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A lot can happen in 10 years. And it has. As part of this week's post-mortem of the last decade in gaming, we now present for you some of the weirdest, depressing, arousing, significant, entertaining and amusing events, happenings and milestones that have occurred in the wonderful world of games during the soon-to-be-expired Noughties.
From the tragic passing of the Dreamcast, to the glorious day when excessive viewing of Wii Fit Girl's gyrating rumpus on YouTube made us dizzy. These are the moments that we remember without too much hard-thinking and talk fondly about after a session of hard drinking.
So before we all collapse with inebriated exhaustion into the open arms of 2010, allow us to refresh your memory with all the stuff worth remembering from the last 3650 days.
Microsoft unveils the Xbox | March 2000
By the time the Game Developer Conference rolled around in 2000, it was well known that Microsoft was ready to pop out a console of its very own. The Bill Gates hosted GDC presentation, however, is when all the gossip, rumouring and speculation became official fact. Cue sexy exciting CPU and GPU specs that laid bare Microsoft's plan to crush the competition (aka PlayStation 2).
The GDC audience was wowed with numerous awesome tech demoes featuring butterflies, ping-pong balls and a butch woman (see the video above). But Gates had a long way to go in convincing gamers. At the time of the unveiling we distinctly remember a vocal majority of gamers (some of us included) trumpeting through their indignation that they would never in a million years buy a Microsoft console. Most of them are now on our Friends list.
Metal Gear Solid 2's E3 2000 trailer | May 2000
Games simply didn't look this good back in the Noughties' pioneering year. And game trailers usually involved a suit standing in front of a few slides before showing ten seconds of hastily cut, underwhelming footage. So when Hideo Kojima rolled into La-La Land with 9 minutes of Hollywood-shaming footage from Metal Gear Solid 2, the excitement over what he and his team had created was peerless. Hell, such was the slack-jawed, fanboy-fainting astonishment, Koj might has well have been Spielberg debuting a (not shit) Indy 4.
Thanks to months of folk at Kojima Productions working their fingers to bleeding stumps, MGS 2 looked embarrassingly ahead of the competition. The impact was so seismic that it sparked 18 months of undiluted, unrelenting hype, the likes of which haven't been seen since. The trailer also helped put the final nails in the Dreamcast's soon to be decomposing coffin. And Sons of Liberty's reveal heralded the moment thousands of gamers decided to hold on for a PS2, rather than plump for Sega's already available, but technically inferior machine.
Online gaming finally gets good | Early 2000
When the broadband pipes started getting hooked-up at a pace, the gateway to online gaming finally came to beautiful fruition. Not only was PC gaming online infinitely improved, but while Sony and Nintendo were fighting over who could make the best clusterf*** out of an online strategy, Microsoft stormed in and got things going for consoles with its Xbox Live service.
Above: Broadband is the light
And, thanks to those super spunky connections, this is a decade defined by the rise of digital distribution (led by the likes of Steam), downloadable content, media sharing and the like. Indeed, blessed is the broadband.
Sega drops out of the hardware business | January 2001
Ten years previous, the thought of Sega going out of the hardware market was unimaginable. The Mega Drive/Genesis had Sonic The Hedgehog and nothing could go wrong. But time passed and the climate changed. There were hardware upgrades instead of a new platform, then hardware upgrades as well as a new platform… then the Saturn-exclusive Sonic game fell through and to cap it all off the PlayStation came along and trumped Sega in almost every department.
Looking back, it would have been wise to get out then, but Sega still had an ace up their sleeve. Dreamcast. A wonderful, trailblazing console that gave us our first online gaming, DLC store, high(er) definition display, 60fps graphics and so much more. It only lasted for two short years until Sega ran out of money and fled in the face of the PlayStation 2. They say the brightest flames often burn the shortest.
Sega's now a third-party publisher like EA, and doing well from it, so we haven't really lost them. But we'll always miss that magic of a Sega wondermachine spitting out miracles in the window of an electrical store…
Metal Gear Solid 2: Raiden outrage | November 2001
The wait for MGS2 was finally over. Fans unwrapped their pre-ordered copies with delight. They stormed through the Tanker level. It was the Best Game Ever. And, then... a deafening cry of "Who the f*** is this cart-wheeling clown!?" was heard throughout the land.
Above: Solid Snake and that other guy
He might not have appeared in any of the pre-release trailers or screenshots and Hideo Kojima certainly gave no suggestion that anyone other than Snake would be the game's number one man. But there he was. Raiden. An effeminate pretty boy with a whining girlfriend. Kojima claimed Raiden's role as protagonist was essential in order to develop Solid Snake's character. Whatever the excuse, this storyline switcheroo remains one of gaming's most poorly received WTF-iest moments.


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You are an art history teacher and you are assigned with teaching a distance course. In the classroom, you have had great success with a teaching approach that involves showing photos on the big screen and building teaching moments by discussing with students the important elements of the image. You want to translate this teaching method to the distance realm. Of course, you have several challenges:
- The students are geographically distributed and, therefore, using an audio-enabled online synchronous presentation room (such as Elluminate Live!) would be difficult for scheduling reasons.
- You could write down an accompanying piece of text to go with an image where you describe the concepts and then you can ask students to engage in a text-based discussion around the concepts. But somehow the mechanics of this activity sound so 'artificial'. It lacks that intangible quality of a face-to-face discussion while being able to point to parts of the image. It's a poor substitute for what you have become accustomed to in the classroom: exchanging ideas both student-to-instructor and student-to-student while talking together, etc.
- Your department has given a very small budget to help with the creation of your course – $100.
Does this sound like a daunting scenario?
Welcome to Voicethread. It's a tool for having conversations around media. It's a way to share with a group of people one or more images placed into a VoiceBook. Together you can make a series of audio comments on the images that everyone can hear and playback more than once. These voice comments can also be augmented with annotations to the images that highlight areas of interest – much like pointing to a section of a slide while talking in class. The power of this service becomes fantastic when you realize that students *and* instructors can both leave audio comments on the same image. So assembling together the audio commentary from a group of students is a great thing to experience. You can definitely feel the collective energy of the class much more intensely than you can with a written discussion forum. It gets much closer to providing that intangible feeling of face-to-face discussion while being completely asynchronous. For about $100 you can use it with a class of 50 students and it's entirely online with no software to install.
Do you want to see it in action? Michelle Pacansky-Brock, an Educational Consultant, has put together a few demonstration images into a Voicebook so you can experience the power of this tool.
If you want more info on Voicethread be sure to watch the intro video from the makers of Voicethread themselves. Also, visit (and contribute to) the Voicethread page on the classroom 2.0 wiki for additional resource related to Voicethread.
Do you have any exeprience with Voicethread or do you see an application for it in your field? Share your ideas with everyone by leaving a comment below.

subset: commoncrawl


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First Look Review: HP OfficeJet PRO K850DN Color Inkjet Printer31 Jan, 2006 By: Ron LaFon
HP's new OfficeJet Pro K850dn color inkjet printer generates quality wide-format color prints.
HP Introduced A variety of new printers, one of which—the HP OfficeJet Pro K850dn—we thought would be of particular interest to Cadalyst readers for generating check plots. The HP K850dn is a wide-format (Super B) color inkjet printer with integrated networking capabilities. Its print speeds in draft mode reach 24ppm black and 21ppm full color. In laser quality mode, it prints up to 7ppm in black and 6ppm in color—comparable to the performance you might expect in an entry-level color laser printer. The printer's performance is augmented by a 256MHz processor and 32MB of onboard RAM. For the absolute best quality, speeds of 4ppm per minute black and 3.7ppm color are more typical. Speed depends greatly on the quality of output needed.
The K850dn is priced at $499.99 and features a duplexer module and integrated Ethernet networking in addition to all of the features included on the base model. A built-in Web server enables users to enter its IP address in a Web browser and easily control the printer or determine print job and ink level status. Both Ethernet and USB 2.0 connections are available, as well as a standard IEEE 1284 parallel port, making the printer extremely useful for workgroup situations.
The HP OfficeJet Pro K850dn includes a 100-sheet output tray that accommodates paper sizes from 3" X 5" through 13" X 19". The input tray holds 150 sheets of 13" X 19" paper or smaller. A 10-sheet manual feed slot is provided for specialty papers and heavy stock (up to 76lb). Effective print resolution using HP PhotoREt III enhanced color-layering technology is 4800x1200-optimized dpi color printing on premium photo papers, 1200x1200 input dpi. If you're using the duplexing attachment included with the K850dn (available as an optional accessory on the K850), you must remove it to use the manual feed slot, though this is quick and easy to accomplish.
HP OfficeJet Pro K850dn
Ink cartridges and print heads are separate in the K850dn, with two ink cartridges sizes available—69mL and 28mL for black and 28mL and 14mL for color. We tested the HP OfficeJet Pro K850dn with 5" X 7" and 8.5" X 11" glossy Advance HP Photo Paper, and 13" X 19" HP Premium Plus Photo and Proofing Gloss paper. Test output was surprisingly fast and of very high quality, with no streaking or unevenness visible whether the printer was outputting vector (line) art or bit-mapped (raster) images. Text produced by the printer was crisp, with no signs of fill-in or breaks, even in smaller point sizes. The K850dn has eight built-in fonts, four each in portrait and landscape orientation.
The K850dn is compact for the size of output it handles, measuring 24" X 20.66" (with the duplex unit attached, 17" without) X 8" (WxDxH). Relatively quiet in operation, it weighs 31.5lb fully equipped. The box includes the printer, a setup roadmap chart, printer heads and ink cartridges, a multi-language user guide, power cord, power adapter and driver CD. The HP OfficeJet Pro K850dn requires at least a 90MHz Pentium processor, 16MB of RAM and 90MB of hard disk space. It's supported under Windows 98/ME/NT 4/2000/XP and various flavors of Macintosh, including OS X. Other operating systems supported include Red Hat Linux 9.0+, SuSE Linux 8.1+, Debian 3.0+, Stackware 8.1+ and Lindows 1.3+.
The HP Officejet Pro K850 series color inkjet printer handles checkplots with a maximum print area of 13" X 100".
With its relatively low cost, high quality, fast performance, solid engineering and ease of use, not to mention its connectivity options, the HP OfficeJet Pro K850dn offers a winning combination that will make it a comfortable fit for the individual user as well as the small workgroup.
Ron LaFon, a contributing editor for Cadalyst, is a writer, editor and computer graphics and electronic publishing specialist from Atlanta, Georgia. He is a principal at 3Bear Productions in Atlanta.
About the Author: Ron LaFon
For Mold Designers! Cadalyst has an area of our site focused on technologies and resources specific to the mold design professional. Sponsored by Siemens NX. Visit the Equipped Mold Designer here!
For Architects! Cadalyst has an area of our site focused on technologies and resources specific to the building design professional. Sponsored by HP. Visit the Equipped Architect here!


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Food pranks offer a crafty way to trick your family and friends this April Fool's Day. Great for playing on kids (or for helping kids to pull on adults), these food pranks offer a surprising trick that's also a treat.
This food prank is a great craft for children, particularly elementary school-age boys who love a little fear in their surprises. Thread a color-appropriate string inside an empty ketchup or mustard bottle. An unexpected squirt creates the impression that the "victim" is about to get condiment all over his or her shirt.
For the free ketchup and mustard food prank tutorial, go to All For the Boys.
Katie Did staged Jell-O to look like refreshing apple juice for this surprising food prank. If you prefer your pranks to be vegan and gluten-free, combine cornstarch and water for a cup of goop that looks like solid milk but is actually liquid.
Check out Instructables' cornstarch milk prank how-to.
Instant pudding gets mixed with Starburst and Jolly Rancher candies for a sweet food prank in the shape of a Sunday dinner chicken pot pie. Save time by using pre-made tart shells.
Head to Food.com for the free chicken pot pie food prank recipe.
Smear vanilla wafer sticks with peanut butter and then coat with crushed cornflakes and breadcrumbs for this dinner-time food prank. Peas from toffee candy and ketchup-like jam complete this easy craft for kids.
For the fishstick food prank tutorial and others, check out Aknie Girl's blog.
One of the more popular food pranks floating around the web, this cupcake food prank uses a meatloaf base and a mashed potato topping for a tasty trick this April Fools' Day.
Skinny Taste has a lower-calorie version of the meatloaf cupcake food prank.
This food prank looks like strawberry pie but is actually that savory mashed potato and meat concotion better known as Shepherd's Pie. Cocoa, barbeque sauce and molasses give the meat a chocolate restyling and beet juice adds a hint of strawberry to the mashed potatoes.
For the free fauxberry pie food prank recipe, go to FamilyFun.
Image credits (from top): All For The Boys, All For The Boys, Katie Did, Food.com, Aknie Girl, Skinny Taste and FamilyFun


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The late 1990s brought a flood of projects his way, and to many on the outside it looked like George was grabbing at everything — Neiman Marcus, the Chicago Cow Parade, books like Blue Dog Man, Blue Dog Christmas, and Blue Dog Love, posters for the New Orleans Jazz and Heritage Festival, the inaugural poster for President Bill Clinton, and numerous smaller projects for non-profits such as the Red River Revel in Shreveport and the Shaeffer Eye Center/Beam's Crawfish Boil in Birmingham.
However, behind the scenes, although we were very busy, it just didn't feel like a sell-out. Every project was unique and chosen for some purpose other than money. In fact, in looking at the list above, not one thing even brought in much money — not directly anyway. Rather they were all interesting projects, things to be worked out, that excited George both artistically and, there is no denying, promotionally. Each one of these helped increase his fame in certain arenas on a positive level, while at the same time challenged his creativity.
And yet, I was shocked at the number of projects he turned down. People often asked him, "How did you get the Blue Dog paintings on the show Friends?" or "How did you get to paint Bill Clinton for his inauguration?" It was clear that most people thought we sought out these projects (or even paid for them!) when in fact, they poured in. Many nights we sat on the couch going through that week's stack of offers. And ninety percent of the time, before I barely outlined the proposal, his answer was "no."
He turned down (and continues to turn down) everything from cartoons to major motion pictures to stuffed animals to needlepoint to clothing lines to mascots for major league football teams and women's roller derby to the more obvious —- t-shirts and magnets and baseball caps and posters.
I'm amazed at the number of licensing companies that still contact him, thinking that because they're not out there, surely he never thought of making t-shirts or posters.
To George's mind, while he's here on this earth, alive and painting, any of those projects might ruin his art. That's not to say that there won't be posters on every street corner one day, but it will be long after he's gone, after his art reaches that elevated status that comes with a complete oeuvre and a lifetime's achievement, so that the gap between the original paintings (and silkscreens) and the 'products' is so wide as to be insignificant.
There was one project, however, that appealed to George not only creatively and promotionally, but also financially: Xerox.
When we received their letter sometime early in 1999, although he was intrigued, George initially turned them down. He had hesitated in favor of the project only because the letter came not from Xerox, but from Young and Rubicam, the legendary New York advertising agency. His years at the Art Center College of Design in the 1960s focused heavily on advertising design, and in fact as a student George considered this as his profession (for more background see the post: Art School: Lafayette and Los Angeles, 1962-1967).
Unsatisfied with his reply, the Y&R team, specifically Barry Hoffman and Bob Wyatt, visited us at our then-home in Lafayette, Louisiana. They had with them designs for a world wide advertising campaign for their client Xerox. Each design featured the Blue Dog. I could see George was torn. On the one hand, he was like a child with excitement at the thought of working with these talented designers, and he was dreaming about what he would do with the generous payment they offered for the use of his art in their campaign; and on the other hand, he winced at their initial work. In all cases, they had removed the dog from his paintings, so that it stood on its own or appeared as a design-element in their lay-outs. In at least one example, the dog had a speech bubble attached to its mouth.
If there is one hard and fast rule for George regarding whether or not to allow the use of his artwork in any project, it is this:
The Blue Dog exists only within a complete painting of George's design.
He turned them down again.
Within a week, they flew us to New York and tried again. I'll never forget that meeting, because I knew then that it was going to happen, and admittedly, the thought of that big pile of money, the likes of which we'd never seen, was like winning the lottery. Y&R agreed to George's terms regarding his art. They would give him tag words, and he in turn would design the complete painting and ad, so that the campaign was more about his art as a whole than the Blue Dog (or, frankly, Xerox). (pictured below, paintings based on the tag phrases "A Faster Breed," "Taking Care of Business," "Family Business," "A Smarter Breed," and "Service Business")
This included not only print ads and billboards for the United States and Europe, but also television commercials filmed in museums, as well as unexpected locations throughout rural America, with George's paintings as the focal point. (pictured, a barn in western New York, photographed by Theresa Kraft)
That meeting's icing on the cake was a last minute arrival. Aldo Papone, the legendary advertising genius who coined the phrase for American Express, "Don't leave home without it," popped in because he wanted to meet George in person. You would have thought George had met Elvis himself.
The Xerox campaign gave George the opportunity to work with America's advertising giants. He became friends with these men and looked forward each day to exchanging ideas and sharing his work. He painted on the Xerox campaign throughout the year 2000, working on little else. Rarely have I seen him so excited about a project.
So was this a sell-out? I don't know. I do know that it was not a mistake. Whatever flak he took over the campaign was mostly in Louisiana — a product of that usual hometown attitude that comes with anything successful in one's own backyard. The national press was, well, impressed. And indeed, I'm not sure that the nine-month world-wide promotion didn't do more to promote George's art than it did Xerox.
The naysayers made the obvious analogy that George paints the Blue Dog as though he's running it off on a copy machine.
But those of us close to it never saw it that way, especially given the complexity of these works. Also, remember, this was one man sitting in his studio at 3:00 A.M., Hank Williams turned down low, a glass of milk beside him, completely lost in his thoughts, his designs, his paints. For a project that came from The Big City and from The Big Time, in the end it was just George sitting in Lafayette, Louisiana at his easel. High art or low art? You decide.
And so what about the money? He got a big hunk of it, and we were beside ourselves with excitement. To the dismay of our accountant, there was no way it was going into savings. We decided to take the whole chunk and do something we could never do before — buy a house in Carmel, California. And so that's what we did. We found a property on eighteen acres in the country, in Carmel Valley. Even better, there was enough space for George to build his dream studio. It was the first (and only) studio he ever built, always before taking over back bedrooms or offices or a TV room. Let's face it, he deserved it. Even though we now live most of the year in New Orleans, it is in Carmel that he does most of his painting today. (For photos, see the post Not Painting in Carmel). I guess you could say that it's our Xerox house and, no question, sell-out or not, it was worth it.
*all images in this post are acrylic on canvas, size 48×36 inches, painted for the Xerox campaign in 2000
**for a history of the Blue Dog Series visit Blue Dog: In the Beginning, 1984-1989


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Transgender player calls it quits at GW
The openly transgender member of the George Washington women's basketball team, whose groundbreaking season was cut short by a pair of concussions, says he won't play in his senior year.
The school announced that Kye Allums ''has decided that it is in his best interest to no longer participate in intercollegiate athletics.''
''I alone came to this conclusion,'' Allums said in a statement released by the university, ''and I thank the athletic department for respecting my wishes.''
The statement offered no further details, although GW said Allums has enrolled in classes for the fall semester. Allums did not immediately respond to an email request for an interview Wednesday.
Allums made international headlines when he announced before the start of the season in November that he preferred to be known as a man. He said he was putting off hormone treatments and gender-changing surgery so that he could continue to play for the women's team.
But he suffered two concussions early in the season and played in only eight games. He told The Associated Press in March that he had suffered a total of eight concussions, that he was having memory problems and that he was unsure whether he would be cleared medically to play his senior season. He said doctors told him that if he were a football player, his playing days would certainly be over.
''I'm a fighter. I'm still trying to come back,'' he said at the time. ''I really do want to come back and play.''


text: Discover 10 of the most trending travel destinations around the world for 2013. Countries that are quite off the mainstream like Sri Lanka or Slovakia and that can fulfill the needs and wants of a variety of traveler types. Adventurous, intellectual or particularly sociable? No matter what your mood is, you will find a place that fits you.


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Hazmat Storage Buildings
These hazmat storage buildings provide safe chemical storage and secondary spill containment. They are available in a variety of sizes and configurations, with nonrated, insulated, and fire-rated models available in 5- to 96-drum capacities. The buildings meet current EPA, OSHA, and NFPA standards, and are FM approved. Spill-containment pallets are also available. Constructed of durable, high-quality, high-strength steel, the storage buildings are designed to enhance worker safety, reduce potential liability, and comply with
Environmental Products Inc., Sheffield Village, OH 440-934-2180 www.benkoproducts.com
Silo Switches
This line of silo switches is designed specifically for powders, pellets, and granular materials that form a cone when the vessel is filled from the top. They are available in styles to suit multilevel indication and are offered with a cable or AMP Super-Seal plug-style connection. Maximum standard switching voltage is 48 V with N/O or N/C contact styles available. The switches are housed in rugged polyamide with operating temperature ranging from –13° to 167°F.
Elobau Sensor Technology Inc., Lake Bluff, IL 874-615-0828 www.elobau-st.com
Tank Cleaning
This company offers automated tank-cleaning products that can reportedly save users tens of thousands of dollars annually in reduced downtime and reduced labor. Included are motor-driven tank washers, fluid-driven tank washing nozzles, and fixed tank washing nozzles. Tank-cleaning accessories such as strainers, flanges, and lances, which can maximize cleaning effectiveness, are also available, as are turnkey tank-cleaning systems.
Spraying Systems Co., Wheaton, IL 630-665-5000 www.spray.com
Storage Tanks
The one-piece construction of these storage tanks provides strength, integrity, and performance as well as easy on-site installation. Depending on specific application needs, tanks can be constructed from carbon steel, stainless steel, aluminum, or any of several special alloys. Tank sizes range up to 15 ft in diameter, holding 10,000 cu ft or 75,000 gal. Tanks feature the company's Polane Urethane Protection Process finishes.
Imperial Industries Inc., Wausau, WI 800-558-2945 www.imperialind.com
Custom-Built Silos
This company manufactures silos to customer specifications for applications in plastics, food processing, agricultural, chemical, and petrochemical industries. Silos are skirt, leg, or gusset supported in configurations up to 16 ft in diameter and heights of over 100 ft. One-piece construction in a variety of materials, including stainless steel, aluminum, and carbon steel, minimizes field
assembly and installation time.
Pittsburgh Tank Corp., Monongahela, PA 724-258-0200 www.pghtank.com
The SiloTrack V3.5 inventory management system provides graphic display of material levels in silos, alarm capability, direct vendor alerts via e-mail, or direct-remote monitoring. Multiple persons within a facility and even at other company locations will know how much material is in a facility's silos quickly and easily. Whether a company stores plastic, cement, fly ash, flour, kaolin, bauxite, sand, silica, coffee beans, or other bulk solid materials, with SiloTrack inventory management systems, the customer gets a choice of level-measurement sensor technologies, including SiloPatrol—a state-of-the-art weight
and cable device—or Flexar-guided wave radar sensors.
Monitor Technologies LLC, Elburn, IL 800-766-6486 www.monitortech.com
Flat-Panel Tank
The FP (flat panel) tank is a bolted storage tank for storing dry bulk materials. It features a smooth-wall interior (no interior ledges), exact manufacturing tolerances, and a highly rated powder coat process. Field installation is accomplished utilizing a synchronized, hydraulic jacking process that allows field crews to install tanks at grade level. The process has received high industry ratings for quality control and safety in the field.
BOSS Tank, Oswego, KS 620-795-2143 www.bosstank.com


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Jump to: Easton's • Webster's • Concordance • Thesaurus • Greek • Hebrew • Library • Subtopics • Terms
Greek2847. kokkinos -- scarlet
... scarlet, crimson. From kokkos (from the kernel-shape of the insect); crimson-colored --
scarlet (colour, coloured). see GREEK kokkos. (kokkinen) -- 1 Occurrence ...
//strongsnumbers.com/greek2/2847.htm - 6k
4392. prophasis -- a pretense
Strong's Hebrew5869. ayin -- an eye
... or figuratively); by analogy, a fountain (as the eye of the landscape) -- affliction,
outward appearance, + before, + think best, colour, conceit, + be content ...
/hebrew/5869.htm - 7k
The Next Morning Dawned with all the Strange Half Mystical Glow of ...
Eighth Tractate. Why Distant Objects Appear Small.
The Portrait of a Drunkyard
"God Willeth to be Seen and to be Sought: to be Abided and to be ...
That the Divine Perfections are Only a Single but Infinite ...
Particulars of the Alleged Communication to a Montanist Sister.
The Parable of the Pearl of Great Price. The Formation and ...
The Argument for Christian Practices Becomes all the Stronger...
1 to Pray is as it were to be on Speaking Terms with Me...
From the Twelfth Chapter.
Easton's Bible DictionaryThe subject of colours holds an important place in the Scriptures.
White occurs as the translation of various Hebrew words. It is applied to milk (Genesis 49:12), manna (Exodus 16:31), snow (Isaiah 1:18), horses (Zechariah 1:8), raiment (Ecclesiastes 9:8). Another Hebrew word so rendered is applied to marble (Esther 1:6), and a cognate word to the lily (Cant. 2:16). A different term, meaning "dazzling," is applied to the countenance (Cant. 5:10).
This colour was an emblem of purity and innocence (Mark 16:5; John 20:12; Revelation 19:8, 14), of joy (Ecclesiastes 9:8), and also of victory (Zechariah 6:3; Revelation 6:2). The hangings of the tabernacle court (Exodus 27:9; 38:9), the coats, mitres, bonnets, and breeches of the priests (Exodus 39:27, 28), and the dress of the high priest on the day of Atonement (Leviticus 16:4, 32), were white.
Black, applied to the hair (Leviticus 13:31; Cant. 5:11), the complexion (Cant. 1:5), and to horses (Zechariah 6:2, 6). The word rendered "brown" in Genesis 30:32 (R.V., "black") means properly "scorched", i.e., the colour produced by the influence of the sun's rays. "Black" in Job 30:30 means dirty, blackened by sorrow and disease. The word is applied to a mourner's robes (Jeremiah 8:21; 14:2), to a clouded sky (1 Kings 18:45), to night (Micah 3:6; Jeremiah 4:28), and to a brook rendered turbid by melted snow (Job 6:16). It is used as symbolical of evil in Zechariah 6:2, 6 and Revelation 6:5. It was the emblem of mourning, affliction, calamity (Jeremiah 14:2; Lamentations 4:8; 5:10).
Red, applied to blood (2 Kings 3;22), a heifer (Numbers 19:2), pottage of lentils (Genesis 25:30), a horse (Zechariah 1:8), wine (Proverbs 23:31), the complexion (Genesis 25:25; Cant. 5:10). This colour is symbolical of bloodshed (Zechariah 6:2; Revelation 6:4; 12:3).
Purple, a colour obtained from the secretion of a species of shell-fish (the Murex trunculus) which was found in the Mediterranean, and particularly on the coasts of Phoenicia and Asia Minor. The colouring matter in each separate shell-fish amounted to only a single drop, and hence the great value of this dye. Robes of this colour were worn by kings (Judges 8:26) and high officers (Esther 8:15). They were also worn by the wealthy and luxurious (Jeremiah 10:9; Ezek. 27:7; Luke 16:19; Revelation 17:4). With this colour was associated the idea of royalty and majesty (Judges 8:26; Cant. 3:10; 7:5; Dan. 5:7, 16, 29).
Blue. This colour was also procured from a species of shell-fish, the chelzon of the Hebrews, and the Helix ianthina of modern naturalists. The tint was emblematic of the sky, the deep dark hue of the Eastern sky. This colour was used in the same way as purple. The ribbon and fringe of the Hebrew dress were of this colour (Numbers 15:38). The loops of the curtains (Exodus 26:4), the lace of the high priest's breastplate, the robe of the ephod, and the lace on his mitre, were blue (Exodus 28:28, 31, 37).
Scarlet, or Crimson. In Isaiah 1:18 a Hebrew word is used which denotes the worm or grub whence this dye was procured. In Genesis 38:28,30, the word so rendered means "to shine," and expresses the brilliancy of the colour. The small parasitic insects from which this dye was obtained somewhat resembled the cochineal which is found in Eastern countries. It is called by naturalists Coccus ilics. The dye was procured from the female grub alone. The only natural object to which this colour is applied in Scripture is the lips, which are likened to a scarlet thread (Cant. 4:3). Scarlet robes were worn by the rich and luxurious (2 Samuel 1:24; Proverbs 31:21; Jeremiah 4:30. Revelation 17:4). It was also the hue of the warrior's dress (Nahum 2:3; Isaiah 9:5). The Phoenicians excelled in the art of dyeing this colour (2 Chronicles 2:7).
These four colours--white, purple, blue, and scarlet--were used in the textures of the tabernacle curtains (Exodus 26:1, 31, 36), and also in the high priest's ephod, girdle, and breastplate (Exodus 28:5, 6, 8, 15). Scarlet thread is mentioned in connection with the rites of cleansing the leper (Leviticus 14:4, 6, 51) and of burning the red heifer (Numbers 19:6). It was a crimson thread that Rahab was to bind on her window as a sign that she was to be saved alive (Joshua 2:18; 6:25) when the city of Jericho was taken.
Vermilion, the red sulphuret of mercury, or cinnabar; a colour used for drawing the figures of idols on the walls of temples (Ezek. 23:14), or for decorating the walls and beams of houses (Jeremiah 22:14).
Webster's Revised Unabridged Dictionary(n.) See Color.
ThesaurusColour (22 Occurrences)
... This colour was an emblem of purity and innocence (Mark 16:5; John 20:12; Revelation
19:8, 14), of joy (Ecclesiastes 9:8), and also of victory (Zechariah 6:3 ...
/c/colour.htm - 21k
Scarlet-colour (1 Occurrence)
Amber (3 Occurrences)
Jacinth (4 Occurrences)
Eye (145 Occurrences)
Dress (38 Occurrences)
Brilliant (5 Occurrences)
Bdellium (2 Occurrences)
Beryl (12 Occurrences)
Chrysoprasus (1 Occurrence)
Bible ConcordanceColour (22 Occurrences)
Acts 27:30 And as the shipmen were about to flee out of the ship, when they had let down the boat into the sea, under colour as though they would have cast anchors out of the foreship,
Revelation 17:4 And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication:
Genesis 30:39 And because of this, the flock gave birth to young which were marked with bands of colour.
Leviticus 13:55 And if, after the mark has been washed, the priest sees that the colour of it is not changed and it is not increased, it is to be burned in the fire: the disease is working in it, though the damage may be inside or outside.
Proverbs 23:31 Look not thou upon the wine when it is red, when it giveth his colour in the cup, when it moveth itself aright.
Ezekiel 1:4 And I looked, and, behold, a whirlwind came out of the north, a great cloud, and a fire infolding itself, and a brightness was about it, and out of the midst thereof as the colour of amber, out of the midst of the fire.
Ezekiel 1:7 And their feet were straight feet; and the sole of their feet was like the sole of a calf's foot: and they sparkled like the colour of burnished brass.
Ezekiel 1:16 The appearance of the wheels and their work was like unto the colour of a beryl: and they four had one likeness: and their appearance and their work was as it were a wheel in the middle of a wheel.
Ezekiel 1:22 And the likeness of the firmament upon the heads of the living creature was as the colour of the terrible crystal, stretched forth over their heads above.
Ezekiel 1:27 And I saw as the colour of amber, as the appearance of fire round about within it, from the appearance of his loins even upward, and from the appearance of his loins even downward, I saw as it were the appearance of fire, and it had brightness round about.
Ezekiel 8:2 Then I beheld, and lo a likeness as the appearance of fire: from the appearance of his loins even downward, fire; and from his loins even upward, as the appearance of brightness, as the colour of amber.
Ezekiel 10:9 And when I looked, behold the four wheels by the cherubims, one wheel by one cherub, and another wheel by another cherub: and the appearance of the wheels was as the colour of a beryl stone.
Ezekiel 16:16 And of thy garments thou didst take, and deckedst thy high places with divers colours, and playedst the harlot thereupon: the like things shall not come, neither shall it be so.
Daniel 5:6 Then the colour went from the king's face, and he was troubled by his thoughts; strength went from his body, and his knees were shaking.
Daniel 5:9 Then King Belshazzar was greatly troubled and the colour went from his face, and his lords were at a loss.
Daniel 5:10 The queen, because of the words of the king and his lords, came into the house of the feast: the queen made answer and said, O King, have life for ever; do not be troubled by your thoughts or let the colour go from your face:
Daniel 7:28 Here is the end of the account. As for me, Daniel, I was greatly troubled by my thoughts, and the colour went from my face: but I kept the thing in my heart.
Daniel 10:6 His body also was like the beryl, and his face as the appearance of lightning, and his eyes as lamps of fire, and his arms and his feet like in colour to polished brass, and the voice of his words like the voice of a multitude.
Daniel 10:8 So I was by myself, and I saw this great vision, and all my strength went from me; and the colour went from my face.
Nahum 2:10 Everything has been taken from her, all is gone, she has nothing more: the heart is turned to water, the knees are shaking, all are twisted in pain, and colour has gone from all faces.
Zechariah 6:3 And in the third, white horses; and in the fourth, horses of mixed colour.
Zechariah 6:6 The carriage in which are the black horses goes in the direction of the north country; the white go to the west; and those of mixed colour go in the direction of the south country.
Related Terms
Scarlet-colored (1 Occurrence)
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I'm standing in front of a cave, my assault rifle drawn. I'm shooting at a steady stream of identical aliens. I do this for an hour, hoping an alien will drop a good enough item so I can finally feel okay about walking away. That moment never seems to come. That's Destiny.
I'm sprinting across a battlefield alongside two friends. A massive alien gladiator wielding an equally massive shotgun chases us all over, his minions appearing on all sides. We shift and maneuver, coordinate our defensive strategy on the fly, cry out for help, rush to one another's aid. For twenty minutes we survive by the skin of our teeth, until the boss goes down in a tower of flame. We circle back to where he fell and start to dance. That's Destiny, too.
I'm urgently calling into the microphone to five teammates, frantically strategizing against a series of challenges that are so demanding and mysterious that we initially didn't have a clue how to proceed. I'm surprised to find myself more stiffly challenged by a video game than I have been in ages. We battle, we lose, we learn, and we regroup. We are becoming an increasingly well-oiled machine, split into squads, calling out positions to one another. Just when it feels like we're not going to make it, a moment of calm emerges from the chaos. Did we... Have we... Yes, we've survived to a new checkpoint. We begin to cheer---throaty, honest cheers, shared between relative strangers, filtered over a network from six different gaming headsets. That's Destiny, as well.
Destiny can be a cruel, exploitative game. It is deliberately unsurprising in so many ways, yet brilliantly bold in others. It's usually a lot of fun, except when it aggressively isn't. I can't stop playing.
Destiny is an always-online first-person shooter from Bungie, the studio that created Halo. It's set in our solar system, in the future, and puts you in the role of an anonymous Guardian, one of thousands of recently unfrozen action heroes. As you run around in the game, you'll see lots of other identical Guardians going about similar tasks, each one controlled by a player like you. Thanks in part to the game's popularity, there are always other people around. There's always shooting in the distance. You're no singular hero; you're one of many.
You've all been charged with going and shooting a bunch of aliens in order to help...save the world...or rather, help... well, it's not quite clear what you're really doing, actually. You're shooting things. That's pretty much what you're doing.
All that shooting is glued onto a character-leveling structure a la World of Warcraft. As you play, the game provides regular drips of experience points, which allow you to level up, which in turn grant you new powers (like, say, a double-jump or a black-hole grenade) and the ability to access more powerful weapons.
So that's what you do. Shoot enemies, get XP, and level up. Shoot more enemies, get more XP, and level up again. Once you hit level 20, you go and shoot enemies, get new gear, and use that gear to level up. That's pretty much all there is to it.
Let's get this out of the way up front. Should you play Destiny? Sure. Yeah. Totally.
Be warned, however: To play Destiny is to willingly give yourself over to a machine, a machine terrifying in the slickness of its construction and the single-mindedness of its purpose. You may find yourself hating this game as much as you like it, and unable to stop playing nonetheless. Destiny coaxes players into a carefully-wrought network of rewards, roadblocks, checks, and balances, pushing them ever onward into more challenging arenas while slowly rewarding patience with experience points, new abilities, and new weapons.
Submit, the game demands. Submit and you will be rewarded.
Well, you will be rewarded if we feel like it.
When I think back to the 60+ hours I've spent with Destiny thus far, I generally think of all the ridiculous things I've done in an effort to get a leg up, some kind of leg up, on this massive, iron-clad machine. Sure, I completed the story missions, and I competed in the player-vs.-player "Crucible" matches. I've also spent hours running around the same field, shooting thousands of replicating enemies, hoping for an easy reward. In pursuit of an advantage, I have stood in front of a door and blown away hundreds of foes, letting myself be eviscerated only to rise, Groundhog Day-like, and blow them away again. And now, the Loot Cave.
Here's how the Loot Cave works: The cave itself is located in one of the game's sizable open levels. You stand outside and shoot the enemies that come out of it. If you kill all the enemies before they can leave, the game spawns more of them, creating an essentially unbroken stream of cannon fodder for you. Since every enemy killed has a chance of dropping some sort of weapon or armor, in about a half an hour the cave will be covered in gleaming rewards.
Word of the Loot Cave spread fast, and if you visited the cave any time last weekend, you'd find a bunch of players sitting out there, mindlessly slaughtering the aliens inside it. Not just sometimes--- every time you passed the cave. How many players are standing there even as you read this, staring down a gun barrel into a cave, blithely pulling the trigger again, and again?
The Loot Cave is what's known as an exploit, a trick the game's developers didn't anticipate that allows players to bypass the game's carefully-scaffolded progression system and earn experience points and gear faster than the developers intended. That so many players would so eagerly latch onto an exploit like Destiny's Loot Cave only makes sense, given the game in question. Destiny itself is brazenly, almost inhumanly exploitative, so it's only natural that players would take every opportunity to exploit it right back.
Destiny has exceptionally strong fundamentals. That's good news, since many of its most evident flaws could, in theory, be addressed with a patch, while things that are more difficult to alter post-release---feel, controls, physics, audio---are solid as bedrock.
With Destiny, Bungie has created the most physically satisfying shooter control scheme since 2006's Gears of War. It's essentially a hybridization of the pinched, focused down-the-sights aiming popularized by Call of Duty and the more open, acrobatic shooting of Halo. Destiny's melee attacks, for example, fire off with a satisfying thwok, which makes the decision to move them from the thumbstick to the right shoulder button appear perfectly sensible. Everything is where it feels like it "should" be and works in concert with the game's design to effectively connect players to the action on screen.
Everything in Destiny moves with a slight heaviness, and the player's finger movements translate onto the screen with just a hint of a delay. That weightiness, combined with Destiny's 30 frames-per-second performance, makes the game feel more deliberate and substantial than most other first-person shooters. Timing and rhythm are everything: Each action stacks on the two or three actions before it, a significant change from the twitchier pace of Destiny's contemporaries.
Weapons and abilities all react according to Destiny's particular internal tempo. The fusion rifle charges and fires at a broken pace, launching a barbed fusillade of projectiles after a brief moment of clogged buildup. Interacting with an object requires holding down a face-button while a small circle quickly fills around the on-screen prompt. My character has a drifting double-jump that allows me to press X once to leap, a second time to boost myself through the air, and a third time to cancel my boost and ride my momentum up and over whatever obstacle I'm attempting to bypass.
If I aim while in the air, I'll hover in place for a couple of seconds, just enough time to snap off a quick shot or two while slowly drifting along on my own momentum. It feels like flying, or somehow better than that---like leaping, falling, and somehow maintaining control. Enemy weapons fire projectiles that move through the air slowly enough to register and dodge, meaning that a skilled player can learn to sidestep enemy fire. With every firefight I leap, float, and weave my way through oncoming projectiles, pirouetting like a heavily-armored ballet dancer. This is lovely stuff.
Everywhere you look, Destiny displays technical and artistic mastery. The vistas are astonishing, conjuring if not the actual view from the surface of planets like Mars and Venus, then what our imaginations suggest those planets should look like. The soundtrack, written by a gaggle of composers led by Martin O'Donnell, Mike Salvatori and C Paul Johnson, is at times distractingly good, full of the sort of soaring, reach-for-the-stars orchestral stuff that video games almost never get. Creatures, costumes, and weapons are all wonderfully detailed and conceived. The "sparrow" speeder bikes are my favorite form of video game conveyance in years, and if humans ever do make a levitating motorcycle, I'll be disappointed if its engine doesn't match the sparrow's undulating whirr.
To top things off, Destiny features some of the best video game hair I've ever seen.
Unfortunately, that same level of craft was not applied to the game's narrative. (If only it had been! Argh!) Alas, Destiny's story uncomfortably straddles the fence between wisely keeping quiet and blithely saying far too much.
The game paints its broad narrative strokes well: A massive white sphere called The Traveler arrived on Earth some hundreds of years ago, bringing with it great technological advancements and setting mankind on course to a new golden age. Humans explored and colonized the rest of the solar system before The Traveler's nemesis, a vague power called The Darkness, arrived and destroyed most of civilization in a catastrophic war known as The Fall.
The player, a nameless Guardian, awakens at some point after The Fall and is tasked with setting out from Earth, re-exploring the ruins of civilization, and fighting back against The Darkness in order to save The Traveler.
Trope-laden though that may be, it's not a half-bad setup for a sci-fi story. The fine musical score props up otherwise goofy cutscenes, while the phenomenal art direction lends the wreckage on each of the game's four major planets an outsized, mournful beauty. Enemies are given discordant fantasy names, and while I initially raised my eyebrows at seeing aliens referred to as wizards and knights, the whole thing eventually begins to make a kind of sense. These strange robots are called hobgoblins, those beastly automatons are minotaurs. We don't quite know why they're called that, why there is a region on the Moon called "The Anchor of Light" or part of old Russia is known as "The Mothyards," but our imagination does a pretty good job of filling in the blanks.
Critic Cameron Kunzelman calls that storytelling approach "the evocation effect." As you navigate these spaces, you don't spend too much time wondering why things are called what they are, why things look the way they do. Those things simply are, and in Destiny, they're largely convincing. Or, well...they're convincing until one of the game's characters starts talking and ruins everything.
Most times, the person talking is Peter Dinklage. Poor, poor Peter Dinklage. Best known for his scene-stealing performance as Tyrion Lannister on HBO's Game of Thrones, Dinklage plays Ghost, your little, flying robot friend and the unfortunate soul tasked with unraveling spool after spool of exposition in between battles. Much has already been made (by me, even) of Dinklage's flat, aimless performance. Yes, the responsibility for that is partly on the actor---after all, his co-stars Lance Reddick, Gina Torres, Nathan Fillion, and Bill Nighy may be wasted in their roles, but they do manage to make all that chewy lore sound convincing. But the script is the real problem here. ("The sword is close...I can feel its power," Dinklage intones. "Careful! Its power is dark.")
For all of the technical and artistic prowess Bungie brought to bear on Destiny, they appear to have been unable to employ a person or persons capable of writing a coherent story or believable dialogue. The single most famous line of dialogue from Destiny--- Dinklage's "That wizard came from the moon!"---is actually no longer in the game. It became a meme during the game's public alpha and was subsequently cut, as though it were a jarring lousy line in an otherwise decent script. The irony is that every other line in the game is just as bad as the moon-wizard line, if not worse. The best solution would probably have been to cut the majority of the game's dialogue altogether.
For those who care, a great deal more backstory is revealed via unlockable "grimoire cards" that can only be viewed in a browser on Bungie's website. I would have been happier if the bulk of Ghost's exposition had been relegated to those cards and the game itself had let me take it all in at my own pace.
I called Destiny a cruel game, and that's largely due to the way it hands out rewards. I may never have experienced a role-playing game this parsimonious with material rewards for players, and Destiny's feedback loop often hops the lane-divider from tight-fisted to perverse.
Let me try to explain: For the first fifteen or so hours, players will follow a traditional sort of role-playing game progression. Shoot bad guys, complete missions, get XP, level up, get new powers. But once the player hits level 20, he or she must begin to obtain and upgrade rare armor in order to earn further levels. Bungie has audaciously placed the game's first (terrific) six-player raid beyond a level 26 requirement, meaning that any player who wants to experience the game's most exciting and challenging content must first agree to earn six levels' worth of extremely rare gear and upgrade materials. If the raid is the carrot that provides much of the motivation for grinding through all those extra hours of repetitive (if generally enjoyable) combat, the loot system is all stick.
Here's how the abusive loot system works: A scant few enemies you shoot will drop a large dodecahedral(ish) gem called an "engram" that contains an item, sort of like a sci-fi Kinder Egg. After collecting an engram, you must take it to a special merchant in the game's town to have it decoded, which will reveal what sort of item it contains.
Engrams are coded to one of three different colors, which theoretically correspond to the rarity of the item contained within. There's green for uncommon, blue for rare, and purple for legendary. Almost every engram in the game is green; a few are blue; one in a hundred is purple. For most players past a certain point in the game, purple engrams are the only ones that are worth anything at all. So, seeing one pop out of the air after shooting an enemy sets off a rush in your brain, like spotting a $20 bill on the sidewalk.
Now we get to the cruel part: As it turns out, legendary engrams don't always give you legendary gear. I have gone to the decoder guy with four purple legendary engrams, only to walk away with three useless blue "rare" items and a rare piece of crafting material. On the off-chance that a purple engram does net you a legendary item, there's a 66 percent chance it'll be specific to another class and therefore still useless for your character.
FUCK EVERYTHING #PS4share pic.twitter.com/Ti3e7ljNIH
--- Brad Shoemaker (@bradshoemaker) September 20, 2014
I cannot fathom what motivated this design decision. Why on earth didn't Bungie make legendary engrams always grant legendary gear, then just make them drop less frequently? Did they want to create a dysfunctional relationship between their game and their players? Did they want their game's defining emotion to be resigned anger, to abuse us into distrusting their systems?
If so, they were successful. I no longer trust the excitement I feel at seeing a purple engram, because I no longer trust Destiny itself. Yet I get excited anyway, and before I know it I'm standing in front of that cave, shooting monsters and hoping for a jackpot. As it turns out, unhealthy game design begets unhealthy play.
Destiny's greatest failing, then, is that the activities that are the most rewarding for players aren't the same as the activities that are the most rewarding according to the game's stringent economy and arcane inner logic.
For example: Strike missions. Strike missions are some of the best stuff Destiny has to offer. Each of the game's six included strikes must be undertaken by a party of three, and as long as you play on the proper difficulty level, they're designed to be so challenging as to require teamwork and daring, aggressive play. Like every mission in Destiny, the structure is generally the same across the board: Go to a place, kill a bunch of tough enemies, fight one boss, go to another place and take on another, much harder boss.
That's a reductive description, though, and it doesn't capture the enjoyable bedlam of a good strike. Each strike mission's final showdown feels impossible to master---you're never comfortable, never able to find a consistent strategy, always reacting and reviving and regrouping. There is some excellent level-design on display in these areas---wide open spaces with just enough cover and sneaky side routes to encourage improvisational play, all built to facilitate the deadly boss and its less-deadly minions as they push players around the room. I've replayed each of the game's strikes many times on various difficulty settings, and I've never once been bored.
But here's the thing: Strike missions don't actually "pay" all that well, according to Destiny's economy. By and large, the rewards they offer are inferior to the rewards that can be gained by repeatedly undertaking other more banal, boring tasks. For example, some strikes pay in a hard-to-acquire type of faction currency, but players can earn an equal amount of that currency doing a single one of the far less interesting, copy-paste "patrol" side missions available on each planet's surface. Other high-level strikes will earn the player rare crafting materials, but most of those materials can be earned in a commensurate amount of time by standing outside the Loot Cave.
At times, I've felt as though I'm playing Destiny "wrong" by farming exploits and choosing boring missions over enjoyable ones. But if I'm playing incorrectly, why has the game been designed to reward that style of play?
I float in my ship in between missions and ponder my next move. How shall I spend the next hour? I could undertake a high-level strike mission, probably have a hectic and fun time, and come away with a paltry reward for my trouble. Or I could spend the next hour standing at the Loot Cave, shooting into the slot machine and cashing in my rewards for much-needed currency.
The latter activity will yield better rewards over the same period of time, so why shouldn't I go and do that? If anything, that's playing Destiny the "right" way. One can only complete a thirty-minute raid with nothing to show for it so many times. It's only natural that players will eventually turn into the skid and claim their rewards by other means.
One remarkable thing about Destiny's mostly unremarkable player-vs.-player deathmatches is how well they're integrated into the fabric of the game as a whole. At any time you can take on up to eleven other players in The Crucible, which is portrayed as a sort of competitive training arena for Guardians to hone their skills before heading back into the world to fight real evil.
As it stands, the game includes only four basic PvP modes: team deathmatch, every-Guardian-for-themselves deathmatch, small-team deathmatch, and control-point domination. All of those are simple fun---the control point matches are generally the most enjoyable---but none are particularly exciting on their own. Bungie are old hands at competitive multiplayer, and while Destiny's battles bear some of the same hallmarks as Halo's best stuff---the varied, well-designed maps and a focus on verticality and agility over speed---they sorely lack that series' intricate customization options.
With each match of Destiny PvP, for now at least, what you got the first time is what you'll get next time. Each match cannot be altered in any way, and the various modes don't even offer private lobbies. Furthermore, while each player's damage and armor stats are leveled out to provide balance, players with high-level gear still enjoy bonuses like faster fire-rates and more exotic special abilities. I'm not quite sure how (or if) Bungie has balanced all of that out, but it certainly doesn't present the appearance of a level playing field.
The Crucible feels like an intro class in competitive multiplayer and only really works when viewed as a smaller part of the overall Destiny experience. It is, however, noteworthy how well the Crucible is folded into that overall experience. The Crucible can be accessed from the same map screen as every other mission, which makes it easy to casually drop in for a match or two, then pop out to get back to adventuring. You'll earn loot and experience in the Crucible that directly translates over to the co-op story stuff, and with time can trade currency earned in battle for high-level gear.
As you depart for a new Crucible match, your spaceship will be joined by the ships of the people you'll be fighting alongside. It's one of my favorite of Destiny's many small touches. Watching a flock of six spaceships speed toward a new arena is oddly charming, like watching six grade-school kids on their bicycles riding to the park to play cops and robbers. Be sure to come home before dark, Guardians!
Destiny feels at times like a container, carefully crafted to leave as many empty spaces as possible. Critic Brendan Keogh calls the game "the IKEA Billy bookshelf of videogames." I like that, though I would peg Destiny as something better-made and longer lasting, maybe a high-end piece from Crate & Barrel or Pottery Barn.
The game's spaces will eventually be filled by whatever additional content Bungie and Activision decide to make. The development studio and publisher intend to support this series for many years to come, and the Destiny of 2016 will likely be markedly different from the Destiny of today.
We've already gotten a sense of how the container might be filled over the months to come, and it's an immensely promising one: A week after Destiny came out, Bungie released the Vault of Glass, a free cooperative "raid" designed for six players. The Vault of Glass is fantastic. It is easily the most interesting, challenging, and rewarding thing Destiny has to offer. After playing it, I understand why it isn't more readily available to mid-level players, though I remain frustrated that the rest of the game doesn't come close to matching it.
The Vault of Glass has a laughably high bar for entry. The suggested starting level is 26, and the amount of boring repetition necessary to achieve that level should not be required of any player hoping to experience the best part of a game. The raid's other requirement, that you organize your own team of six rather than relying on built-in matchmaking, is more understandable. Unlike the more straightforward strike missions, the Vault of Glass would be unbeatable---hell, it'd be nigh un breachable---without careful teamwork and communication. A group of strangers would be stymied from the get-go, at least until there's some sort of comprehensive guide everyone can follow---but that would rob the raid of a great deal of its mysterious appeal. It's not a fair setup, and players should not be required to know and coordinate with five other equally dedicated players with the same console just to experience this stuff. But that's the way it is, at least for now.
The raid begins in the jungles of Venus, where a massive circular door stands in the side of a mountain. There is no explanation how to get the door to open, so each team must determine for themselves what to do. As it turns out, players need to simultaneously occupy three control points set across three different cliffs, fighting off waves of extremely difficult enemies for an extended period of time without letting a single point drop into enemy hands. Hold out long enough and the door will open, after which point the raid begins in earnest.
The first time our group attempted this, several of our number were lowly level 24s. We got absolutely crushed, and realized after about an hour that we stood no chance of succeeding. We returned almost a week later, higher-level and ready to try again. We were crushed once more, but we didn't give up. We spread out, adjusted our tactics, took careful stock of who was standing where. We began to aggressively communicate, to tweak our formation.
We failed and reset, failed and reset, until finally, we did it. We held the points for long enough, and the door opened.
I won't spoil what followed, because figuring out how to proceed is one of the raid's great pleasures. Suffice to say, I can't remember the last time I played more than 60 hours of a game only to enter a new area that completely upended my expectations and substantially altered my view of the overall experience. The Vault of Glass has done precisely that.
Where Destiny holds the player's hand to a fault, the Vault of Glass offers absolutely no explanation of what the team should do next. Where Destiny often repeats encounters multiple times within the same mission, the Vault of Glass offers an entirely new challenge at every turn. Where Destiny talks the player's ear off with useless exposition, the Vault of Glass is silent, austere, and genuinely evocative.
But then, it's not as though the two are separate entities. Destiny contains the Vault of Glass, and the Vault of Glass is a part of Destiny. So I have to ask: If Destiny is able to turn on a dime to become this interesting and challenging, what else might it become in the future?
Every hour or two, something amazing happens at the Loot Cave. One minute, we're all standing there, shooting the aliens in the cave, business as usual. Then, out of nowhere, a handful of enemies starts attacking from a different direction. This has an effect like staring at a traffic light for two hours, only to see it turn turquoise. What the hell is going on?
In a matter of seconds, an absolute mess of monsters invades the battlefield. They're relentless and overwhelming, and they come from all sides. Our carefully coordinated firing line disperses in all directions, each of us fighting to stay alive amid the chaos. Most of the players who have been shooting into the loot cave have powerful, high-level characters, and the resulting fracas is like seeing three crossover superhero comics scanned onto a single page.
Special powers are detonating left and right, and the shadowy corners of the battlefield explode into the world's most dangerous discotheque. For the next few minutes, Destiny is at its absolute best: Six or more players, working in unison, fighting off a seemingly unstoppable force. No one speaks a word, but everyone knows what to do. They will be sorry they messed with us.
The enemies grow ever-more numerous and powerful, until it almost seems like the game is broken, or bugging out. But eventually, the battle does end. The final enemy vanishes, the final superpower is spent, and silence settles across the field. Without a word, every player lines back up in formation, aims, and begins to shoot into the cave once more.
In the space of about five minutes, Destiny has summarized itself. The pull of the slot machines may be strong, but this casino has a hell of a dance floor.


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text:
Tonight is the full moon.
This poem by Hafiz as translated by Daniel Ladinsky seems appropriate.
The moon came to me last night
With a sweet question.
She said,
"The sun has been my faithful lover
For millions of years,
Whenever I offer my body to him
Brilliant light pours forth from his heart.
Thousands then notice my happiness
And delight in pointing
Toward my beauty.
Is it our true that our destiny
Is to turn into Light
And I replied,
Dear Moon,
Now that your love is maturing,
We need to sit together
Close like this more often
So I might instruct you
How to become
Who you


text:
Rutherford Station is an apartment community dedicated to offering our residents the best in quality apartment living. From an array of amenities, to spacious floor plans, wonderful community events, and more - we're certain that you'll love your stay here.
If you are already one of our residents click the link below for Direct Access to your Resident Portal.


text:
@dougwig – shirt.big and shoe.big would work fine in IE6 if you styled an element inside them instead e.g. "shirt.big span" and "shoe.big span" would style the spans as expected.
I wrote a blog post about this many moons ago:
Although it talks about using an ID and a class, the same applies for multiple classes.
P.S. Great article! =)


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Thursday, 28 October 2010
Lovely lamp and thanks!
Today I will express a thank you to Frida behind one of Swedens most popular blogs "Trendenser" who mentioned me in her yesterday post. Take a look at her site, it's really inspiring! Also, thanks to her, I found these beautiful lamps by Lindsey Adelman Studio.
Upplagd av Solid Frog 22 kommentarer
Tuesday, 26 October 2010
Toast tuesday
Spent the weekend in Ireland but now I'm back for some blogging again. Such a beautiful country and nice people. Todays inspiration is from British Toast, love the winter feeling and cosy mood in these pictures.
Upplagd av Solid Frog 13 kommentarer
Wednesday, 20 October 2010
Some recent paintings
115x160 cm
80x80 cm. Reserved.
60x60 cm. Sold.
I've been asked to show some of my most recent paintings, so here are three of them. I'm sorry for not being that active visiting and commenting your lovely blogs last couple of days, I promise to catch up.
Upplagd av Solid Frog 33 kommentarer
Etiketter: Art, My paintings
Monday, 18 October 2010
Good monday night!
Last picture of my Mario Testino monday, beautiful light, mood and dress. Photo: Mario Testino. Have a lovely new week!
Upplagd av Solid Frog 8 kommentarer
Good monday afternoon!
Continuing my Mario Testino monday with these powdery pastel pictures, the opposite to previous post. The soft colours really inspires me. Photo: Mario Testino.
Upplagd av Solid Frog 8 kommentarer
Good monday morning!
Hope you have had a great weekend! Today I'll have a Mario Testino monday ... starting up with this strong picture of beautiful Natalia Vodianova from British Vogue. I love the freshness and contrast in this pic. Photo: Mario Testino.
Upplagd av Solid Frog 5 kommentarer
Thursday, 14 October 2010
Coloured thursday
Swedish visitors have probably already seen these pictures in the insert of latest Elle Decoration ... the bright colours make me happy and I thought I'd share them with you anyway. Photo: Magnus Anesund via Söderberg agentur.
Upplagd av Solid Frog 20 kommentarer
Etiketter: Bedroom, Colour, Kitchen, Livingroom
Tuesday, 12 October 2010
I don't know if you remember this old chair from some of my studio shots? Anyway here it is newly upholstered with a striped Paul Smith fabric. Actually I haven't found a good place for it yet but for now it may get on well together in the same space as the Ugly dolls.
Upplagd av Solid Frog 17 kommentarer
Etiketter: My pictures
Monday, 11 October 2010
New week and some new inspiration. Hope your weekend was great and sunny. Today I found these nice photos by Didier Delmas, I like the touch of romance in the spacious beedroom and the colours in the bottom picture.
Upplagd av Solid Frog 10 kommentarer
Etiketter: Bedroom, Fotografer
Thursday, 7 October 2010
Today I met Pinocchio
First of all – and yes I know it sounds a bit resumptive – but I have to express my appreciation again for your nice comments, it always makes me smile and feel warm inside, thanks!
Today I went over to Karin's for coffee and as you see, I had to take some pictures of her gorgeous rug "Pinocchio" from Hay.
Upplagd av Solid Frog 16 kommentarer
Etiketter: Design, My pictures, Rugs, Stuff
Wednesday, 6 October 2010
Happy again!
Guess what! I'm mentioned in the australian magazine Inside Out, as one of 7 favourite blogs by the gals behind famous "Desire to Inspire". It makes me really happy and proud. Thanks Kim and Jo! Find evidence here.
Upplagd av Solid Frog 15 kommentarer
Etiketter: Thanks to
Guest post at Space For Inspiration
Right now I'm happy to be guest posting about "changing seasons" at "Space For Inspiration". Jump over and take a look at Charlotta's inspiring and lovely blog!
Upplagd av Solid Frog 6 kommentarer
Etiketter: Guest post
Monday, 4 October 2010
Front cover love V
I think this cover is very stylish both in a graphical and inspiring way. I like the colours, composition and balance. Beautiful, swedish model Mini Andén (right) doesn't make it worse.
Upplagd av Solid Frog 6 kommentarer
Etiketter: Fashion, Front cover love
Friday, 1 October 2010
First day in October and here in Sweden it's definitive autumn. Lovely apartment for sale at Bolaget. Enjoy your weekend!
Upplagd av Solid Frog 7 kommentarer
Etiketter: Homes
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text:
An overshot coverlet was made with a woolen weft (the crosswise threads) woven onto a cotton warp (the lengthwise threads). A popular variation, in which wool thread was woven onto a linen warp made from flax, was known throughout the region as linsey-woolsey. Another type of coverlet was the counterpane. More rare than coverlets, counterpanes--called dimities in some localities—were a cotton-on-cotton weave and usually solid in color.
A weaving pattern was recorded on a draft, a strip of paper with marks indicating changes the weaver had to make to reproduce a particular coverlet pattern. Drafts varied from four inches to half a yard long, depending on the length of a pattern block. Old drafts often are found pierced with small holes. If a baby or cooking pot needed attention, a weaver — interrupted — marked her place in the pattern with a straight pin.
Woven on a loom, a coverlet was made from two layers of perpendicular threads. The first layer, strung lengthwise onto the loom, is called the warp. Typically, a coverlet required some 700 to 800 warp threads. Each had to be strung onto the loom and threaded into the loom's heddle. A second thread was wound around a hand-held shuttle. With the heddle picking up some of the warp threads, the weaver threw the shuttle across the width of the loom, going over-and-under alternate warp threads. This over-under action created the interlocking weave that made a strong and useful coverlet.
There were two types of looms used in the Southern Highlands. The traditional mountain loom was constructed of heavy timbers and took up a lot of floor space. While some favored the traditional mountain loom for its authenticity, others focused on the practicality of using a smaller, lighter-weight loom. Josephine Mast and her sister Mrs. Robert Mast worked on looms passed down in their family. Weaving in Valle Crucis, North Carolina, the Mast sisters took pride in the fact that their looms had been in use for more than a hundred years. But others favored smaller, manufactured lightweight looms for their practicality. By the 1920s, Kentucky's Berea College was already a major weaving center. Berea's Fireside Industries program not only sold finished weavings, but produced looms for sale as well.
During the 1930s the Southern Highland Handicraft Guild, a regional cooperative marketing association formed to promote the sale of crafts, polled their members to see how many looms were in operation in the mountains. In western North Carolina, the guild counted 40 looms at the Crossnore School near Weaverville, 16 under the direction of the Spinning Wheel in Asheville, and 40 maintained by the Penland Weavers. The John C. Campbell Folk School operated a number of looms, but eventually shifted the focus of their craft production to woodcarving. The Craft Revival in Appalachia did not operate in isolation. A similar interest in handwork and preservation was occurring in other parts of the country. Looms were made and shipped from New Hampshire, upstate New York, and Michigan. Closer to western North Carolina, Ely McCarter, a mountain woodworker, made and sold looms from Gatlinburg, Tennessee in the heart of the Great Smoky Mountains.
See More: Woven Items, Looms


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Spyderco Endura 4 Flat Ground VG10 Gray FRN C10FPGY
Spyderco's Endura, big sister to the Delica, has been a cornerstone of their everyday carry product line since its introduction in 1990. The 4th Generation of the Endura lightweight was upgraded with a 13 mm RoundHole, spine jimping, reinforced blade tip, skeletonized liners, Bi-Directional Textured FRN scales and a four-position screw on clip. This Fully Flat Ground version comes with a plain edge, modified drop point, VG-10 blade and Gray FRN handles.
Brand new, direct from Spyderco Knives, Japan.
Blade: Fully flat ground VG10 stainless steel comes in a modified drop point with a razor sharp plain edge and stunning satin finish. Spyderco's ambidextrous Round Hole opener makes for smooth, easy, one hand operation. Present as well is the jimped thumb ramp for added control in both fine and heavy work. Just under 3.5 inches of cutting edge makes this an excellent cutting tool you will want to have with you every day.
Handle: Spyderco's Bi-directional textured FRN in Gray offers exceptional traction in the hand with contoured edges and an ergonomic design that delivers comfort in the hand until the job is done. A sturdy mid-back lock design is easy to operate and comes with the Boye Dent further enhancing the security by preventing accidental disengagement of the lock when gripping the handle with heavy pressure. A hole at the pommel end allows for easy lanyard attachment. At under 3.5 ounces in weight and 3.5 inches of cutting edge the slim carry Endura offers an excellent edge:weight performance ratio.
Carries via a 4-position, stainless steel hourglass pocket clip.
Japanese VG10: VG-10 is a high-carbon stainless steel that takes a very good edge and holds it well. Popular with Japanese kitchen knife makers it is often hardened to 60-61 HRC. A popular choice for small pocket knives thanks to good edge holding and stain resistance VG10 works well with a high polished, acute edge for optimal slicing performance.
|Overall Length
|Blade Length
|Sharpened Length
|Blade Thickness
|Blade Material
|Blade Type
|Opening Mechanism
|Lock Back
|Closed Length
|Handle Thickness
|Handle Material
|Stainless Steel
|Stainless Steel
|3.40 oz.
|Country of Manufacture


text:
Photo by W. Notman | Courtesy of Billingsley and Ward families
Source: Link
PÂQUET, ANSELME-HOMÈRE (baptized Michel-Anselme, but signed his marriage certificate A. H. Pâquet), physician, politician, and professor; b. 29 Sept. 1830 in Saint-Cuthbert, Lower Canada, son of Timothée Pâquet and Françoise Robillard; m. 25 Sept. 1854 Henriette Gariépy in L'Assomption; d. 22 Dec. 1891 in Saint-Cuthbert, Que.
Anselme-Homère Pâquet came from a family of farmers. In 1842 he became a student at the Collège de L'Assomption. After finishing his classical studies, he enrolled in the Montreal School of Medicine and Surgery in 1849. He was admitted to the College of Physicians and Surgeons of Lower Canada on 12 May 1853 and then opened a practice in his native village.
In 1863 Pâquet was tempted into politics. He first ran for the Legislative Council in a by-election on 6 April in Lanaudière division, but lost to Louis-Auguste Olivier. He stood again that summer in the general election for the Legislative Assembly of the Province of Canada, in the constituency of Berthier, and on 23 June he defeated Pierre-Eustache Dostaler by 378 votes. Pâquet sat in the house as an independent, vigorously opposing the plan for confederation. In 1865, on the basis of a petition from eight municipalities in his riding, he made a speech in the assembly pointing out the meagre benefits of the confederation arrangement favoured by the coalition government of Sir Étienne-Paschal Taché* and John A. Macdonald.
Pâquet's opposition to the union of the British North American colonies did not, however, prevent him from running in Berthier in 1867 in the first general election for the House of Commons. He won the seat, but by only 36 votes. He now threw in his lot with the Liberal party. In 1872 he defeated Conservative Édouard-Octavien Cuthbert, the mayor of Berthier (Berthierville), by 742 votes, and two years later he was re-elected by acclamation for Berthier.
Pâquet resigned his seat in the commons early in 1875, and on 9 February he moved to the Senate to represent La Vallière division, which had become vacant when Charles-Christophe Malhiot* died. He held this position until his death in December 1891.
Pâquet was also president of the Société Permanente de Construction du Comté de Berthier and a founding director of the Banque Ville-Marie in 1872; a member of the American Public Health Association, he also served on the Central Board of Health of the province of Quebec. In 1884 and 1885 he was professor of clinical medicine at the Hôtel-Dieu in Montreal and at the same time he taught hygiene and public health at the Montreal School of Medicine.
Anselme-Homère Pâquet was highly regarded as a physician and as a politician in his community and he made his mark on public life for nearly 30 years. Many of his friends and adversaries came to pay their respects at his funeral.
ANQ-M, CE5-14, 25 sept. 1854; CES-19, ler oct. 1830. "A-H. Paquet," Journal d'hygiène populaire (Montréal), 8 (1891), no.8: 255. L'Événement, 21 déc. 1891. Canadian directory of parl. (Johnson). CPC, 1870, 1875, 1891. Cyclopædia of Canadian biog. (Rose and Charlesworth), 1: 535. J. Desjardins, Guide parl., 169, 252, 279. Florian Aubin, La paroisse de Saint-Cuthbert: histoire et album souvenir, 1765–1980 (2v., s.l., 1981–82), 1: 493, 780–81. Anastase Forget, Histoire du collège de L'Assomption; 1833 – un siècle – 1933 (Montréal, [1933]), 542. Marcel Fournier, La représentation parlementaire de la région de Joliette, 1791–1976 (Joliette, Qué., 1977), 191–92. Édouard Desjardins, "L'évolution de la médecine interne à Montréal: le premier centenaire (1820–1920)," L'Union médicale du Canada (Montréal), 106 (1977): 242. Jacques Rainville, "Vers notre tricentenaire; nos députés fédéraux," Le Courrier de Berthier (Berthierville, Qué. ), 21 mars 1968: 15.
© 1990–2023 University of Toronto/Université Laval
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Cite This Article
Marcel Fournier, "PÂQUET, ANSELME-HOMÈRE," in Dictionary of Canadian Biography, vol. 12, University of Toronto/Université Laval, 2003–, accessed September 21, 2023, http://www.biographi.ca/en/bio/paquet_anselme_homere_12E.html.
The citation above shows the format for footnotes and endnotes according to the Chicago manual of style (16th edition). Information to be used in other citation formats:
|Author of Article:
|Marcel Fournier
|Title of Article:
|Publication Name:
|Dictionary of Canadian Biography, vol. 12
|University of Toronto/Université Laval
|Year of publication:
|Year of revision:
|Access Date:
|September 21, 2023


text:
Roads, waterways, air traffic, railways, … every major European logistics chain passes through Antwerp. We're the continent's best connected city, with office space to spare. Discover your new home right now.
More than 20% of the total added value in business services in Flanders is generated in the city of Antwerp. The city is responsible for over 25% of all employment in business services in Flanders.
All major retailers are fighting each ohter over top spots on our shopping streets. Our cultural heritage is extensive. It's in our clubs and theatres that new trends are invented. And you should see what our brand new schools look like ...
Setting up shop in Antwerp means plugging into a network of large and small scale companies that has been growing for centuries. It's a perfect place to forge partnerships and build successes. We'll welcome you open-armed.
Don't start your office hunt in Antwerp too soon. With this many new offices being built all over the city, you may end up with a lease even before you've first set foot on our soil. Sales office, R&D lab or high-tech production facility – we've got it all.
There are twenty universities within a two hour drive from Antwerp. Nowhere else can you find this many highly trained people, with such high productivity scores in such a small area. We're the human capital capital of Europe.
The Antwerp Six once were for decades the city's most famous creative export product. But they're merely the tip of the iceberg. With talented artists and companies specializing in innovation, design, media and music, Antwerp is a thoroughly creative city.


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July 12
October 20
#MeToo See you there. Sunday. October 22 2017. 11AM at Sergels Torg in Stockholm. #MeToo
October 18
There's so much I didn't know that women who are incarcerated have to deal with… like being shackled to a BED while giving BIRTH!!! Woooowwww!! ?? • • • For too long, WOMEN, and the unique challenges we face, have been neglected by our prison system. That changes NOW. ???? @weareheremovement has teamed up with @cut50 + @vanjones68 to support Senators @corybooker and @elizabethwarrenma's #DignityAct for Incarcerated Women. A bill that is on the floor right now and needs the support of American people to pass!!! Join us???? #linkinbio @senatorchuckgrassley, do you hear us?


text:
Surprise! You've Got Money!
Here's a quick guide to checking to see if you have unclaimed money.
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text:
OK, so it's not that secret, but in this, a week where Bryan Cranston's final performance as Walter White has been the talk of the internet, it's as good a time as any to look back on a time when he was...doing voice-over work for anime.
Before Breaking Bad, before Malcolm in the Middle and even before his short run as a dentist on Seinfeld before that, Cranston was a guy who hustled working guest stints on TV series like Touched by an Angel, Sabrina, 3rd Rock From the Sun and an assortment of cop shows.
But it's his turns on nerd series that are way more interesting. Cranston has been:
- A ship captain on Babylon 5.
- Two rubber-suited villains on Power Rangers (it's also claimed that the Blue Ranger - Cranston - was named after him).
- The star of an awesome off-canon episode of the X-Files.
- Philip Moses in an episode of The Flash TV series.
- In an episode of Airwolf. Airwolf!
- A regular on the Clerks animated series.
He also, for a while, did voice-over work on anime. Really. Yeah, everyone knows he was Jim Gordon in a recent Batman cartoon, but that was recent. In the 1990s, he appears in some of the best anime of all time!
Sometimes credited under his real name, sometimes credited as "Lee Stone", Cranston lent his talents to anime including Street Fighter II (as Fei Long), the terrific Macross Plus (as main star Isamu Dyson, at 1:53 in the video above) and, best of all, the classic Royal Space Force, where he voiced Matti, one of Shirotsugh's loser friends.
So the next time you're feeling down about Breaking Bad coming to an end, remember, you can always get a partial fix by...getting hold of some bad 90's TV/great 90's anime!