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Posted by Sean "Elysium" Sands – June 7, 2007 5:20 AM
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Maximum Verbosity
Chuck Palahniuk's 1996 Fight Club, which went on to become a popular film, is not only a best selling novel but a relevant deconstruction of the social emasculation of modern male culture. Radiohead's 1998 OK Computer which went on to award winning commercial success in the US and UK is also a unique and creative exploration of sound and atmosphere that has been recognized as one of the best albums of all time and compared to The Beatles. Meaningful and popular are not necessarily the antonyms often suggested by cynics of modern entertainment; it's just not the status quo. Nor should it be.
Outstanding creative works that are both popular and significant are, at this very moment, being produced; work imbued with meaning that stir the imagination while proving profitable still exist in all forms or artistic expression. All forms, that is, with the possible exception of video games, which is seen by many to not have produced a quintessential or meaningful work that transcends to some nebulous higher tier of quality.
It's become, I realize, something of a cliché to ask where is The Godfather, Romeo and Juliet or Citizen Kane of video games. It's the kind of whiny intellectualism that fails to simply be satisfied with the endless entertainment provided by our games, and is probably like wondering when roller coasters will become educational. Mostly, I'm like the average gamer and don't worry much anymore about when Half-Life will both involve the offing of headcrabs while driving me to deeper contemplative states on the human condition. I'm relatively content now to accept that Picard soliloquies to Data about being human will be far deeper explorations of metaphysical concepts than pretty much any video game.
Except Ken Levine in his comments in our Bioshock preview earlier this week, damn that man, has got me curious again with his talk of Objectivism and Ayn Rand. That's daring stuff to be talking about when trying to sell a video game. While he's certainly pragmatic about having to hide the philosophical stuff behind the "kick ass shooter", it's obviously on the man's mind. But, the more I think about it, the more I believe that, begging Levine's pardon, the reason we don't see video games with meaningful resonance, whatever that exactly means, is that for all practical purposes it can't be done.
There will never be a Citizen Kane, or Atlas Shrugged for that matter, of video gaming.
The mischaracterization of the tech entertainment industry as an under-sexed club of comic-book loving, man-boy nerds is as flawed as any stereotype. Looking around our own population here in this quiet corner we are a cross-section of society representing a variety of stages of life and sophistications. The industry, both its consumers and professionals, has amassed as talented and intelligent people in positions of power as film, publishing or television. So, there's simply no lack of creative or practical resources to have met the goal of creating a truly meaningful piece of art in game form, if such a beast is assumed to be possible.
There are smart people working hard to make exactly the games that are meant to have meaning, and time and again they seem thwarted not by lack of effort or talent, but apparently by the medium itself. If Ken Levine's Bioshock does not turn out to offer deep meditations on mankind as he seems to hope, I don't think the reason will be for lack of ability. The fault is not with the creator but the creation.
The structure of narrative in gaming itself is a big problem. So called meaningful works of art, particularly those like games that involve a story, usually measure progress not by an accumulation of accoutrements, be they weapons, powers, levels or stats, as games so often do. Growth in narrative can be married to loss, hopelessness and self-realization, where even the best games are about overcoming discreet goals to forward a story. It's not that video games couldn't do this as well. It's that we wouldn't want them to. Gamers, as a rule, don't like to have to lose in order to win, and this begins what could otherwise be a long discussion on why interactivity is less empathic than passivity.
It's counter-intuitive. One might expect that by investing a player into the part of the hero, the player would identify with that character and be more invested in the role. But my own highly unscientific and logically porous observation is that, instead, gamers become selfish about the character, infuse the game with their own frustrations that tend to make us mad rather than contemplative when disaster strikes. Loss and struggle are much easier to bear when we are passively sympathetic rather than actively involved. This is probably why people are a lot more likely to seek out meaning about the human condition by watching a fictional character experience true suffering rather than having to endure it ourselves.
So, when people talk about trying to move these common notions of artistic meaning onto gaming it feels artificial. Meaningful art takes many forms, and there's no question that from a perspective of pure aesthetics gaming has achieved numerous successes. Just not the same kinds as cinema, literature or music. When we ask where is the Citizen Kane of gaming, we are not asking about quality of product, but we seem to be asking when gaming will teach us something larger about our society, our philosophy, our mortality and ourselves.
In some ways, we already have that. Maybe it's just that we don't like what we see, don't care for the meaning of the dystopian futures we keep crafting to shoot aliens in, don't like the image in the mirror that violent video games show us, don't want to see that Civilization itself is bound up in the war, deceit and greed exemplified by the game of the same name. What we seem to really want is something that is both profound but more importantly affirming, the Picard nonsense about the value of humanity for humanity's sake. And, when our books and movies describe the failures of the human condition our refuge is in the passivity and inevitability of the narrative. Video gaming makes it personal. What gaming does that books, movies, music and no other form of art can is steal the certainty of fate. It puts free will back in our own hands, and like life itself sets us goals that we either achieve or fail.
If books and movies are a glimpse into broad statements about other people, video games are a mirror.
And, that has value too. Either way, I've stopped looking for Citizen Game, and while I look forward to Levine's Bioshock and its brave attempt to explore Objectivism, mostly I'm just in it for the kick ass shooter. What I've learned about myself is that I don't ride the rollercoaster for deep meditations on life.
Baron Münchhausen
Agree on Kane as an influencer, but I'm sure we can come up with a long list of "influential games" that had limited critical success.
As for primetime, I guess you missed my point. PT tv is 99.9 percent shlock. But it has the *potential* to reach much more broadly than, say, PBS on sunday at 2AM.
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SexyBeast
i'll vote for Ultima 7 and Silent Hill 2 as two games that not only hold up today gameplay and storywise but, also tackle meaningful subject matter and present it in a thought provoking way.
Stories of Yesterday
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Shapermc
I've been following this site for a while, and had to register just to make a few comments. So, I apologize if I end up sounding extremely defensive and irate: I'm just trying to get my point across.
While an excellently written article I vehemently disagree with the concept of it all. While you at least admit to dropping the cliché of CK, I'm not quite exactly sure what you're looking for. I mean, games have been attempting to do this in one way or another for years now. Possibly in the most unexpected of places too.
Let's go back to RayForce (aka: Layer Section, Galactic Attack, and Gunlock) developed by Taito and released in 1994. Not only does the game have you reflect on the human condition and its extinction, but it's an extremely tragic story of the lone hero who, by winning, needs to sacrifice herself. The game is extremely subtle in many ways: mostly of exactly what's going on. Sure it has the skin of an "arcade vertical shooter," a genre generally associated with mindless (zen-esque) technique and twitch reflexes, but it aims to be more than that. The narrative that it tells is a subtle delve from outer reaches of space into the inner most depths of the Planet in which the ultimate sacrifice needs to be made in order for the small number of remaining humans to live. The end screen is your character, in space, dead.
Ok, not the deepest plot, or even the most original, but it's subtle and multi-faceted forcing you to absorb it over time and reflect on what is really going on and how it reflects onto the gameplay itself. The point of bringing this up is that there are many games which have dealt with themes of this magnitude in a very subtle way. The best way of describing this is that games most similarly resemble a form of theatre and the player is acting out the most important part. Most gamers just don't realize that they are performing in anything they think is important. The fact that current long form games force the player to stop participation and watch the actor be controlled by someone else during most cut scenes removes some of the significance of the story the game is trying to convey during those cut scenes. Arcade style games were best at this, and the silent antagonist with the silent-movie-esque title cards between levels was just too damn subtle for most people.
I'll ignore the Ico comments, because that seems to be covered, it and the critical response from it.
But I do want to hit on the most significant and most overlooked piece of gaming: Silent Hill 2. The following will have heavy plot spoilers and I recommend that if you're looking for something more meaningful from games that you just go and play it rather than read this. As the protagonist of Silent Hill 2 you're brought back to the town in which your wife died. In the town you will encounter the personification of your own sexual desires and murderous intent. You also uncover that you killed your own wife and you created Silent Hill as a way to torture and torment yourself. (though, the way in which you torment yourself in the town is different based on your inner torment. Another character in the game sees everything as being on fire and is attacked by a bed which will molest, or rather rape, her. It is supposed to be the characters Father). The end of the game (there are a couple of endings that the game keeps track of based on the players way of handling the game) is the main character leaving and dealing with things he now knows about himself and what he's done. Every enemy, location, and character in the game is significant to the main characters dilemma and the entire game is about a murderer dealing with his crime in an inner hell. While I hear the game frequently listed as people's favorite, most completely fail to acknowledge these more subtle items that the game handles (the game doesn't come out and say all of these things, only the more broad strokes are handed to you), I like to imagine that they see all this going on subconsciously and it appeals to them.
Next"… hell, ok, basically everything I'm going to write has huge spoilers, so just stop reading and skip paragraphs when I introduce the game.
Next is the exceptionally obvious Shadow of the Colossus. The ending of the game reveals that you've broken all the laws of your village, made a pact with the devil, and are attempting to undo god's will. If the player was paying attention at all through the game this ending shouldn't come as a shock or surprise. It's excellently crafted to make the player slowly question if what their doing is the right thing. Their body slowly deteriorates into an ashen gray color and the violence should seem more and more meaningless. After you've finished playing, the question of "was I was in the right for what I did, or in the wrong" should pop into your head for at least a brief moment. Is it ok to break the rules/law for someone you love? Is it worth your own life for that of another? Anyways, the game's practically a cliché for "games as art" but there's a damn good reason for it.
More abstractly there's Killer 7. It's a game about leading up to a simple choice that you don't even know you're making at the end of the game. The director and game present the player with a story from the characters point of view which the player is required to act on in a choice between your government and your beliefs. Throughout the rough trip the characters will come across and deal with people who they have killed in the past and how they now feel. On top of all that it presents you with a perverse question of what is reality, really. Is the only way to be the best killer in the world to be completely removed from reality?
Half-Life 2 is basically the perfect merging of story and game. There's more than enough straight action, gore, and violence to keep the most brain dead person happy, but underneath it all there's this beautifully dystopian society via 1984 that one can't ignore. Even if it's not the main question that the game attempts to deal with, it can't be ignored the parallels that the game draws and the reflections and conclusions one can draw from such a society being involved in the game.
I know it's not a whole lot of examples (I even left out quite a few), and that some of them have the questions as a side effect of the game itself, but they all work masterfully and have evoked questions on loss, struggle, society, and the human condition as well as any other visual medium have, if not better. Is it to the point where these kinds of game come out frequently? Hell no. But we're just starting out. It's there and it won't go away. It's just going to get better, and in retrospect, the last generation (PS2) was a huge step in the right direction.
If you don't want to look for it, it isn't there. Then again this is the same reason that films of equal caliber get independent releases and are shown in "art house" theatres or with only one showing a night. To say that the medium itself gets in the way of these questions and implications is just wrong and nearly ignorant.
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webdanzer
I was actually going to bring up Shadow of the Colossus as well. Not only did I feel like I had to lose in order to win, I also felt the empathy and self-realization stemmed from the interactivity.
"Wait a minute. What am I doing here? This feels wrong."
And not only for the game's protagonist, but for me, the player.
"Why am I actually slaughtering these beasts? Because the game tells me so? Am I enjoying this??"
I was far more comtemplative than mad when I realized that I was losing more with each step towards winning.
kilroy0097 wrote:
Never have we had a game, that I can think of, where reflection and contemplation on what we have achieved in the game has resulted in our own self awareness of ourselves and/or our society
For me, SotC was that game.
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Shapermc wrote:
To say that the medium itself gets in the way of these questions and implications is just wrong and nearly ignorant.
I take it for granted that video games can be art even though most people are not yet ready to swallow that pill. Philosophers and critics way smarter than any of us have written exhaustively about the potential of art to be found in nearly every medium, that everything is a text, etc. It isn't really any of our place to disagree with that, lol.
I used to work at an art museum and people would come by the modern art wing and the predictable comments would follow, "This is art?" "My kids could do this."
We're talking about paintings that were completed in the 40s and 50s, long standing fixtures in the canon of modern art. When getting into debates about what art "is" and whether something is "it" it's easy to go astray based purely on elements of taste.
But no one denies that painting is an art form, just like no one should deny that video games are one as well. Where's the "Citizen Kane" of gaming? Not sure but when it comes hopefully we'll all be able to see it for what it is.
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shihonage
1 Perk Every 1000th Post
I am mostly in disagreement with the article. Let's keep in mind that
1) Telling a story within the FPS genre is always traditionally harder unless the gameplay mechanics are expanded to the point where the game is an FPRPG. Bioshock simply doesn't choose to go far enough in that direction.
2) Game writing in general is still worse than movie/TV writing by an order of magniture, mostly because developers fail to see the importance of hiring actual writers.
3) Games still suffer from "videogame stereotypes" that everyone is still taking for granted. While these limitations exist, emotionally involving the player will always be problematic:
a) Everything is represented by numbers. You have 93 health, your plasma rifle just did 92 damage to the Death Raider, your Cold Resistance is +15 with 3% chance to deflect.. your Blizzard spell does 230 damage over 11 seconds... Does it ever occur to you how STRANGE it is to know exactly how much health your enemy has, or even seeing a health bar over their head ? Such thorough exposure of the player to the inner workings of the game does not make it easy to keep being immersed.
b) Lack of distinction between individuals. In most games, entities of the same type look very much alike. As I was watching the HD version of the first Bioshock walkaround, Ken Levine's narration certainly was hyping me up, until I noticed that every one of those women in green skirts looks exactly the same, down to the ripped pantyhose on their leg. THIS game is going to be some sort of FPS breakthrough ? I don't think so. It's just going to be a great game, a spiritual successor to System Shock 2, but it's not going to be anything next-gen in regards to either gameplay or storytelling.
c) Lack of fuzzy behavior on the part of individuals. Lack of fuzzy behavior that is allowed for the player. When meeting bandits, you can either shoot or flee. They can either shoot you or chase you and then shoot you. That's all that ever happens.
In order to be truly next-gen, a lot of the existing game cliches, all of the BINARY limitations, many of which were invented 20 or more years ago for the sake of cutting down on system requirements, need to be disposed of once and for all.
One day I will be playing a game where I get the Talisman of Cold Magick (tm). Someone watching me play will ask - "How much damage does it do ?". And I'll answer "I don't exactly know. But doesn't it LOOK powerful ?". And that'll be enough.
Then I will get my character into his rusty car and head for the nearest city. On my way, I will be stopped by a gang of thieves. I will pull out a minigun and discharge it under their feet. They will flee - except for one guy, whom I accidentally shot in the gun arm. Still, I will drive him to the nearest doctor, and, after he's healed with a dermal regenerator, maybe, just maybe, he's not going to jump out of the bed and immediately try to shoot me "because his attack flag is triggered".
To me, that'd be the beginning of next-gen gaming.
Bazarov
rabbit wrote:
This creates -- like prime time TV -- an opportunity to deepen any dialogue across far more of society than CK did or does.
Gathered that; I was meaning to contest the "to deepen dialogue" bit. There are enough forces aligned against primetime ever airing anything thought-provoking (including the self-selecting audience) to, IMHO, negate said opportunity, despite TV's reach and ubiquity.
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Meta-Timeout to say welcome to all the newcomers and a huge collective pat on the ass for articulate discourse that hasn't resorted to the crap we put up with on the rest of the internet.
This whole thing has made me realize:
1: I have way more interest and passion in this particular line of thinking than I thought I did. I was frankly tired and aloof of the whole thing until 3 days ago.
2: Why is it so rare that someplace like GWJ exists where I can actually participate in a discussion with articulate non-assholes about this stuff?
shihonage wrote:
A whole post of awesomeness.
Dysplastic
iTumor
I disagree, and the examples you posted haven't really convinced me otherwise. HL2 for example: It was a fantastical piece with great atmosphere and great dialog but it really didn't do anything but scratch beneath the surface of the actual social issues involved in this alien conquest. I think to really meet the requirements that Elysium is talking about you have to provide a degree of depth that we haven't currently seen. The "questions on loss, struggle, society, and the human condition" are the same questions that we could find in any b-movie or fantasy novel, and your characterization of them as "masterful" is being quite generous IMO.
Call me ignorant if you want, but I think the medium has a lot to do with it. I WANTED to know more about the story behind HL2, I wanted to talk to the scientists and the rebels who followed me about their world, but such examinations were interrupted by the need for interactive gameplay. I didn't get to talk to the scientists because the action had to move forward. The rebel followers were meaningless Canon fodder. The game was fantastic, well-written, and enjoyable, but it was still that: a game.
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Trachalio
From Canada With Pride
Does it ever occur to you how STRANGE it is to know exactly how much health your enemy has, or even seeing a health bar over their head ? Such thorough exposure of the player to the inner workings of the game does not make it easy to keep being immersed.
That's a good point. Most, if not all RPGs have their roots in Dungeons and Dragons. In a typical D 'n' D campaign would the players know that the bugbear has 30 hit points? Will every bugbear have exactly 30 hit points or would a good DM mix things up to make it more immersive?
I do, however, think that we're getting our Citizen Kane's of videogames. Resident Evil 4 was a direct influence on Gears of War, just as 70s pulp movies were a direct influence for Grind House. As many people pointed out, movies weren't looked at as a piece of art until Le Cahier du Cinema started treating them as such. Up to that point most people just viewed them as entertainment and didn't think to critique them as pieces of art.
This article itself, along with the gamut of other "are games art?" articles are that same catalyst. Only a small number of us are looking at videogames and critiquing them as art pieces, just like Le Cahier du Cinema was only a small group of people critiquing films as art. But the kernel has been sowed and we will see more people critiquing games just like books and film. Just as "mise en scene" was coined as a tool to better describe a movie, we will see similar terms appear to describe and analyze videogames.
buzzvang
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Just posting to plant myself on rabbit's side of the fence, point out that Elysium got called ignorant on his own site and didn't reply with a ban stick (that's awesome), and that shiho again proves that, even though it sometimes seems like he's contrarian just for the sake of it, he totally "gets it".
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Duoae
Unprncbl
Dysplastic wrote:
HL2 for example: It was a fantastical piece with great atmosphere and great dialog but it really didn't do anything but scratch beneath the surface of the actual social issues involved in this alien conquest. I think to really meet the requirements that Elysium is talking about you have to provide a degree of depth that we haven't currently seen. The "questions on loss, struggle, society, and the human condition" are the same questions that we could find in any b-movie or fantasy novel, and your characterization of them as "masterful" is being quite generous IMO.
I have to echo this about HL2 - though i haven't played the other games so i can't comment on those - but before i continue know that i am known to be biased against HL2...
The dystopian future you describe in HL2 has no real effect on the game at all. In all the game is it anything more than a resistance force fighting the occupation? Á la WWII France, there were those who fought and those who seemed helpless and vulnerable. Mossman was a co-operator (the only real kind of dilema or social commentary i can think of) in the belief that she was doing a greater good. Do these situations really speak of a dystopian future or are they just a sci-fi regurgitation of WWII drama?
They tried to reference 1984 with the propaganda tapes and the water comment but had none of the social interactions of a that regime. No one was brainwashed, everyone knew they were in trouble. As the liberator or rebel you were not the outcast of the people, just the establishment. No questions were raised or addressed. You fought, you liberated - like a WWII film.
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First off, I didn't call him ignorant (nor is ignorant the worst thing to be called if taken from by definition). Second, HL2 is just one example, and not nearly the best on my short list. It is an example of how story telling and gameplay can merge perfectly, and how they do attempt to scratch the surface. The point is that the dystopian setting is impossible to ignore and the relevance of it is prevalent. Why else do you think that when people came out of the film "Children of Men" that they started to fill internet forums with comments like "It reminded me of HL2 man!"
It's a valid observation and point.
Duoae wrote:
The dystopian future you describe in HL2 has no real effect on the game at all.
Technically, no, and like I said "a side effect of the game itself." But would it really be the same game without it? I don't think so.
Pyroman[FO]
Server Ninja
Good counter-point but i would submit that Defcon only really re-affirms that nucelear war - war in general - has no winners. It's on the way but not quite where we want it to be
How is that not a cultural and social message? It seems like this is precisely the example that rabbit is talking about.
Let's go back to uncomfortable messages for a minute though. Shadow of the Colossus was a critical and commercial success. And almost all the reactions I read from gamers talked about the contrast of the game's goals with your empathies for the Colossus. The game is pushing you to kill more and more of these beings, however you do not feel like you should be doing it. Yet you keep going, to beat the game and get what you want out of it. That shows a pretty uncomfortable side of human nature there, even ugly, and yet most people who played the game got the message just fine. Video gaming is not just a mirror, it's a funhouse mirror. The author's intent can be plainly seen in several games already mentioned by rabbit, and their message felt just as subtly or overtly as the author chooses. Anywhere from GTA to Planescape Torment.
I reject the notion that because you aren't looking for enlightenment in games that it's not there, or that the medium is incapable of it. 90% of the people who go to movies aren't looking for enlightenment there either, yet movies are widely regarded as art with a capital A. The difference is a long tradition of movies that are made simply to be art, to challenge the viewer and alter their perception of the world around them. The financial and business systems that support this kind of filmmaking in the movie industry simply have never existed in the gaming industry. So while a rare game like this does exist, I think explaining their relative absence doesn't take a leap to the conclusion "gaming is not art". It's simply the fact that the industry hasn't come up with the infrastructure to support this time of game development yet.
Posted: June 7, 2007 10:16 PM
Seems like I was beaten on SotC, ah well.
Call me ignorant if you want, but I think the medium has a lot to do with it. I WANTED to know more about the story behind HL2, I wanted to talk to the scientists and the rebels who followed me about their world, but such examinations were interrupted by the need for interactive gameplay.
What if the interactive gameplay included actually talking to the rebels and scientists and actually exploring the story itself? This kind of stuff is possible, though nobody has attempted it yet without branching dialogue trees. If voice recognition, artificial speech and conversation AI gets advanced enough, you could truly hold a conversation with the game about the story. Would that be art? What if your virtual colleague started asking you questions about your actions previously in the game? What if you cross the line, shoot that kid when you think nobody's looking, and and the colleague finds out? Would you expect them to be horrified? Would you only feel horrified if you got caught? What if it turns out the colleague actually agrees with you? Is that more horrifying?
I don't think interactivity precludes the kind of self-realization that we're talking about here.
First off, I didn't call him ignorant
No one said you did - calm down.
The point is that the dystopian setting is impossible to ignore and the relevance of it is prevalent. Why else do you think that when people came out of the film "Children of Men" that they started to fill internet forums with comments like "It reminded me of HL2 man!"
Er, i never heard of people saying that about Children of men. In fact it didn't remind me of HL2 in any way except military control....
With regards to the dystopian future comment i made - i got myself confused between your comments about a 1984-like world and actual dystopia. Sorry for the confusion.
Pyroman wrote:
I was agreeing with him, i was just saying that it wasn't very deep. ie. the "It's on the way but not quite where we want it to be" comment.
PyromanFO wrote:
You're absolutely right: this kind of interactivity could work, however, such innovation would completely redefine the gaming genre.
I kind of alluded to this in my first post when I made reference to Facade, and I guess I should have clarified this more in my second. It's not interactivity itself which is precluding what we're talking about, it's interactivity as it is currently implemented in a rather limited, linear, shallow manner. The medium is the problem, but the medium is constantly changing also, moreso than any other artistic genre has. So the potential is there. I eagerly await Bioshock and the potential innovations it could bring in this direction, but I still think we have a ways to go.
Not to be rude, but those would be some pretty surface thin interpretations of the film. Visually I can see it, but that it takes place in a dim european future is about the beginning and end of comparisons. I mean, that's like saying that Saving Private Ryan reminds me of Medal of Honor.
Actually someone did, but it was in jest, and either way I didn't really take umbrage with his response.
If voice recognition, artificial speech and conversation AI gets advanced enough, you could truly hold a conversation with the game about the story. Would that be art?
It would make it no more or less art, but it would be far more interesting. That's what I'm saying. Why does it have to be art, why does it have to touch something transcendent? Why can't what gaming is at its best be good enough?
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Danjo Olivaw
Positronically Delicious
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Personally I find the simulation of complex systems to be very conducive to philosophical introspection, in a way that other media can not hope to reach. Little worlds with little rules that breed aggregate, unexpected behavior are often way more effective in eliciting a 'deep thought' because the behavior is unsolicited, genuine. The relationship that behavior has to the real world may not be one to one, but it is uncontrived. This is a level of enlightenment the other forms of media can just barely touch.
Each form of media brings its own strengths to the table. So far I wouldn't call gaming's ace in the hole interaction, since our ability to actually interact is so cumbersome. It's the ability to provide unscripted events to light.
As for Elysium's quandary over the necessity of sacrifice for the sake of drama, some of us are ready for sacrifice. Just yesterday I lost my warthog in a vehicle heavy level due to a convergence of tactical brilliance and the unscripted coincidence only games can provide. I'm left stranded in enemy territory, with miles to go because of some freak accident. Normally I'd just hit, "Revert to Last Checkpoint," but something stopped me.
This wasn't a bug. This was life. Sometimes you do the right thing, and sh*t happens anyway, and you don't revert to the last checkpoint. You hit the ground running and deal with it, so that's what I did. And that made all the difference. It's the difference between watching Black Hawk Down and being there, minus the actual fear of bodily harm. The situation is more authentic because it didn't have to happen. Just one foot to the left and that sticky grenade wouldn't have hurtled my otherwise indestructible warthog down a ravine.
Now, this isn't actually a case of empathy, but not because I can't handle the sacrifice in first person, but because I can't be empathetic in first person. It doesn't make sense to feel empathy for yourself, and that's who it's all happening to.
That doesn't mean games can't utilize empathy. I certainly felt a sense of awe and wonder through Alyx Vance inside the Citadel of Episode 1 in a situation where my gamer-jaded senses saw just another nifty, scifi sphere. Gordon Freeman wasn't impressed, but she was, so I was.
*Legion*
Posted: June 8, 2007 12:58 AM
OK, I just want to add one thing.
"Are video games art?" is a question that comes purely from a misunderstanding of what "art" is.
Video games are art. Period. But so is Dude, Where's My Car?.
Art = "a form of human activity created primarily as an aesthetic expression".
Art = "the expression of creativity or imagination, or both."
The definition of art is NOT a statement of quality (it can't possibly be, quality is completely subjective). Art is a creative product that serves no other purpose besides being art. While automotive engineering may be a creative process, the end result is something that serves a utilitarian purpose.
Do not ask the question, "are games art?". The correct question is, "are games GOOD art?"
The kind of exclusionary way some people try to apply the term "art" (hello Mr. Ebert) is completely against the spirit of art.
Oh, and back on topic, like most Elysium articles, I respect but so strongly disagree with it that I can't bring myself to make the drawn-out case against it that it would require to respond. I do want to buy Elysium some Optimism Juice (tm) sometime, though.
You should follow me on Mastodon: @[email protected]
"The golden shower threw me off." -- garion333
Posted: June 8, 2007 1:08 AM
Video games are art.
I don't actually disagree with you.
Oh, and back on topic, like most Elysium articles, I respect but so strongly disagree with it that I can't bring myself to make the drawn-out case against it that it would require to respond.
You're the yin and I'm the yang.
DSGamer
Thumbs Up ... ish
Yeah, I don't know if video games will ever evoke emotions or convey ideas the same way music, books or movies can. However, I personally have found myself very contemplative over portions of Shadows of the Colossus, Katamari Damacy and many other games.
Elysium wrote:
I wasn't directing it at you, no worries. I just saw the question referenced (not necessarily asked) a couple of times in the comments and felt compelled to say it.
*Legion* wrote:
And his work here is done.
Eezy_Bordone
Pimpin' Ain't Eezy
Part of gaming's issue in this regard is how they are judged, critiqued, compared and contrasted. When the majority of 'press' is in league with the publishers to pimp their product, not say disparaging words, talk about incremental game mechanic improvements as the holy grail and act as if a barely thin plot is worth salivating over it's tough to build an overall environment where games are judged as the art that I think they are.
Another thing working against games in the long run is that they are created by monolithic corporations that aren't exactly able to dodge and weave in a quick manner. Producing games is an investment of years, not just years writing the "˜story' but years of outputting the code, tweaking the interface and balancing the environment. Movies, books and music don't have this limitation. Sure some of them may take years to produce but not the amount of years that some games take. Movies may linger in the writing stage as long as games but the actual production of the movie aside from after effects is usually 6-10 weeks and the computer after-effects are just adding onto film or filling in blanks of a story already in the medium. Books too can take years to write but they are cheap labor-wise, only one person is working on them at a time (I'm simplifying but even with editing there is probably one editor for every 5-10 writers) a publishing house can have 200 writers on contract for a book each, pay them an advance and still make all of their money back if only one writes a best seller. Music is similar to movies in that the writing process can be long but the production is fairly quick depending on where the band is at in it's lifespan. Because time/money investment games cost a lot compared to other art and aren't as easy to access, music comes in second place, movies in third and books last on the price scale (A ticket to the local art museum puts that near the music price) so they aren't as mainstream as we'd like to think. So there's not exactly a grassroots group rattling sabers to get their art "˜recognized' (well maybe this is the start of it).
Also on what merits do we judge the game as art? The story? The UI? The mechanics? The amount of cheating the "˜computer' needs to do to play against a human opponent? A weird mixture of all of those and more? Or, none of the above games aren't art? This too is different from those other mediums there are many facets that create the "˜whole game' where in the other "˜arts' the interfaces are much easier you bring yourself, your sense of aesthetic and consult your inner critic after watching, listening, reading or staring at it.
I almost agree that there won't be a defining tome in gaming's art portfolio like there are Casablancas, Dillons, Beetles, Moby Dicks and Shakespeares in those other art genres. I say almost because even if we've seen one it hasn't been long enough for it to be considered a "˜defining asset' to be held to and compared/contrasted to. Sure there are games we do that with but it's more to make it easier to lay down 60$ to play it.
All we have right now is incremental growth in game types with some sort of background story tying together why we're killing the other guys.
Do you ever walk alone like a drifter in the dark?
kilroy0097
Aggie Otaku
Bryan/College Station, TX
You know what's sad about the truth of this, is that this nation's viewer public is so used to adolescent level TV programing that intelligent adult programing that is witty and clever just doesn't make it long. I think shows like Studio 60 which really brought controversial topics to the forefront in their show is just too hard for many to understand. It's really disappointing that I see great shows just go away due to the viewer public short attention span and inability to understand complex situations. The problem is we just don't raise the bar. Just like our school systems we make it easier instead of getting our children to rise to the occasion. In result we just get dumber as a nation. This might also carry over to video games.
"Hulk think you overcompensating for tiny man bits. You know why Hulk always wear pants? Because Hulk HUGE."
"When fascism comes to America it will be wrapped in a flag and carrying a cross." - Sinclair Lewis.
The problem is we just don't have a bar.
People always say that HL2 raised the bar for FPSs.... so i'm assuming that is the FPS bar for art?
gnomicide
When I was younger I remember watching an old black and white movie. I can't remember much about it, it might have been an old tv show.
The main character is in Hollywood. He makes comedies. And he wants to do something with meaning. He wants to do drama. As it ends up, a series of unfortunate events land the man in prison, convicted of his own murder.
The prison is an extremely unpleasant place, even by 1930's movie prison standards.
One day the prisoners are rounded up and marched into a church. They sit down and the lights go out. A projector crackles, and they suddenly find themselves watching cartoons and a nice little slapstick comedy. The prisoners howl and roar with laughter.
When the man makes it back to society he revisits his original question. And he realizes he can try to make movies that mean something – or he can make movies that will bring happiness, albeit brief, to the most lonely and miserable wretches society has to offer.
Game makers face a similar dilemma – do they try to make something meaningful, or do they try to make something that will bring happiness and joy to others?
Hopefully if you're making games professionally you are good at it. So you know if you are shooting for the audience enjoyment thing you're holding the right cards.
It's possible to make a meaningful game but it's also highly likely the game will fall flat. As ill-suited as movies, music, and literature are to polemic and innovation, games are even worse. It is, however, possible to make a meaningful game – but developers should be humble, and remember that the talents that allow them to make enjoyable games mean little when it comes to making meaningful games.
As for our Citizen Kane, I'd say it's World of Warcraft. Citizen Kane is all about innovation. WoW is not truly innovative in any major way, but the execution is astounding. But making great games is really about execution in a way that movies aren't. In this way I'd say game making is more like architecture than any of the other arts – a big idea is fantastic, but to be truly great you need to be functionally great, and that means having great execution. Fancy castles mean nothing if they're burning in a swamp.
Gorilla.800.lbs
Optimus Primate
Ghost in the Shell: Innocence wrote:
The mirror is an instrument of an illusion, not of an enlightement
XBox Live | Twitter | Flickr


text:
NEW COVID-19
Updates on COVID-19 and IBD
What is SECURE-IBD?
Erica Brenner, MD: What We've Learned about IBD Patients with COVID-19
Ryan Ungaro, MD, on COVID-19 in Patients With IBD
Coronavirus and IBD Reporting Database
Welcome to SECURE-IBD!
Surveillance Epidemiology of Coronavirus Under Research Exclusion (SECURE-IBD) is an international, pediatric and adult database to monitor and report on outcomes of COVID-19 occurring in IBD patients. We encourage IBD clinicians worldwide to report ALL cases of COVID-19 in their IBD patients, regardless of severity (including asymptomatic patients detected through public health screening). Reporting a case to this Surveillance Epidemiology of Coronavirus Under Research Exclusion (SECURE)-IBD database should take approximately 5 minutes. Please report only confirmed COVID-19 cases, and report after a minimum of 7 days and sufficient time has passed to observe the disease course through resolution of acute illness or death. To report a case of coronavirus, click here.
With the collaboration of our entire IBD community, we will rapidly be able to define the impact of COVID-19 on patients with IBD and how factors such as age, comorbidities, and IBD treatments impact COVID outcomes.
This is an international effort—we are counting on robust participation and collaboration.
We will provide the IBD community with regularly updated summary information about reported cases, including numbers of cases by country, number of cases by treatment, etc. so the entire IBD community has access to these data.
The database contains only de-identified data, in accordance with HIPAA Safe Harbor De-Identification standards.
The UNC-Chapel Hill Office for Human Research Ethics has determined that storage and analysis of de-identified data does not constitute human subjects research as defined under federal regulations [45 CFR 46.102 and 21 CFR 56.102] and does not require IRB approval.
We hope you will actively contribute to this voluntary reporting system. Through broad scale participation and collaboration, we will be able to answer these very pressing questions for our IBD patients and their caregivers.
To report a case of coronavirus, click here.
To see our paper in Gastroenterology on characteristics and outcomes of >500 IBD patients from 33 countries with COVID-19, please visit the following link.
If you have any questions, please reach out to COVID.IBD@unc.edu
Michael D. Kappelman, MD, MPH (Pediatric Gastroenterologist, University of North Carolina at Chapel Hill)
Erica J. Brenner, MD (Pediatric Gastroenterology fellow, University of North Carolina at Chapel Hill)
Jean-Frederic Colombel, MD (Gastroenterologist, Icahn School of Medicine at Mount Sinai, New York)
Ryan Ungaro, MD, MS (Gastroenterologist, Icahn School of Medicine at Mount Sinai, New York)
Manasi Agrawal, MD (Gastroenterologist, Icahn School of Medicine at Mount Sinai, New York)
International Advisory Committee Members
Asia: Dr. Siew Ng MBBS, PhD, FRCP, AGAF, FHKCP, FHKAM (the Chinese University of Hong Kong)
Australia/New Zealand: Dr. Richard Gearry, MBChB (the University of Otago)
Europe: Dr. Walter Reinisch, MD (Medical University of Vienna) and Dr. Jean-Francois Rahier, MD, PhD (CHU UCL Namur, site Godinne)
North America: Dr. James Lewis, MD, MSCE (the University of Pennsylvania) and Dr. Gilaad Kaplan, MD, MPH, FRCPC (the University of Calgary)
South America: Dr. Flavio Steinwurz, MD, MSc, MACG (Albert Einstein Jewish Hospital)
Nursing and Advanced Practitioners: Michele Kissous-Hunt, PA-C, DFAAPA (Fifth Avenue GI)
Industry: Dr. Irene Modesto, MD, PhD (Pfizer)
IOIBD: Marishka Konings (Secretariat IOIBD)
NOTE: If your patient is pregnant, please note that in the Case Report Form (under other comorbidities) and kindly refer them to the PIANO registry for pregnant women with IBD

redpajama_set_name: RedPajamaCommonCrawl


Ex officio: Boyd K. Rutherford, Lt. Governor; Joseph Bartenfelder, Secretary of Agriculture; Kelly M. Schulz, Secretary of Commerce; Ben H. Grumbles, Secretary of the Environment; Pete K. Rahn, Jr., Secretary of Transportation; James D. Fielder, Jr., Ph.D., Secretary of Higher Education.
Origins of the Governor's Subcabinet for International Affairs trace to 1988 when the Governor's International Cabinet was formed by the Governor. That cabinet was abolished in 1995 by the same law which established the Department of Business and Economic Development and replaced the Maryland International Division with the Office of International Trade (now Office of International Investment & Trade) (Chapter 120, Acts of 1995). In November 2001, the Governor established the Governor's Subcabinet for International Affairs (Executive Order 01.01.2001.20).
To enhance Maryland's competitiveness in world markets, the Governor's Subcabinet for International Affairs devises strategies for pursuing business, cultural, educational and governmental priorities in international affairs. The Subcabinet also coordinates and evaluates the international activity of State agencies, and oversees protocol functions.
In May 2005, the Subcabinet was authorized to establish a fund to receive contributions for the benefit of sister-state relationships. The funds are to be disbursed at the direction of the Subcabinet upon direction of the Finance Committee of the Board of Directors of the Maryland Sister State Program (Executive Order 01.01.2005.24).
Chaired by the Secretary of State, the Council consists of seven ex officio members (Executive Order 01.01.2005.24).


I don't have a K beside my followers and I'm totally cool with it!
I'm going to tell you exactly why not having 10,000 followers on Instagram is okay and why I'm happy about it! Here's 3 reasons why it's totally cool to be "K-less".
What does the K mean beside Insta followers?
The K is a fancy way of saying thousand beside someone's insta account followers. If you've ever wondered what does the K mean beside insta followers, now you know! It's a way of us valuing our worth as a business and it's silly.
What's really important is the engagement of a brand. If you look at someone's feed and they have 100,000 followers but they have less then 1000 likes on their photos, that's less then 1% engagement rate. Engagement is the number one thing to rate someone's "worth" on instagram. But then again I hate using that term because as business owners we are so much more then just a collection of likes and follower counts, but that's another blog post for another day.
How do you measure engagement?
Wondering how the heck you even measure engagement? You can either use this handy tool @phlanx or simply do the following # of likes divided by # of followers give your the engagement rate.
It's also important not to be tied to this end result. I checked this last fall and my engagement rate was 4.5% and average number of likes was 150. Don't be tied to numbers, because a few "poor quality" posts can throw off this number. Always be listening to what type of content your customers are relating too. After all you want to support and nurture them.
I'm sitting nicely inbetween the engagement range for each of the recommended target zones.
Look at your last nine images on your feed and the last few stories you've done (head the archive section on instagram for this). What had the least amount of engagement, eye balls on it, or likes and comments? What was the content about? Is there a connection between the other low engagement images and stories? Or was it a fluke or the time of day you posted? If there's a pattern emerging, you're followers are not liking the content you're producing. Take a survey. Ask them. What do they like seeing. Listen to them and start showing up more with that type of content to serve your customers best.
Want to learn more tips and tricks?


Okay all, it's time for Europe to come out with yet another supercar. Not that we're complaining, especially since it seems to be extremely hot to trot. The new supercar comes from Shayton Automobile and takes its inspiration from the rushing elements of nature.
"Shayton is a new God, the God of speed and performance. Faster than wind, more powerful than storm and as beautiful as if it was shaped by supernatural forces themselves."
Shayton actually means "falcon" in Sioux Indian, so we're guessing that their first supercar - the Equilibrium - is set to take on the prey that is the other more successful supercars of Europe.
The Shayton Equilibrium looks the part of a predator with its aggressive lines and muscular stance. Its power is also something to be reckoned with as the Equilibrium is ready to attack with a V12 engine that shoots out 1084 hp. This isn't your typical walk in the park; this is a 0-60mph sprint time of 2.9 seconds and a top speed of 250mph.
Yeah, it looks to be that good.
Hit the jump to read more about the Shayton Equilibrium.
The lead designer for the Shayton Equilibirum was Andrej Stanta who says that the function added to this particular piece of art is what makes it a masterpiece. The Equilibrium has a carbon titanium chassis which is then dressed up with muscular and aggressive lines that are cut by large side intakes. The shape of the body provides an elegantly macho look to the supercar while allowing for low air resistance. Carbon titanium wheels complete the look of the Shayton Equilibrium.
Inside this new animal is a sporty and elegant interior consisting of leather, alcantara, carbon fiber, brushed aluminum, Recaro seats, and Bosch electronics. The interior is dominated by a driver focused cockpit architecture which means that everything is set up to ensure a driver/owner ultimate driving experience when the Shayton Equilibrium is pushed to its limits.
Under the hood of the Equilibrium, we will find a V12 engine that can battle with the best at 1084 bhp and a peak torque of 930 Nm at 5000 rpm. With a total weight of 1200 kilos, the Shayton will deliver a power-to-weight ratio of 1.42 kg/hp. This allows the super car to sprint from 0 to 60 mph in 3.1 seconds and hit a top speed of 250 mph.
Pricing and availability is where things get a bit rocky for this predator as there will only be 20 units made available with a double-take type price of 1,000,000 euro, or $1,400,000 at the current exchange rates. That may be a little steep - scratch, unbelievably steep - for our wallets, but the supercar hasn't even made it to production as of right now so we all have time to save up the cash if need be. The company is already accepting preorders for the Shayton Equlibrium so if you have the money and an optimistic view for production, then you better give Shayton a call fast.
With a total output of 1084 HP and a price of $1,400,000, the new Shayton Equilibrium seems to be targeting the King of Speed: the Bugatti Veyron. We might even have to go as far as saying the Equilibrium may have a leg up on the competition in terms of appearance.
The Veyron is powered by a W16 alloy engine that delivers 1001 HP and a peak torque 923 lb-ft. It is capable to hit a top speed of 252.3 mph and will sprint from 0 to 60 mph in less than 3 seconds. The power may be lower than the Equilibrium, but the performance seems to hit right on. The Veyron is also priced higher than the Equilibrium with a price tag starting at $1.7million.
But, alas, Bugatti is a very well-known manufacturer and the Veyron has a tried and true track record, which leaves the Shayton Equilibrium with the task of proving to everyone that it can stalk and kill its competition. Who's ready to take a chance?
finaly there is some one more autentic coz is not using the sbc engine but im curious then where this v12 engine comes from ? well i would guess by my knolege that it might be eather a bmw of a mercedes one they arte great engines but not the best any how to the poit the car is very very beautiful hoppe you the best sales keep pushing cos the car is sweet.
I like the look of the car which is very elegant. Moreover, the used engine which is V12 offers a very powerful output! 1000+ HP will surely be great for every sports car, but I think the reputation is some kind of low.
Well, the Equilibrium actually looks well built enough for it to attract a lot of folks. The major car makers will definitely have a stiff competition with this one.
The Equilibrium looks speedy enough and is quite promising, but I don't know if it will be able to gain the attention of supercar enthusiasts immediately.
This one kinda reminds me of the Lamborghini Gallardo. But this one actually looks rather impressive in its own right and is elegant looking.


run eshint checks and many server tests.
Because you have changed the source code, System Runtime will be automatically rebuild in development mode.
run jshint and server/client tests.
You can also update System Runtime core system by composing other systems with it. In that case, other systems are called addons.
To compose a system with System Runtime core systems, just copy and paste a system into the /src/addons directory and build System Runtime.
You can extend System Runtime core system by composing other systems at runtime. In that case, these systems are called extensions.
To add an extension, just install it at runtime.
In the last article, we will go deeper in the use of System Runtime.


Arrow Stage Lines delivers exceptional charter bus transportation. Arrow Stage Lines is based in Kansas City, but is equipped to cover the entire state of Missouri.
The KC office manages one of the most diverse portfolios in the charter bus industry and is home to the most experienced professionals. The KC office does everything from airport pick-ups, large-scale athletic transportation to entertainment and VIP services.
Arrow Stage Lines has some of the industry's top drivers. All drivers must complete 90 hours of pre-operational education and training, continuing education courses and maintain Eco Sustainability Certifications. Arrow's Superior Safety is backed by rankings and metrics that place company ahead of 95% of other carriers, nationwide. Our team will do everything we can to ensure your transportation is early or on-time to your departure location.
The Arrow Stage Lines' team is committed to delivering confidence in charter bus transportation is on going. Our teams strive to improve our On-Time Performance, Superior Safety, and Elite maintenance programs, everyday, to help provide our amazing customers with the best service in the industry.
The On-Time Promise is our dedication to making sure your trip departs on schedule. Our teams value your schedule and will do everything in their power to ensure your transportation is early or on-time to you departure. Based on customer feedback, in 2018, Arrow Stage Lines registered a 97% on-time performance record: no road conditions or weather delays were taken into consideration.
Safety is an important aspect of any travel decision, and one of the main reasons we place so much emphasis on our Superior Safety program. Arrow Stage Lines safety record outperforms the competition with an overall safety performance that is better than 95% of other carriers, nationwide. In fact, Arrow Stage Lines is 1 of 16 carriers to receive the Trax Insurance President's Circle Risk Control award.
Elite Maintenance keeps you moving toward your destination in comfort and style. You could charter over 130 trips with Arrow Stage Lines and never experience a breakdown of any kind. On average, our charter buses travel over 60,000 miles per coach without a disruption.


text:
package dagger.internal.codegen.base;

/** A cache of objects that can be cleared. */
public interface ClearableCache {
  /** Releases cached references. */
  void clearCache();
}

redpajama_set_name: RedPajamaGithub


text:
Q: How can I change volume in bass.dll? How can I change volume in bass.dll? I am programming in C#. I tried:
    public void ChangeVolume(int volume)
    {
        Bass.BASS_ChannelSetAttributes(stream, 44100, volume, 0);
    }

volume is here:
    private void trackBar1_Scroll(object sender, EventArgs e)
    {
        label4.Text = "Volume: " + trackBar1.Value.ToString();
        player.ChangeVolume(trackBar1.Value);
    }

When I try to debug, it compiles and runs. But when I try to change volume, it stops and throws "Unable to find an entry point named "Bass_ChannelSetAttributes in DLL "bass.dll". What am I doing wrong?

A: Using Dumpbin.exe /exports bass.dll reveals this line in the output:
    26   19 0001BF28 BASS_ChannelSetAttribute

Note how it doesn't have an "s" at the end.  Wrong [DllImport] declaration in your code, probably.

A: Have you tried BASS_SetVolume(stream,value);

A: Here is an example that worked for me...
make sure you are using using System.Runtime.InteropServices;
Call the methods in the dll via a class containing:
[DllImport(BASS_lib, CallingConvention = CallingConvention.StdCall)]
internal static extern bool BASS_ChannelSetAttribute(int Handle, ChannelAttributeClass.ChannelAttribute Attribute, float Value);

Now call the method:
bool setatt = BassClass.BASS_ChannelSetAttribute(_handel, ChannelAttributeClass.ChannelAttribute.Volume, 0.1f);

Also there is an easier way using the Nuget package just search for ManagedBass
Nuget : https://www.nuget.org/packages/ManagedBass/3.1.1
Github: https://github.com/ManagedBass/ManagedBass
Example usage below:
 public partial class MainForm : Form
{
    private int _handel;

    public MainForm()
    {
        InitializeComponent();
    }

    private void StopSound()
    {
        try
        {
            // free the stream
            BassClass.BASS_StreamFree(_handel);
            // free BASS
            BassClass.BASS_Free();
        }
        catch (Exception ex)
        {
            MessageBox.Show(ex.Message);
            return;
        }
    }

    private void PlaySound()
        {
            try
            {
                BassClass.BASS_Init(-1, 44100, DeviceInitFlagsClass.DeviceInitFlags.Default, IntPtr.Zero);
                _handel = BassClass.BASS_StreamCreateFile(false, @"Music\mysong.mp3", 0L, 0L, BassFlagsClass.BassFlags.Default);
                BassClass.BASS_ChannelPlay(_handel, false);
            }
            catch (Exception ex)
            {
                MessageBox.Show(ex.Message);
                return;
            }
        }

    private void MainForm_Load(object sender, EventArgs e)
    {
      PlaySound();
    }

    private void volumeToolStripMenuItem_Click(object sender, EventArgs e)
    {
        bool setatt = BassClass.BASS_ChannelSetAttribute(_handel, ChannelAttributeClass.ChannelAttribute.Volume, 0.1f);
    }

}
}

redpajama_set_name: RedPajamaStackExchange


Drug use is rampant across the United States and Maryland is no exception to the rule. In fact, Maryland is one of the top ten states in the country when it comes to dependence on drugs.
A charge of drug possession is not a situation to be taken lightly--aside from possible jail sentences and astronomical fines, convictions of drug offenses can plague your quality of life in the long term. For instance, a conviction of drug possession appearing on your criminal record can impact your ability to obtain a job or find a place to live.
If you have been charged with drug possession in the state of Maryland, you want aggressive, thorough legal representation. James Peters is committed to providing competent representation during the entirety of your case and can answer any questions that you may have about how your case will proceed.
Drug possession in Maryland is governed by Code Maryland Section 5-601 and prohibits an individual from being in possession of drugs or other illegal or dangerous substances. Maryland classifies dozens of substances as dangerous, from obvious illegal substances like heroin, methamphetamines, and cocaine, to less obvious substances including hallucinogens and illegally obtained pain medication.
As of 2014, possession of marijuana does not necessarily equate to a criminal offense in Maryland. Possession of under 10 grams of marijuana is now only a civil offense in the state and does not result in imprisonment. Rather, civil offenses for marijuana possession result in monetary fines that vary depending on whether the offense is the individual's first, second, third or subsequent offense. Possession of 10 grams or more of marijuana remains a criminal offense in Maryland and can result in incarceration along with monetary fines.
Maryland's drug possession statute states that it is illegal for an individual to "possess or administer a controlled or dangerous substance." The law also makes it a criminal defense to attempt to obtain controlled substances through deceit, like using a false name or forging a prescription.
When it comes to possession of illegal substances in Maryland, the penalties that an individual faces vary significantly, depending on the circumstances surrounding the individual's possession.
The type of substance matters. Possession of marijuana, for example, carries a lighter sentence than possession of other illegal drugs.
How much of the illegal substance an individual was found with can have just as much--if not more--of an impact as the type of substance possessed. The quantity of the illegal substance will determine the severity of the punishment.
Prior convictions of drug possession can also increase the penalties that an individual can face. Typically, the first offense of drug possession generally carries a lighter sentence than subsequent offenses.
Drug possession charges are not matters to be taken lightly in Maryland. An individual who is found to be in possession of drugs other than marijuana can be charged with a misdemeanor offense and can face up to one year in jail for the first offense. Penalties for drug possession increase for subsequent offenses, resulting in a prison sentence of up to two years. In addition to imprisonment, a person may be ordered to pay a fine of up to $25,000.
Possession of marijuana carries a lighter penalty than possession of other illegal substances in Maryland. A person who is found to be in possession of ten grams to fifty pounds of marijuana can be sentenced up to six months in jail, along with being charged a fine of up to $1,000.
It is important to note that the above-referenced penalties only apply to those who intend to use the drug for personal use. Punishment for violation of § 5-601 increases drastically if an individual is found to be in possession of an illegal substance with intent to distribute such a substance. Depending on how much of the illegal substance an individual is found with, a person in possession of an illegal substance with intent to distribute faces a felony charge punishable by up to 25 years in prison and fines of up to $100,000.
If you have been charged with drug possession, it is important to contact a criminal defense attorney as soon as possible. Depending on the circumstances surrounding your arrest, certain defenses may lessen the penalties of the charge that you face. In some circumstances, these defenses can cause the charges to be dropped altogether.
The Fourth Amendment of the United States Constitution guarantees citizens the right to due process. As part of this right, the law provides protection of citizens from unreasonable searches and seizures by officers. As illegal drugs are most often discovered by officers through a search of an individual or his or her property, it is imperative that an officer conduct the search in a lawful manner. In order to search a person or his or her property, for example, an officer must have "probable cause" to conduct the search, To have probable cause means the officer has a reasonable suspicion that the individual is in possession of illegal substances.
If the officer who discovered your possession of an illegal substance goes beyond what is allowed by the Fourth Amendment, evidence of the drugs cannot be used at trial to prove an individual's guilt. As such, charges resulting from unlawful searches and seizures are often dropped.
The drugs found in or on your property belonged to someone else, and you were unaware of its existence.
If you are facing a charge of drug possession in Maryland, you don't have to defend your case alone. James Peters has built a reputation for fighting on behalf of those who face drug charges and is dedicated to helping clients by providing competent representation to ensure a fair outcome. Don't try to fight your case alone; a conviction of drug possession can impact your life deeply. Take charge of your situation--to schedule a consultation to speak to James Peters about your drug charge, fill out an online contact form or call us at (301) 795-8272 today.


Those are some of the words that were tossed around Friday night in Bayonne to honor Veterans in the community.
The Bayonne Community Museum hosted the annual Veterans Day event, which featured the artwork of Korean military veteran Anthony Sienkiewicz.
A Bayonne native, Sienkiewicz says he started painting after retiring in 2000.
He says his collection helps draw attention to veterans and the sacrifices they make on behalf of the red white and blue.
Veterans say another thing people often forget is that the holiday is not just for the men and women who fought on the battlefield.
The city's mayor says honoring veterans from all walks of life is the least we can do to thank them for serving our country.
But Davis says veterans do much more than just protect our lives and liberty –they are role models as well.


Is it snowing in Samnaun ?ありがとうございました!
Mild with moderate rain (合計 12.0mm) 金曜日の午後に, Becoming colder with a light covering of snow, mostly falling 金曜日の夜に. Freeze-thaw conditions (最大 13°C 木曜日の午後に, 最小 -2°C 金曜日の夜に). Wind will be generally light.
Moderate rain (合計 14.0mm), heaviest 土曜日の夜に giving way to a moderate fall of snow, heaviest 土曜日の夜に. Freeze-thaw conditions (最大 5°C 土曜日の午後に, 最小 -1°C 土曜日の夜に). Wind will be generally light.
Pretty quiet, charming village set in a narrow valley with minimal traffic, at least if you stay up in Dorf. Tax-free prices make shopping for skis, sunglasses, cigarettes and booze attractive to many. Seems to bring in a predominantly German and of course Swiss crowd. Very little by the way of English speakers and perhaps surprisingly not very many Dutch who seem to prefer Ischgl as a base. Stayed at the Hotel des Alpes - nice rooms, spectacularly presented food and great breakfast buffet. Access to 'double-decker' cable-car is by skating along a path or via regular ski-bus which skirts the village.
Most of the skiing is found between about 2000m and 2800m which makes for pretty good snow reliability. Beginners would probably not care for the resort runs back to either Ischgl or Samnaun although the Laret run to Samnaun is more accessible than the others. Up at the top, though, there is a fair amount of easy skiing to be found above the Idalp and at H?llenkar on the Austrian side and down from the Idjoch to the Alp Trida on the Swiss side.
The ski area is really ideally suited to the intermediate skier with plenty of cruising to be had with very little time spent on lifts and in queues. The interesting shape of the terrain also helps to keep things interesting.
If you're looking for a bit more of a challenge, there is enough to keep most people happy for a week, although possibly not two. Runs marked black on the piste map are steep, at least in sections, but are groomed and do therefore not develop into mogul fields. There are a number of areas that do get moguled pretty quickly though. The ski route under the Greitspitz chair is one that is fairly narrow and steep and tends to have good snow conditions. You'll find more bumps at the top of the H?llenspitzbahn on the right hand side as well as further down between the two black pistes. Another place to go is the ski route which leads off the enjoyable black from the Pardatschgrat down to the Velilleckbahn. There's also some great powder to be found in this area if you head right down into the Velilltal just a little before you get to the marked route. The slope has a very steep pitch near the top and does not seem to get skied out very quickly at all. Further up the Velilltal, the route down from the Viderjoch starts with a traverse across from the top of the lift before leading you steeply down into the valley. This was powder when I visited but presumably develops some pretty big moguls after a few days without fresh snow. The extremely narrow and steep gully on the left hand side of the Gratbahn is also good for a challenge. On the Swiss side, you'll find powder over by Alp Bella, particularly by the Mullerbahn. Elsewhere, the black from the top of the Palinkopf towards the Paznauner Thaya gives you a good 800m of vertical and is nice and steep virtually all the way, but if you drop off the edge of the path right at the top (exercise caution - avalanche danger), there is fantastic powder down towards the Gampenbahn. If you're based in Samnaun, you can finish the day by skiing down the other side of the Palinkopf but again dropping off the side of the marked path at the top for a steep face of powder. This ski area definitely does have its challenges, especially if you go looking for them. Some people even manage to ski from the Alp Trida Sattel down to Samnaun under the cable car, but you'll really want to have someone who knows their way about before you tackle that or there's a substantial risk that you'll end up at the bottom of a cliff.
Decent places can be found in both Switzerland and Austria, but while I prefer Switzerland as a base Austria offers the better value for money when it comes to food. Fill yourself up on cheese 'sp?tzle' down at the Paznauner Thaya or grab a tasty pizza or bowl of pasta from the Schwarzwand in the H?lenkar for only 7-8 euros. The area does have its fair share of self-service restaurants on the slopes, but it has to be said, they're for the most part nicely decorated buildings with plenty of atmosphere and good facilities too if you're picky about that kind of thing. Service was friendly all over, with the place at the top of the Pardatschgratbahn deserving special mention, not for its rather bland interior, but for the guys behind the counter in the self-service restaurant and their 'obligatory mouthwash' induced joviality.
Given the time of year (Christmas), I wasn't expecting much by way of queues and was not disappointed. The lift system is probably the most modern I've seen anywhere. Three gondolas provide mountain access from Ischgl with the cable-car providing the access from Samnaun. Once you're up there, all but a couple of lifts are high speed chairs with a number of six packs and even two eight-man chairs. There has been huge investment here and it's hard to imagine queue problems even at peak times. There is no longer any skiing in the resort that can only be reached by drag and with further lifts being planned for the coming season(s), this resort is certainly one to watch for the future. Different resorts are good for different people, but I found the shape of the mountain more interesting than at the much more famous St Anton where a frustrating lift system, crowded slopes and snow reliability issues at lower altitude all restrict my enjoyment. These are not problems common to Samnaun which I feel is certainly a resort worth considering if you're wondering where to go for a week and fancy trying somewhere new.


WINNER OF 6 EMMYS and 2 GOLDEN GLOBES!
Eps 3-9. Writer / Producer ~ Ryan Murphy / Directors ~ Dan Minahan, Gwyneth Horder Payton & Matt Bomer.
2018 Emmy Winner - Limited Series, Director Ryan Murphy, Lead Actor Darren Criss, Casting, Costume Design and Hair & Make-Up design.


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Last updated: 10:00 PM ET, Thu November 23 2017
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A Full Menu for Culinary Groups
Here's a sampling of food-and-wine theme cruises to consider recommending to your epicurean clients.
Cruise Line & Cruise Ship Theresa Norton
PHOTO: An America's Test Kitchen presentation aboard Holland American Line's ms Westerdam (photo by Jason Leppert)
With consumer interest in food and wine skyrocketing, it makes perfect sense for you to create groups centered on culinary themes.
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It makes even more sense because the cruise lines have already done much of the groundwork for you by crafting culinary-focused activities and theme voyages with celebrity chefs and instructors.
"Culinary interest is at an all-time high, and it lends itself to a great way to build a group cruise," said Eva Jenner, vice president-sales at Holland America Line. "Look into your local community for partnerships with restaurants, wineries, wine shops and cooking schools, especially if they have well-liked chefs or vintners who can conduct cooking demonstrations or tastings to create an engaging opportunity."
If you partner with a local restaurant, cooking school, or craft brewery or distillery, ask to host an event at its venue to promote the cruise. Ask the chef, brewer or instructor to host the group cruise. Use their mailing list to promote the event and the cruise itself.
Here's a sampling of food-and-wine theme cruises to consider tapping into.
Holland America Line & America's Test Kitchen
The company has a partnership with America's Test Kitchen (ATK), which produces TV shows broadcast by more than 350 public television stations nationwide.
There are three special ATK cruises in 2018 that will be hosted by the experts from the TV show, featuring cooking demonstrations and hands-on workshops in the shipboard Culinary Arts Center. Guests also have 24-hour access to episodes of "America's Test Kitchen" and "Cook's Country" TV programs in their staterooms.
The 90-minute hands-on workshops (a fee is charged for these) will focus on topics such as making pie dough and homemade pasta. In addition, the ATK hosts will share culinary tips, recipes and samples in live 45-minute cooking demonstrations on meatless meals, Italian favorites, flavors of the Mediterranean and so on.
The 2018 ATK voyages include:
—May 6-13, roundtrip from Vancouver on the Westerdam, featuring Jack Bishop, chief creative officer of ATK; and Bryan Roof, executive food editor for Cook's Country magazine and an on-screen test cook for the TV show "Cook's Country."
—July 7-21, Northern Isles on the Zuiderdam, with Bridget Lancaster, host of "America's Test Kitchen" and "Cook's Country" TV shows; and Lisa McManus, executive editor in charge of equipment testing and ingredient tasting at ATK.
—September 22-29, Canada/New England on the Veendam, featuring Julia Collin Davison, host of the "America's Test Kitchen" and "Cook's Country" shows; and Becky Hays, deputy editor of Cook's Illustrated magazine and an on-screen test cook for "America's Test Kitchen."
Call 800-426-0327 or visit the agent portal at gohal.com.
AmaWaterways Wine Cruises
AmaWaterways will host more than 50 wine cruises in 2018 that will feature North American winemakers, winery owners and expert oenologists. Next year's line-up showcases husband and wife winery co-owners, families who share the passion, and pride of winemaking and nine women who are making their mark in the wine business.
The company offers an array of shore excursions that include visits to private cellars, strolls through vineyards and encounters with world-class vintners and artisans. The river cruises sail through France's Bordeaux, Burgundy and Alsace regions, Germany's Moselle and Rhine valleys, Austria's Wachau Valley and Portugal's Douro River area.
Those who book a wine cruise by November 30, 2017, will receive up to $1,500 off per stateroom on select dates, excluding Portugal itineraries.
Call 800-626-0126 or visit AmaWaterways.com.
WATCH: Life on Board an AmaWaterways River Cruise
Ponant "Gastronomy & Oenology" Cruise
For your clients who love classic French cuisine and wine, consider recommending the new "Gastronomy & Oenology" cruise, April 11-19, aboard the 264-passenger Le Soléal. Ports of call include Médoc, Saint-Emilion and Bordeaux.
Two gala dinners will be hosted—one by Chef Pascal Féraud of Michelin-starred Le Jules Verne restaurant in the Eiffel Tower and one by chef Stéphane Duchiron of Versailles' Ore restaurant.
The voyage also includes a dinner supervised by Pascal Féraud, which will take place in Pauillac, with Le Soléal moored in front of Château Latour. The menu will be paired with a selection of Médoc's finest grands crus.
Famous cheesemaker Bernard Antony will also conduct tastings of mature cheese while Jean-Robert Pitte—president of the Académie du Vin de France since 2011 and Member of the Institut de France (in the Academy of Moral and Political Sciences) since 2008—will lead discussions on board.
On land, guests will travel into the heart of prestigious estates and vineyards, including Château Siaurac in Bordeaux.
Rates start at €4,050 (about USD $4,765 at press time) per person, double occupancy.
Call 888-400-1082 or visit ponant.com.
American Queen Steamboat Co. Bourbon Cruises
This US river line offers a variety of theme cruises, including two in 2018 that focus on bourbon. These special voyages will show your clients where bourbon is made and the ways to distinguish the unique characteristics of different distilleries. The line has arranged special tastings, treats and cooking demonstrations, as well as a line-up of onboard guest lecturers.
The American Duchess offers a bourbon cruise May 6-14 from Cincinnati to Memphis, priced from $2,999. The American Queen will operate on July 1-9 from Memphis to Louisville, priced from $1,999.
These cruises include a complimentary excursion to the Jim Beam Distillery or the Maker's Mark Distillery in Brandenburg, Kentucky. The American Queen cruise also includes a free tour of the Buffalo Trace Distillery in Frankfort, Kentuck, from the port of call in Madison, Indiana.
Call 888-749-5280 or visit americanqueensteamboatcompany.com.
For more information on Holland America Line, AmaWaterways, Ponant, American Queen Steamboat Company, Germany, Austria, Portugal, Bordeaux, France, Europe, Cincinnati, Ohio, Memphis, Tennessee, Louisville, Kentucky
For more Cruise Line & Cruise Ship News
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A version of this article appears in print in the November 2017 issue of AGENTatHOME Magazine.
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Three men BASE jumped from the One World Trade Center in September 2013. Six months later they were arrested. Their ongoing—and, many would say, harsher than necessary—legal battle raises the question: How serious a crime is leaping off a building?
La French BASE Association est une association qui a pour objectif la promotion du BASE jump en France.


Welcome to this 3 day experiential workshop dedicated to taking your relationship with yourself to a deeper level and engaging in ancient ceremony to enter into a sacred world of eternal possibilities.
We begin to understand through our experience that thoughts, beliefs and situations cannot be resolved at the level at which they are created. If we keep doing and thinking in the same old way, we just get more of the same.
We want to create space to turn down the noise of our intellect to allow our inner voice to be heard. A Vision Quest provides the structure and support for you to use the full range of your consciousness to examine your life, find the root of any discontent and gain a vision of new directions and goals. A Vision Quest is not the time spent on your own. The Quest begins from the moment you set your intention and continues as you integrate and create the new coordinates for a more powerful and supportive map for your life's journey.
This workshop is open to all those who feel called to spend some time in nature's sacred space. This is an opportunity to enrich your own life and of course as you experience any shift in your perception of the world so others have the opportunity to do the same.
Remember the Vision Quest like any participation in medicine wheel work is a continuation of your personal journey and is not to be considered an escape from your reality but an enhancement of your awareness in your life's journey.


oke up feeling like a million bucks on Friday the 26th. Five years ago I wrote a song that featured London Bridge, sort of, so I worked it out on the guitar again and recorded it on our balcony, with the Bridge behind me.
[l1]W[/l1]oke up feeling like a million bucks on Friday the 26th. Five years ago I wrote a song that featured London Bridge, sort of, so I worked it out on the guitar again and recorded it on our balcony, with the Bridge behind me.


The 2 Bedroom Ocean View Villa has a great floor plan on two and a half levels. It offers 2 bedrooms and 2 bathrooms.
On the first floor is the main entrance with a terrace out front, a great living area with cable TV and an open fully equipped kitchen. Just five steps up you will find one of the bathrooms with a shower stall and the first bedroom with a double bed. The second floor has a beautiful view to the ocean and the Marina Pez Vela.
There are two units with this configuration. In the first, the bedroom on the lower level has a terrace right in front of the pool, the master bedroom on the upper level has a king-sized bed and an en-suite bathroom with a shower. The other unit has on the upper floor a double and a single bed and fits one person more as well as a bathroom with a bathtub-shower combination. Both Villas have access from the upper floor to a shared roof-top terrace with a beautiful view, wet bar and sitting area.
The Villas are on our main grounds close to the reception and the pool.
Peak Season (12/20-01/10): $ 380.


Imagine yourself arriving to a small, quiet, fairytale and beautifully floodlit medieval town surrounded by canals, the musical sound of bells, and a subtle smell of chocolate.
You can follow me on Instagram (@justzhm) for more pictures and doodles from Bruges and around the world.
Now, without further ado, here is why I think visiting this fairytale town is worth your while.
1. Medieval charm: Bruges is definitely the most well preserved medieval city in all of Europe and has been recognized as a UNESCO World Heritage Site. Visiting Bruges is like traveling in time to another world, a world of colorful dollhouses and beautiful rooftops. You will fall in love with Bruges when you visit and even more so after you leave it and look at your pictures from there.
2. The Belfort: The Belfort is a striking architectural element that dominates the heart of Bruges. This perfectly preserved 83-meter tall medieval tower houses a 47 bells carillon and provides breathtaking aerial views of the whole town and enchanting melodious bell sounds every hour. It is a 366 steps climb but the spectacular panoramic views are worth that and more.
3. Postcard perfect historic squares: Bruges has many beautiful squares, most of which are very rich in history and landmarks (and highly Instagrammable too!). The main market square, the Markt, is located at the very heart of Bruges as it was the medieval commercial center of the city. Today, this square brings together the essence of the city; it is full of history, life, buzzing with people, music & food. Smaller in size but equally as significant is the Burg and the Stadhuis (Town Hall).
Bruges Town Hall's interior is simply magnificent (and the exterior is already pretty enough). The ceiling and its gold details are striking, the paintings around the walls impressive and rich in historical narratives,…even the heaters metal covers are intricately detailed with floral motifs! No photograph can do this place justice as there are so many details to admire.
4. Romantic canals and bridges: Many European cities with canals (i.e. Amsterdam, Manchester, and Stockholm) are sometimes described as the "Venice of the North", but none is more worthy of that title than Bruges. Once you travel through its canals you will realize how wonderful Bruges is, and you will see how the buildings step right into the water and how the water flows into places that can't be accessed by land and that would otherwise go unnoticed.
5. The Lake of Love: On the southern edge of the historic center of Bruges there is an oasis-like area named Minnewaterpark, a tranquil public green space featuring the Minnewater and the Lovers Bridge. According to a local legend, a young girl named Minna was in love with Stromberg, a warrior of humble origins. Her father, who did not approve of their love, arranged her marriage with a young man from a higher social class but Minna ran away disappearing into the forest. Stromberg searched for Minna but when he finally found her, she was too weak and died in his arms. It is said that Stromberg buried Minna on the bottom of the lake to keep their love in its waters forever. The lake was then named after Minna and their tragic love story resulted in the myth of eternal love befalling couples who cross this lake's Bridge.
Stromberg and Minna by the Minnewater, the "Lake of Love" …According to a local legend, a young girl named Minna was in love with Stromberg, a warrior of humble origins. Her father, who did not approve of their love, arranged her marriage with a young man from a higher social class but Minna ran away disappearing into the forest. Stromberg searched for Minna but when he finally found her, she was too weak and died in his arms. It is said that Stromberg buried Minna on the bottom of the lake to keep their love in its waters forever.
6. Beautiful parks, gates and mills: Bruges' old city walls (taken down in the 1780s) were replaced by a series of green spaces that encircle the whole city. They offer a variety of interesting locations worth discovering, such as breathtakingly beautiful parks where to enjoy nature away from the crowds, monumental medieval city gates and postcard perfect windmills. Originally there were 25 mills in Bruges, but now only four remain. The Sint-Janshuismolen (Sint-Janshuis Mill) was built in 1770 on the site it occupies today, it is still grinding flour and is open for visitors.
7. The Blood of Jesus Christ Church: Bruges is home to several monumental churches and an important Catholic shrine, the Basilica of the Holy Blood. The basilica owes its name to a relic from the crucifixion: a vial containing a small piece of cloth said to be stained with drops of Jesus Christ's blood. The Basilica building itself is wonderful and consists of a Romanesque lower chapel (austere with very little decoration) and a Gothic upper chapel (rich in colors and details) connected by a monumental brick staircase. Another religious/architectural/artistic treasure is the Onze Lieve Vrouwekerk (Church of Our Lady), which is home to Michelangelo's Madonna with Child (1504), the only sculpture by Michelangelo to leave Italy during his lifetime.
8. The Begijnhof: The Begijnhof (Beguinage) is a little piece of heaven on earth. It is a convent-like complex located away from the heart of the city and the crowds. It is reached by a bridge and through a gate that is locked every night. Inside, there is complete silence and calmness, all houses are white, the lawns perfectly green and the trees and shade abundant. Inside the Beguine's House (a typical house turned museum), you will be able to see what these beautiful houses look like from the inside and get an idea of what day-to-day life was like in the 15th century.
9. Chocolate: Bruges houses over 50 expert chocolatiers who provide infinite ways to enjoy chocolate, from very traditional crafts to the most innovative creations. As soon as you start walking around and looking at the numerous confectioners' windows, you will realize that you are in chocolate heaven; where chocolate comes in hundreds of flavors and shapes. Quality chocolate can be found almost everywhere in the city, but a must visit shop is the Dumon Chocolatier, a tiny dollhouse-like shop where chocolates have no labels because, as the owner explains, labels over-simplify the intricacy and richness of the flavors.
10. Fabulous evening floodlighting: Bruges looks beautiful during the day and even more splendid at night: the Belfort and other landmarks towering above the town are brightly lit up with floodlights, the water of the canals reflect the illuminated fairytale architecture and the wet cobblestones shine under the street lights.
11. Rich art scene: Did you know that at the end of the 15th century, only the most eminent of Italian cities could dispute Bruges' position as the art center of the Western world? Well, Bruges has been closely associated with the school of Flemish Primitive painting and a center of patronage for great artists, such as Jan van Eyck and Hans Memling. Many of these artists' works were exported across Europe and played a large part in the Renaissance. Today Bruges houses many museums and art galleries, but the Groeningemuseum is THE museum you don't want to miss. The Groeningemuseum features paintings by the most influential Flemish painters and many other masterpieces. Some of its highlights include Jan Van Eyck's "Madonna with Canon George Van der Paele" (1436) and the "Madonna by the Master of the Embroidered Foliage" (1510). Another jaw dropping piece is Hieronymus Bosch's "The Last Judgment" (1486). I could write pages about what I saw and felt when seeing these pieces up close.
12. Unusual, fun museums for art and non-art lovers: If art is not your thing, there are some peculiar museums you will find interesting and enjoyable, such as the Brugs Biermuseum (Bruges Beer Museum), Choco-Story (Chocolate Museum), Frietmuseum (Fries Museum), and Diamantmuseum (Diamond Museum).
…and that's why I left Bruges with a heavy heart, a heavier bag, and the wish to be back again soon!
Have you been to Bruges? What was your favorite experience?


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