不止他一人。第二是他趕走亡妻的學生,而後來從那個女學生身上領受到妻子對學生的愛與溫暖,會為學生而準備。第三是他到家家户户交還學費,有些人隨便就打發了他,但有一户人叫兒子彈奏歌曲給師丈聽,這或者就是基本的招呼與尊重吧,之後一句對白帶出亡妻才是最好的老師。也許育偉看到了學生的表現,令他知道亡妻有多努力,讓他的內心感到溫暖,又或者是一種責任看著他們成長,從學生身上看到妻子的待人接物,潛而默化。

  至於女方,在沖繩的酒店假裝丈夫在,為了要安全感而用枕頭堆成一團東西。這原是屬於他們的旅行,在路口遇上一個說日文的老人家,老人家說了一大堆東西又送她糖讓她感到有人關心。本來結婚要搬到新家,但她一時接受不了,所以自殺但不果。既然自殺不了,就理應好好活下去,對他們二人來說真正釋懷的是陌生人,前學生彈蕭邦的練習曲、也許是語帶雙關,要育偉好好練習未來的日子、適應日常。心敏從未婚夫的中學老師身上得到一張卡,「花開花落終有時」。他們分別感受到亡者的愛與靈魂的存在,又或者這就是呼叫與回應。人鬼殊途,命中注定。

  電影的結尾有點意思,完成百日告別後,就告別百日。傷口何時會復完,沒人知道,他們不是要忘記而是沉殿一份愛。旅遊巴在山路上駕駛,鏡頭映著旅遊巴落山,漫漫長路寓意出口、寓意下一站。未知的人生正在等著他們,人生無常、悲喜有時、聚散之間、最重要是抱緊眼前人。


  在金馬獎與金像獎上林嘉欣分別有提名,最終在金馬獎憑這部《百日告別》獲得影后寶座,她的一舉一動自然有氣質,也許她是大眾心目中最佳妻子的原形。實至名歸演繹出內心的傷痛。焉知生才能焉知死,從死亡裡發掘到人生的意義,好好過日子,活在當下才是真正的命題。電影不是要宣揚什麼正能量,而是帶出了當中的無奈,百日告別是個紓緩的過程、它是如此的真實、平淡的電影顯淺的帶出生而為人的難處、直視傷痛,把禁忌性的題材轉化為開放的課題,是華語影壇中鮮有的作品。

Wednesday, November 23, 2016

This is your brain on pumpkin pie

Image credit: Evan Amos
Thanksgiving is a special time in the United States when we gather our loved ones and celebrate the abundance of fall with a rich palette of traditional foods.  Yet a new study suggests that the 6-week holiday period that spans Thanksgiving, Christmas, and New Year’s Eve accounts for most of our country’s weight problem (1).  Understanding this fact, and why it happens, gives us powerful insights into why we gain weight, and what to do about it.

Elina Helander, a postdoctoral researcher at Tampere University of Technology in Finland, and her colleagues set out to answer a simple question: how does a person’s body weight change over the course of the year?  To find out, they used internet-connected scales to collect daily body weight data from nearly 3,000 volunteers in the United States, Germany, and Japan.  After crunching the data, a striking pattern emerged: no matter what you celebrate, at any time of year, the holidays are likely to be your period of greatest weight gain.

Read more »

Tuesday, November 22, 2016

VILLAGE OF THE DAMNED (1960)

Wolf Rilla, 1960
Starring: George Sanders, Barbara Shelley, Martin Stephens

One afternoon, something happens in the town of Midwich: all of its inhabitants fall into a coma for several hours, an event that just happens to come to the attention of the military, because local scientist Professor Zellaby (George Sanders) was in the middle of an important telephone call. After a few hours, the citizens all wake up and the mystery remains unsolved. But several months later, it becomes clear that many of the town’s female population are pregnant — including young women who claim they are virgins and older, married women whose husbands have been away and protest they aren’t guilty of infidelity — and the babies develop at an unusually accelerated rate. The children are uncannily alike, all with blonde hair, overly large heads, and hypnotic eyes, and seem to have a telepathic link. Professor Zellaby, father to one of these children, becomes fascinated with them, though the government because convinced that they pose a dangerous threat…

Based on John Wyndham’s novel The Midwich Cuckoos — a title I much prefer — Village of the Damned has a lot going for it, particularly in the context of ‘50s and ‘60s British horror, which is generally schlocky at best. It’s not quite on the level of something like Hammer’s The Abominable Snowman or The Quatermass Xperiment, but it’s leagues beyond The Devil Girl from Mars, The Gamma People, or The Trollenberg Terror. It did remind me a bit of Hammer’s slightly later These are the Damned (1963), which I prefer simply because that film is just so insane (and stars Oliver Reed), Village of the Damned remains compelling viewing. The film’s opening, in particular, has aged extremely well and is still effective and chilling. If you don’t know the full plot details (or are hazy on them), it seems for at least a few minutes like the entire community of Midwich has dropped to the ground, stone dead. Though Sanders’ Professor Zellaby is briefly introduced, he’s not the protagonist during this opening and his fate seems unclear. Things are made even bleaker when an army pilot attempts to fly over Midwich airspace — it’s as if the town is surrounded by some sort of consciousness-proof though invisible bubble — and the reality of the situation dawns on the horrified onlookers.

I do really enjoy Village of the Damned and at this point, I think it’s regarded as a ‘60s genre classic so widely, that it isn’t really worth getting into why it’s so beloved; you should see for yourself. As a George Sanders fanatic, he’s the real reason I enjoy the film and if you’re unfamiliar with his work, stop for a minute, dust yourself off after crawling out from under that massive rock, and check out the wide range of classics he’s appeared in — titles as far ranging as Rebecca, All About Eve, Foreign Correspondent, The Jungle Book, and A Shot in the Dark (plus he’s the original Mr. Freeze) — as well as genre films like The Picture of Dorian Gray, Psychomania, and Doomwatch. He’s one of my favorite actors and deservedly so. He’s marvelous.

His film-stealing turn here as Zellaby provides some interesting depth; as a science-obsessed rationalist, in a way he makes the children sympathetic. It is clear that he feels no love for his “son” David, but rather a consuming curiosity. Their relationship almost accidentally becomes the focal point of the film, as Hammer regular Barbara Shelley’s role as David’s mother, Anthea, is given very little screen time, even though her role as a woman who knows there is something wrong with her child and, in a tragic touch, just wants him to love her anyway. And this is actually my primary complaint about the film. Many of the issues raised early on, or hinted at, are never resolved or even fully explored during the running time. The religious themes are underused, aside from an eerie key sequence where the town priest (Bernard Archard) admits that he is deeply disturbed by the pregnancies and believes the women may have become that way through supernatural means. It is really this issue of perverted virgin birth and the ensuing “messiahs” they deliver that should have been the focal point. There is a devastating series of short scenes early on where the women learn about their pregnancies, often with horror, and it would have been interesting to see this subtext of unresolved trauma develop throughout the film.

Because, I have to admit, I hate these goddamn children. I know you’re supposed to fear them — or at least be repulsed, or possibly even fascinated — but I just flat out hate them. In general I have a hard time liking child characters in films (Bob in Possession is an important counter example), probably because filmmakers seem to often play to this general assumption that the audience inherently likes children, feels protective of them, or at least finds them adorable. No. It doesn’t help that Martin Stephens, who costars as David, was also Miles in the far superior and more disturbing The Innocents. The film seems unsure about what to do with him. Are we supposed to feel sympathy for him, somewhere deep down? I could be off base, but that’s how it seemed to me and — despite the wonderfully downbeat resolution that I will not spoil — the somewhat shifting portrayal of David is uneasy at best.


Village of the Damned was supposed to be produced by MGM in America, but it was apparently put on hold because of protests over the mild, if controversial religious themes and it was eventually made in England thanks to the efforts of George Sanders. In the film’s universe, other places in the world suffer the same fate as Midwich and, even though it is essentially a horror film about aliens, director Rilla makes effective use of the subtle Cold War theme. This is essentially a film about the nature of power, as the children struggle to live apart and are at their most violent and dangerous when the adults try to strip that power away — driving them to some pretty nasty acts, including a scene where they force someone to commit vehicular suicide, among other things. Flawed but still compelling, the film really shines in its most quiet, unobtrusive moments, when Zellaby and David edge around each other, trying to make one another out. The script certainly benefits from the fact that David and the other children don’t take Zellaby for granted, but regard him as not only a potential equal, but as a viable threat. Even though the effects don’t really hold up (those goddamn glowing eyes), it comes recommended. Pick it up on DVD as a double feature with Children of the Damned. (And we’re just going to pretend that the John Carpenter remake doesn’t exist.)

彼得的龙完整高清電影



【彼得的龙完整高清電影】
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该片根据1977年经典真人动画歌舞电影《妙妙龙》改编,罗伯特·雷德福、Bryce Dallas Howard、Wes Bentley等参演,讲述小男孩Pete为逃离贪婪的父母而离家并在路上结识了忽隐忽现的妙妙龙Elliott,并一起流浪的故事。

Part A



Part B




备用影片

Monday, November 21, 2016

Autocolantes na fruta – para que vos quero?

Já reparou que a fruta vem muitas vezes com um autocolante em cada peça? E sabe o que é que significa esse autocolante.? Se se preocupa com o impacto ambiental do uso de autocolantes, certamente já deu por si a pensar que é algo inútil e desnecessário, até porque é colado em frutas que se podem comer com casca.
No entanto, o uso desse autocolante tem  informação específica e importante, que nos permite saber a origem dessa fruta. Afinal, quais as razões para a existência desse autocolante? 
- Permite ao funcionário do hipermercado identificar a fruta e sua proveniência o que o irá ajudar a colocar no local correto quando uma peça de fruta é deslocada pelo consumidor.
- Dá a conhecer ao consumidor, a forma como a fruta foi cultivada, quando apresenta um número, designado por código PLU (Price Look Up). Existem 3 tipos de códigos  e números usados, que indicam se a fruta cresceu segundo métodos convencionais, de forma biológica ou se foi geneticamente modificada.
– Se o número tiver 4 digitos, como 4130, é porque se trata de fruta cultivada da forma mais convencional, com recurso a pesticidas;
– Quando apresenta 5 digitos e começa por 8, como 82221, significa que a fruta foi modificada geneticamente.
– Já se começar com o algarismo 9 como 94011, a fruta foi cultivada em modo biológico.
Estes códigos são utilizados a nível internacional desde 1990, para produtos frescos, em particular fruta e legumes. A entidade que controla os códigos PLU é a International Federation for Produce Standards (IFPS) e é de referir, que a utilização dos códigos PLU é facultativa.
No que concerne à comestibilidade do autocolante da fruta, existem normas que garantem que quer a cola, quer o papel sejam digeríveis. Contudo, sempre que possível retire o mesmo. Prevê-se em breve que os autocolantes venham ser substituídos por uma gravação a laser, resultante de recomendações aprovadas pela União Europeia desde Junho de 2013.
Assim sendo, da próxima vez que adquirir fruta, se sentir curiosidade, olhe para o código que apresenta e confirme o seu modo de cultivo. Se estiver a optar por seguir uma alimentação biológica, recomenda-se que o faça para confirmar de que forma o alimento foi cultivado.

恐惧有限公司完整高清電影



【恐惧有限公司完整高清電影】
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Part A: http://boo.tw/LXHvv
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Part A



Part B




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Sunday, November 20, 2016

遊戲開發者冰桶挑戰


http://goo.gl/SZ9wc1
"神串"文化因為包子而起,
目前台灣獨立遊戲開發圈網路社群已經很成熟,
圈內該加的好友大概都已加的差不多。
小團隊的獨立遊戲開發成功率可能低於5%。
(活得下去,能夠持續開第2案,第3案...)

你可以觀察到各個團隊都有獨門絕技。
成功不能複製,但是你怎麼觀察其他的人的獨門絕技?
有習慣寫文章,寫教程,寫review的人越來越多,
台灣獨立遊戲界應該開始用類似冰桶挑戰,持續tag圈內人分享設計想法與經驗。

建議規則如下,以不超過約略200-300字的文章,可以在FB或噗浪快速傳播,
可以的話附上2-3張圖吸睛,完成撰文者自由發問下一個人。
不用限制撰稿的時間,
在你身上停一段時間也沒關係,只是大家都很期待你的文章。
運作的好,對目前在開發的遊戲,會有另類宣傳效果,
也對這類"輕知識"的交流,有很好的病毒擴散效果。

上星期是籌劃了許久的日本旅行,
日本是我們最喜歡的一個國家。

當初一直在想,
做完 Roll Turtle 滾滾龜,只要遊戲上架,
就可以休息個1~2個月什麼都不用管了吧,
沒想到事情完全不是這樣,
東摸西摸不知道在摸什麼,
一直到現在遊戲上架後將近半年都過去了,
才終於勉強能夠抽離一下。
自己一個人坐在電腦前,很容易陷入一個可怕的狀態 - "不敢休息",
有時明明什麼事也沒做,或是沒事可做,
就是釘在電腦前上網看有的沒的,
一天不知不覺就過去了。

這次全家一起親子旅遊,
是早在半年前 Roll Turtle 滾滾龜上架前就買好的便宜機票,
每天教桐寶認識米奇、唐老鴨,
告訴他要帶他去唐老鴨的家玩,
這個活動,雖然說是要帶桐寶去玩,
但感覺其實是對自己幫助比較大,
強迫自己抽離、歸零再重開機。

做完 Roll Turtle,
在這個過程中真的是投注了全部的精力與靈魂,
有一種被掏空的感覺,
那陣子休息時間再也不想玩任何遊戲,
只想看看影集,從日本旅行回來後的現在感到好很多了,
這次逛BookOff有買了一些遊戲 (≧∀≦)

一直都很喜歡看facebook上各個開發者分享的訊息,
這次的冰桶挑戰更是讓許多平常潛水的人浮出水面,
每看完一篇分享的內容,就覺得收獲好多,
每天都很期待看到下一個分享的人,
不知道會分享什麼內容。

沒想到剛好在日本旅行的期間被瑞克梅添涼大大點名了,
題目是:「撰寫部落格的好處是什麼?」
我覺得最棒的是可以認識朋友!

最初是在找遊戲,想看看評價再決定要不要買的時候,
看到一個阿宅朋友寫他收藏遊戲的部落格,
(推薦閱讀"冰雨的生活隨筆"http://jicerain.blogspot.com,很好打發時間XD)
就讓我好想認識他(林小晟),
因為我自己也是收藏了好多遊戲,
就有種電波對了的感覺 (゚∀゚ )

如果他沒有寫部落格的習慣的話,我一輩子也不會認識他吧...^^"

撰寫部落格,可以慢慢修正文字,
就算不擅長說話,也可以當做自己碎碎念,
把內容反覆修改整理到自己覺得流暢,
雖然寫一篇要花很多時間,
但是回過頭來看,獲得遠遠大於付出,
除了能夠檢視自己到底做過什麼事,
還因此認識了好多好多好朋友,
而這些朋友在各種時機,各方面都給了我非常大的幫助,
所以雖然目前是一人作業,
但除了老婆孩子外,
開發者朋友們都等於是很重要的同伴,
並不真的是一個人。
其實我到現在還是很不喜歡撰寫部落格,
但是因為收獲真的太多了,
比起自己分享的真的太微不足道了,
所以還是想盡可能的鞭策自己,
每個星期挑一件事努力紀錄下去。

很推薦獨立開發者可以撰寫部落格,
以末世來比喻的話,就好像是一個電波塔,在廣大的沙漠中不斷放出電波,
可以吸引到頻率相同的求生者 (゚∀゚ )

這些是在日本旅行期間寫好的,回來只要整理一下放在部落格上就可以啦XD
很慶幸在日本期間有寫好,因為現在好想好想拼命玩遊戲呀,
前陣子不再想玩遊戲的感覺真的是太可怕了,
現在旅行回來,
整個人充飽了電,加上剛好是Xbox黑色星期五大促銷期間,
看到琳琅滿目的遊戲大特賣,
遊戲魂一整個大爆發被喚醒!!
想做出好遊戲,一定要喜歡玩遊戲才行啊!

*這次的Xbox One黑色星期五促銷超誇張的,
一堆大作都打到骨折賣,巫師3年度版居然只要500多元 Σ(°Д°;
但是想想,我連巫師2都還沒玩完,就忍下來了,
挑了半天,目前只買了洛克人1~6懷舊合集與麥提9號^^"
有一點想來挑戰實況把洛克人破關!

Saturday, November 19, 2016

[美術設計]超級瑪利歐兄弟圖像精靈背後的美麗手繪圖




原作者:Bryan Cashman on November/04/16

以下文章內容,除經另行註明,係由Gamasutra社群的成員所著。

其中表達的想法與意見為該作者所有,並不代表Gamasutra及其母公司。



  在Callvention這,我們正主動去檢視超級瑪利兄弟(Super Mario Bros.)的設計文件,而以下就是我們驚人的發現。雖然有些圖像來自超級瑪利歐製作大師(Super Mario Maker)在任天堂直面(Nintendo Direct)會中所展示的,但大多數的圖是我們直接在任天堂的私人展示期間所拍的照片。

1. 標題畫面原本幾乎都會是綠的
  瑪利歐第一個橫向卷軸冒險的標題畫面深植在我們心中。而這也是為什麼在發現宮本茂手塚卓志繪製的超級瑪利兄弟另一版的標題畫面時會如此驚奇。
  先來看看我們所知且熱愛的原始版本。下方的圖是程式設計師用來打造超級瑪利兄弟實裝的標題畫面所用的最終版繪圖。


  讓人驚訝的是任天堂庫藏著另一個版本的標題畫面,如下所示。這個版本的LOGO框用的是綠色,而我個人覺得這看起來比最後版本還要歡樂。它強烈地用了瑪利歐的弟弟,路奇的顏色。另外,"Super"中的"S"畫法在這個版本中也不一樣。

Super Mario Title Screen
2. 超級瑪利兄弟中沒有出現的敵人
  第二個讓人眼睛為之一亮的是在超級瑪利兄弟系列中沒有出現,直到超任的超級瑪利世界(Super Mario World)才出現的敵人。

  宮本茂最初的想法是讓這隻烏龜(編註:英文這隻怪叫做Koopa, 但臺灣這的Koopa是大魔王庫巴,而英文的庫巴則名為Bowser)在沒殼的狀態下和瑪利歐對決。這個夢想一直到超級瑪利世界時才成真,當瑪利歐踩到烏龜後會強迫將它滑出龜殼,然後只穿著內褲作戰。
  推特上的Cheesemeister說圖上的日文字寫的是「赤裸龜殼怪會光著身子走來走去」。在日本版中,龜殼怪是初版瑪利歐系列中烏龜敵人的名稱。你可以來這裡看其他設計文字的翻譯。
  
3.圖像精靈的成果比你想得很要精準
  最讓我們Callvention覺得驚訝的是這些點陣圖和原始手稿是多麼相近。
  如下一系列的對照圖所示,我們今天在超級瑪利歐兄弟中看到的點陣圖和原本的設計是多麼地相似,在紅白機硬體的限制下這是個驚人的成就。為了比對,下面的手繪搞都是和Beam Luinsir Yosh他的網站Mario Mayhem中提供的紅白機精靈圖像做比對。

香菇怪Goomba
Goomba

  香菇怪,超級瑪利歐兄弟中的第一個敵人,從眉毛的角度可以看出區別。

魷魚 Blooper
  這些被稱為Blooper(編註:我認識的人都直接叫它魷魚啦XD)的水底生物的精靈圖像準確地反應出手稿,四隻觸手從這生物的身體垂下來。

烏龜 Koopa

  烏龜的手稿和本文前面提到的龜殼怪相比進化了許多。既使是這個手稿,也沒有展現出超級瑪利中圖像精靈的更多細節。這個手稿和早期大型機台的瑪利歐兄弟的敵人比較相近。

山丘的變化

  雖然美術風格本身很相似,但山丘的呈現方式和遊戲原本的手稿有著很大的改動。超級瑪利歐兄弟中的山丘上一定會長著草,就像左邊超級瑪利歐的圖像精靈所示。在電玩版本中,這些草一定會往橫著超出山丘一個「精靈格」。然而在原本的關卡計設中,這些草並不會超出山丘本身。

閃亮亮的水管
  即便只是關卡的手繪圖,水管上漂亮的陰影和反光效果都有繪製出來。水管這些細微的上色添增了深度,也讓它和遊戲中呈現的版本有著很大的不同。

等等,這可不是大金鋼(Donkey Kong)

  很有趣的是飄在空中的平台和原始的關卡手繪圖有顯著的差異。這裡的手繪圖比較近似於宮本茂當時的另一個大作,大金鋼中的飄浮平台。平台的對角線設計在超級瑪利的圖像中被簡化了,變成我們今天所熟知的方塊型版本。

超級瑪利兄弟中許許多多的藤蔓

  超級瑪利兄弟中陸地上的藤蔓設計比遊戲中的還要單純。手繪圖展現的藤蔓和宮本茂的另一款作品,大金鋼Jr(Donkey Kong Jr.)中的比較近似。
  在水底下的藤蔓(編註:是珊瑚吧大大XD)手繪圖也和遊戲中的不一樣。超級瑪利中,這些水中植物的最終精靈圖像看起來遠比關卡繪製版的還要危險和無法預期。
能力加強

  神秘香菇的手繪圖和超級瑪利歐的圖像精靈的特點幾乎完美複製。從隨機大小的紅點到招牌的香菇大小都是。

瑪利歐自信的步伐

  瑪利歐最初手繪稿中,在關卡裡走路的方式著重於他的手和腳的動作,而這在後來的超級瑪利歐圖像精靈中有以動畫方式呈現。很有趣的是,瑪利歐原本臉部的設計比較像是他第一次出現在電玩遊戲時,在大金鋼中的樣子。

  更多的瑪利歐研究系列即將到來
  在接下來的幾個星期,Callvention也會發佈動畫、關卡配置、和更多超級瑪利歐兄弟的手繪稿。請在Callvention中訂閱我們的電子報,或是在TwitterFacebook上追蹤我們。
  Bryan Cashman是有16年經驗的電玩業老手,對企業諮詢、育成、和投資研究有電玩相關的經驗。他現在是Callvention的負責人,試著讓粉絲和他們最喜歡的電玩遊戲的幕後推手建立聯結
翻譯:XDorz87
校訂:MilkReaver