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Time | Sunday, February 6 · 12:00am - 11:30pm |
Location | Everywhere |
Created By | |
More Info | Ken Sisler, an indexer from Canada, created a Facebook event called Super Indexing Sunday. It will take place Sunday, the 6th of February; the same day as the Super Bowl. We think this is a fantastic idea and apparently NGS thinks so too: http://upfront.ngsgenealog Take a look at Ken's original event page and join us in this effort to break the record set in January 2011 of approximately 1.9 million names indexed and arbitrated in 1 day: http://www.facebook.com/ev Join us for as long as you like throughout the day and especially during, or in place of, the Super Bowl itself. Go to indexing.familysearch.org to get started! |
Friday, February 04, 2011
Super Indexing Sunday
1 comment:
Dear Renee Zamora:
Thank-you for advertising this event. I appreciate it very much.
Yours truly,
Ken Sisler
Newmarket, Ontario, Canada - February 7, 2011 at 3:05 PM
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Success is not the key to happiness. Happiness is the key to success. If you love what you are doing, you will be successful.
– Albert Schweitzer (1875-1965)Success is not the key to happiness
{ 3 comments… read them below or add one }
- September 19, 2009 at 12:51 pm
Very interesting quote. I love the emphasis on going after passion!
- September 20, 2009 at 4:00 am
great quote…I like
"You have reached the pinnacle of success as soon as you become uninterested in money, compliments, or publicity."
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subset: commoncrawl


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We've hired Shannon to help tag our pictures and those in our Flickr pool (which now has 576 members and 7493 photos, wow!). She takes neat photos, loves Flickr, lives in Japan and was recently bitten on her left foot by a spider!
If you set your photos to allow others to add tags, Shannon can tag them and make it easier for us to find and possibly use in a post someday. Big welcomes to Shannon!
(Photo: tonochujo)


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Original URL: http://www.theregister.co.uk/2008/08/28/sony_200hz_motion_plus/
Sony launches 200Hz telly technology
100Hz? Pah!
Posted in Personal Tech, 28th August 2008 12:13 GMT
IFA Sony has gone one better than 100Hz motion display, and launched a TV with exactly double that frame rate.
Sony's Z4500 with 200Hz Motion Plus: the difference is visible in real life, honest
Sony's Z4500 TV with "200Hz Motion Plus" technology will, the company claied, yield the "smoothest and crispest LCD image ever". Sophisticated algorithms are used to create three additional frames for every original in the source signal, upping the frame rate from 50 a second to 200.
A complementary image enhancement technology called Image Blur Reduction also boosts the final picture's sharpness, by crisping up the source, frame by frame, before it is processed by the 200Hz interpolator.
The Z4500 has a 80,000:1 contrast ratio and is vertified by the Digital Living Network Alliance to enable simple streaming of content over a network from PCs and other devices.
When Register Hardware took a few minutes to analyse the set's picture clarity at IFA in Berlin today, it was indeed extremely smooth and crisp.
Sony promised to launch the Z4500 into Europe in time for Christmas, but a price hasn't been mentioned yet.
IFA 2008 complete coverage


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That's my name. Don't wear it out. The last question of the previous thread: I'm a cat person. Beethoven symphonies: 3, 5, 6, 7, or 9?
#9 London's pink arena for the gymnastics competition? http://www.nbcolympics.com/news-blo...stics-facilities-feature-colorful-floors.html YAY or NAY
Open to anyone who sees this thread (as is, of course, the thread itself): Do you find the title objectionable? I find myself going back and forth. Just one "yes"--no elaboration required--and I'll abandon this one and start another, unless someone else has an idea for a thread title.
From the last thread: Nay. July 24 people: Simón Bolívar Alexandre Dumas Adolphe Adam Jun'ichirō Tanizaki Robert Graves Amelia Earhart Zelda Fitzgerald Bella Abzug Gus Van Sant Barry Bonds Kristin Chenoweth Anna Paquin
Simon Bolivar Who will top the medal table at the end of the Olympics? China USA Russia Great Britain
This entry is quite a blow to the conceit that informed the titling of the thread. Even Googling doesn't help.
Yay, though I'm barely even a casual fan. A recycled entry: Will Andy Murray ever win a Grand Slam? - eys - non - eys, but it will be someone else by that name - purple I just can't say
they are glamorous not pretty. but i'll go with moira. a second season for ballet show on CW "Breaking Pointe" yay or nay?


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In it, but not of it. TPM DC
Wis. GOP State Senators Raise More Money, But Dems Lead In Cash On Hand
⢠District 2: GOP state Sen. Rob Cowles: $100,521.67 raised this year, with $62,168.28 on hand. His Dem challenger Nancy Nusbaum: $177,300 raised this year, $133,682 on hand.
⢠District 8: GOP state Sen. Alberta Darling: $958,418.33 raised this year, with $401,382.06 on hand. Her Dem challenger Sandy Pasch: $431,301 raised, $216,439 on hand.
⢠District 10: GOP state Sen. Sheila Harsdorf: $327,732.54 raised this year, with $141,962.93 on hand. Her Dem challenger Shelly Moore: $236,728 raised, $91,587 on hand.
⢠District 14: GOP state Sen. Luther Olsen: $107,111.27 raised this year, with $70,656.40 on hand. His Dem challenger Fred Clark: $226,501 raised, $163,197 cash on hand.
⢠District 18: GOP state Sen. Randy Hopper: $226,707.94 raised this year, with $92,461.39 on hand. His Dem challenger Jessica King: $221,932 raised, $190,646 cash on hand.
⢠District 32: GOP state Sen. Dan Kapanke: $725,913.48 raised this year, with $123,824.36 on hand. His Dem challenger Jennifer Shilling: $271,385 raised, $153,634 cash on hand.


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Outlaw Model 990 7.1-Channel A/V Preamp/Processor Unveiled |
Home Theater News Preamplifier News | |
Written by AVRev.com | |
Friday, 06 May 2005 | |
Audio unveiled its newest home theater processor, the Model 990, at the
Home Entertainment Show recently. The Outlaw Audio Model 990 is a
7.1-channel A/V preamplifier/processor priced at $1,099. Among the
highlights of this unit are balanced audio outputs, DVI switching,
automatic speaker setup and calibration with an included microphone,
and upgradeable firmware and software.
The Outlaw Audio 990 includes a broad array of connectivity and integration features, making it not only powerful, but also easy to set up and operate. The unit features two DVI inputs and one output, allowing for switching between two digital video source components. There are also three component video inputs with high bandwidth, 100 Mhz switching to prevent signal degradation. Additionally, there is complete transcoding between all composite, S-Video, and component video signals, including the onscreen display, simplifying video connections with a wide variety of source components and video displays. For setup and configuration of speaker systems, the Outlaw 990 is capable of automatically detecting speaker configuration, and setting proper level and time delay for each channel using the included microphone. Integration of satellite and subwoofer channels is adjustable for any speaker arrangement thanks to a quadruple crossover bass management system, which allows for individual crossover settings for the front L/R, center, surround, and rear surround speaker channels. There are even two subwoofer pre-out channels for convenience when employing two subwoofers. Additional features, such as lip-synch delay, subwoofer offset for stereo sources, and renamable video inputs are included for increased flexibility and convenience. For audio processing, the Model 990 employs a 24-bit Cirrus Logic CS-49400 Crystal processor, and 192 kHz/24-bit Analog Devices digital-to-analog converters for each individual channel. The unit features decoding and processing of every major surround sound format in existence today, including Dolby Digital EX, DTS-ES, DTS-96/24, DTS Neo:6, and even a fully adjustable version of Dolby ProLogic IIx processing. A pair of Analog Devices Asynchronous Sample Rate converters are used to remaster PCM sources to 192 kHz/24-bit audio for improved reproduction of CDs, particularly in the upper frequency range. There are both Pure Analog and Pure Digital modes to prevent deterioration of sound due to unwanted conversion between the analog and digital domains. The Model 990 is designed to be both firmware and software upgradeable, allowing for inclusion of future surround processing schemes and additional features. There are both USB and RS-232 ports on the unit's rear panel, allowing for a convenient and simple means of connecting a personal computer for future upgrades. The USB port can also be used as an audio source connection, allowing the processor to play PCM audio files streamed from a computer. For integration with automation and control equipment, the Model 990 includes a pair of IR input jacks, one IR output, and an RS-232 port. There are also two 12-volt trigger outputs, one of which is user assignable, for use with devices such as an amplifier or motorized display device. Outlaw's Model 990 also features a powerful set of features for use with a second audio/video zone. The rear panel features a Room 2 A/V output with composite and S-Video outputs, fixed/variable analog audio outputs, and even a pair of digital audio outputs. It even includes a dedicated Room 2 IR remote, providing complete control of all second zone functions. The Outlaw Model 990 features six audio only inputs, including a high quality phono input for those wishing to integrate a high-end turntable with their home entertainment system. There are also six A/V inputs, including one on the front panel for easy connection of a portable music player or camcorder. There are five optical and two coaxial digital audio inputs to accommodate a wide variety of source components, each of which is fully assignable. Additionally, there is a 7.1-channel direct analog input, which can be used with digital bass management, or can be run in pure analog bypass mode to eliminate unwanted conversion between the digital and analog domains. The Model 990 also includes a high performance AM/FM tuner with 30 station presets, and direct access tuning via the included backlit programmable remote control. It features an attractive and sturdy aluminum faceplate and black finish, and includes removable dustcovers for front-mounted calibration microphone and A/V input ports. The Outlaw Audio Model 990 will be available in May exclusively through the company's website at http://www.outlawaudio.com, and will carry a special introductory price of just $1,099. |


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Welcome back! It's week two of the new season of Mad Men, and between faulty conference-call equpiment and mistaken flower identity, the halls of SC&P are already getting a wee bit thick with power struggles. As you'll recall, our recaps aren't strictly linear, but rather focus in on key themes, plot points, and character developments. So grab a drink—after marking your bottle on the waterline, of course—and tune in for our thoughts on "A Day's Work."
Well, this is awkward.
The Great Pretenders
"A Day's Work" was a great title for this episode, in which pretending and playacting are just part of the regular routine for our friends in the SC&P universe. First and foremost, there's Don, who spends the better part of a day moping and shuffling around his apartment with the TV as constant companion. He's a portrait of depressive melancholy, marking lines on his booze bottles and blankly staring at the screen in his undershirt and boxers—until, that is, it's past 5pm and he shaves and puts on a suit in preparation for a visit from his office fixer, Dawn. The transformation is remarkable, and overdone—after all, Dawn knows that he's out of a job, and wouldn't have been surprised to see him in a more casual outfit. But Don's not exactly known for doing things halfway. His tour de force performance of Man Who's Not at All Out of Work, No Siree continues when he meets with Dave Wooster, a guy from a rival agency and is confronted with the many (correct) rumors of what happened to him. He gives nothing away, even when another in-the-know adman joins them—his damage control is to do no direct damage control at all.
That is, until he realizes that Sally, his estranged daughter, has his number. In fact, she may have more than that—everything about Sally this episode, from her ennui at the thought of her roommate's funeral to her unruffled response to a lost purse to her poker face at SC&P—suggests that she's inherited her father's ability to quietly figure out all the angles (and decide which can be used to her advantage) before making a move. By now, she's a pro at pretending, and Don's a little bit outraged that she's bested him: "Why would you let me lie to you like that?" Her answer—"Because it's more embarrassing for me to catch you in a lie than it is for you to be lying"—reveals to her father just how wrong he's been to assume that everyone buys what he's selling. The ending of their scene in the diner, when Don briefly gets Sally believing he wants them to skip out on the check, is a canny gesture of opening trust between them as adult confidantes, not simply father and daughter—indeed, of all the women in Don's life, Sally is the one he's been most honest with, and that's not nothing.
Out in the land of professional-style pretenders, we discover that Pete is hardly the chilled-out, sun-kissed L.A. convert Don met last week at Canter's Deli. (Maybe he went straight there from an EST workshop?) No, our faithful Pete—outraged, constipated with pride, and determined to wring respect from his colleagues by any means necessary—is back in force in "A Day's Work," and the stress of his striving is palpable. The partners' meeting, which Pete's calls into, is a hilarious mess of technical difficulties that underscores how alpha-male posturing simply doesn't translate over long-distance conference "contraptions." Bert interrupts Pete's story with a fantastic, "I'm sorry, is this a partners' meeting or the world's most tedious wireless program?" and Jim Cutler short-circuits Pete's plans to land a new Chevy-related client by demanding that all Chevy business be handled via Bob Benson, their man in short shorts Detroit. Even Pete's secondary delusion—that his new gal pal Bonnie will put aside her work to soothe his bruised ego with sex—is shut down, gently but firmly. As ever, it seems that no matter how much Pete pretends to be a big shot, real life is there to remind him otherwise.
Meanwhile, Peggy and Shirley's fortunes are entwined in ways that leave them both pretending and dissatisfied. I'm definitely disappointed in how Peggy handled everything about those doomed long-stem roses, from assuming they were hers to making Shirley deliver her ridiculous jumbled "secret" message to Ted, to her peevish reposnse to the truth that they were, in fact, a gift from Shirley's fiancé. ("We see your ring. We know you're engaged!") In this season's first two episodes, Peggy's sudden change from competent, self-assured boss to petty, butt-of-jokes spinster has been discomfiting, and it's worth wondering how much Don's departure has to do with it. It's not just that his replacement, Lou Avery, is a hack with no appreciation for the process of struggle and lightning-bolt inspiration (although that's a huge part of it—you're the worst, Lou!) it's also that with Don as her mentor, Peggy had the license to reinvent herself just as he'd done, getting both permission and confidence from his masterful elasticity. Without him around, she's snapping back to the uptight, frustrated Peggy of yore, and it's not a good look.
Finally, in that brief office-kitchen scene, we get a much-welcomed glimpse into the pretending that must be all in a day's work for Shirley and Dawn (who playfully swap names when talking, probably in imitation of the white folks who regularly get them confused). And I loved the look of can-this-be-happening disbelief that spread across Dawn's face in her final scene, when she sat at Joan's recently vacated desk and brushed her hands over it. Sure, Bert Cooper's not going to be happy with her new role, but Dawn's retort to Lou Avery proved she's more than wiling to step up to the wrongheaded and trifling bosses and SC&P in the name of what's right. Hopefully Joanie passed along one of those powerful pen necklaces along with her office.
Assorted thoughts:
I was feeling for Don in that opening scene until it was revealed that he'd tasked Dawn with sending Valentine's Day flowers to Megan. Really, Don? You couldn't take time out of your busy schedule of drinking and scratching your junk in front of the TV to order a few roses?
Pete and Bonnie are giving me the ewwws right now ("You're such a big deal"; "I want to chew you up and spit you out"), but this episode definitely gave us a sense that Bonnie's just letting Pete think he has something resembling the upper hand, and I'm curious to see where this goes.
Get your butt out of the way and listen to Ted, Pete.
No one feels my existence.
Now, that's the Mad Men we've been missing! "A Day's Work" featured everything we love about watching the SC&P crew. Intrigue! Hilarity! Tension! Office shuffling! Peggy quotables ("I should have bought YOU flowers! Out of respect!")! When our Mad friends weren't smacking the intercom or running perfume errands, they were fixating on their work identity and value. Pete is back to being SC&P's resident whinester, getting off on being told what a big deal he is and pouting when no one does it. Bonnie Whiteside is reiterating to Pete that, unlike his perception of most of the women previously in his life, she's not one of those housewives stuck cleaning oatmeal off the floors. And Shirley and Dawn are subtly commiserating over the fact that no one in the office can tell them apart. But, as is the case with most episodes, it all comes back to Peggy and Don.
Don's fortune has improved slightly from where we last left him, since he's no longer sitting out in the cold, looking like hell. It would almost be hilarious to watch Don try to while his time away, if it wasn't so depressing. Don is still awful and deserves some hard luck, but I can't help but fall into Weiner & Co.'s traps of rooting for him anyway. The man was born to wear a gray flannel suit, after all. Don is lacking in purpose, to put it gently, and is trying to piece together a routine any way he can. SC&P, on the other hand, feels burdened by hanging on to him—Jim Cutler described him as "our collective ex-wife who still receives alimony." Don furthers this work/life blending of terms by justifying his lunch with the competition as his "looking for love" (on Valentine's Day, no less). He is struggling and trying to bring any shred of career productivity back into his home—largely via Dawn, who wins for most roller coaster–like plotline this week—as his apartment otherwise might as well be a dungeon with liquor and television. His value is based on him not falling behind both the going-ons of SC&P and the gossip surrounding his departure.
Contrary to Don, Peggy's flaws are entirely based on her lack of a home life. As much as I liked Stan's rib about the true sender of "her" flowers, is our heroine really now the subject of cat-lady jokes? Folks are acting like we're dealing with Season One Peggy, who still had the promise of awesomeness hidden behind that awful hairdo. Where Don is hustling to find out what's being said about him, Peggy could stand to know a little less of everyone's opinions about her. Ands much as I dislike her coworkers poking fun at her singleness, Pegs was not doing herself any favors this week. In a reverse mirroring moment with her mentor, Peggy's let entirely too much of her personal life into her work, fixating on the idea that Ted would send her flowers and trying to think of the perfect comeback (a task that must be nearly impossible for an ad writer). Of course, none of her coworkers can know what's truly going on, so they don't pick up on the fact that it's not that Peggy's romantic life doesn't exist, it just doesn't exist outside of work.
Whereas Don loses out on macho points for being stuck at home all day, Peggy's perceived estrogen is dropping with every second she spends working. It requires little brilliance to say that there's a double standard in play, but last night's episode also reminded us how much Peggy and Don compliment and truly need each other. In Peggy, Don finds a relationship that goes beyond the office walls. And Pegs, in turn, finds a much-needed champion of her work during these dark days of the Lou Avery Era.
Assorted thoughts:
Appropriately enough, since she was kicking butt and taking names, Joan was sartorially ON POINT this episode! That red outfit! That leather coat! That white purse! I wanted it all (including the upstairs office).
I must applaud Matthew Weiner on having cast Kiernan Shipka so many years ago, because while Sally grated on me in the early seasons, both the character and the actress are basically national treasures at this point.
Quit teasing us with Bob Benson already! When is he showing up, and what is his deal?
"Our fortunes are in other people's hands"
Pete's new flame Bonnie Whiteside likes to leave things up to chance. Sure, one day you earn commission on a $108K house and the next you're in Altadena with sweat stains on your breasts, but like Bonnie says, "that's the thrill." When she relates this life philosophy to Pete (who was hilarious in this episode—the guy really can do outraged), however, he doesn't share her lusty enthusiasm. Instead, having his fate determined by the suits in the SC&P New York office makes Pete feel as though he doesn't exist.
Pete and Bonnie aren't the only ones whose lives were in others' hands this week. Just about everyone with a front desk job was jerked around at the whims of their bosses: Dawn had to bring coffee to Don at home, had to get perfume for Lou (who's still THE WORST), and through a bigoted twist of fate ended up taking over Joan's office; Shirley got taken off of Peggy's desk after the highly entertaining flower mixup; and Joan's moving on up to the top floor. While some of those changes—especially for Joan and Dawn—are steps forward, all were the result of choices made by people in positions of power. When Bert Cooper tells Joan he doesn't want a black secretary at the front desk, he has no idea his racism will result in Dawn's promotion, but that's exactly how hierarchies like SC&P work: A white man at the top makes decisions based on his own worldview and then
the women and people of color who work below him suffer—or, in some cases, reap—the consequences. Pete's frustrated because he wants to be the Bert Cooper in this scenario, whereas Bonnie, Joan, and Dawn know they have to make
the system work for them in subtler ways.
Speaking of working, how psyched are you for Dawn to be the new head of personnel? I absolutely loved her interactions with Shirley this week and hope there are more to come. I'm equally stoked for Joan in her new
accounts role, but someone help me out here: As a partner in the firm, isn't she higher up than most of the accounts people? She continues to be treated like a secretary and I'm not sure why she doesn't pull rank
every once in a while. Still, I'm really glad she's getting a better office and more screen time with Roger. Yes he's a blowhard, but I still love it when he and Joanie work together.
Assorted thoughts:
I know we gave up on Pete Campbell Suicide Watch 2013, but is it time to start it up again for a new year? Not only did Pete say he felt like he'd died and gone to hell this week, Ted also told him to "cash the checks—you're going to die." Is Pete the real Sharon Tate here?
Don and Sally just kill me. Their relationship is so fraught, in part because the stakes are so high and in part because they're so alike. Kiernan Shipka and Jon Hamm knocked it out of the park in this episode.
The darkest episodes of Mad Men are often the funniest. I laughed out loud at several lines in "A Day's Work," especially Ginsberg and Stan making fun of Peggy. "February 14: Masturbate gloomily." Happy Valentine's Day, Pegs!
Cultural references:
That Girl, The Little Rascals/Our Gang, the Knicks' Bill Bradley, The Turtles' classic "Elenore"
Inappropriate Office Behavior award:
Once again, it's a draw between Lou and Peggy. Lou's obviously a hypocrite—he doesn't want any personal business in his office, yet he's happy to send Dawn to do his personal business—and a jerk, but Peggy was pretty out of line with that whole flower business. And it's harder to witness bad behavior with Peggy because we're rooting so hard for her. We get that she's only human, Weiner & Co., but we got that she was human before you turned her into a proto-Cathy single-lady cartoon, so knock it off.
Read more Mad Men recaps and coverage!
1 Comment Has Been Posted
So rough! So rewarding!
Leona Laurie replied on
This episode was physically uncomfortable for me to watch. Everyone was in such icky chaos for so much of it, and there was SO much bad behavior. Things like Don turning off the alarm & us seeing the clock jump from 7:30 to 12:30 (ouch), Peggy getting sloppy drunk alone at work & taking her frustrations out on her secretary-- then apparently realizing what a tool she'd been & taking it to Joan instead of finding a way to make it up to Shirley (ugh!), Sally shaming Don for making her risk running into the woman she'd seen him mounting last season when she had to come to his apartment to find him (oof!)... It was ROUGH.
I was mentally composing my comment for this article about how this was my least favorite episode of all time (and worrying that Matthew Weiner would someday give me the cold shoulder as a result), when things took a dramatic turn for the better. I love Joan's "by the way" move upstairs. I love Dawn's promotion. But most of all, I loved that last minute with Don & Sally.
Do you remember in earlier days when she would try to stop him from traveling for business by interfering with his suitcase? She has always been a core-deep daddy's girl, but nobody has noticed or cared for so long that she's kind of put a lid on it. I loved watching Don's face when he "woke up" after she told him she loves him & said Happy Valentine's Day. Honesty and a patty melt: the keys to any girl's heart.


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Heck yea, GTA 4 finnaly has arrived. Ok, there isnt much you could possibly add to what the GR review said. I fully agree with it. Here is the deal. It's hard to review this particular game due to the fact that you eather love it or hate it. If you like the other Gta's then you will like this one. If you hated the others then so will you on this title. So, as a huge GTA fan, I'm here to say that I was actually a lil dissapointed in this GTA. And here is why,
The BAD.
To me the game was lacking. By that Im saying that In every GTA in the past they always kept the old upgrades and added newones along the way, like for example, GTA 3 had no motorcycles/helies, then VC came out and added that plus the ability to rob stores, gointo stores and so on. Then when the huge SA came out they added RPG eliments plus kept all the GTA3 and VC features, SA's to me in the best one of the series. It really showed what the tech of that era had. Now this is where my biggest complaint comes in. SA was huge. It was fun, you could drive head stronge through the city, or take a truck 4x4 in the mountains. There really was hours upon hours of fun to be had, and trust me when I say I had it all.
Then when I turn on GTA4 I find myself feeling confined, caged, traped. The reason being that The city is smaller, no country, no mountains, and just a few building are interior. To me I feel like the game took a step back. Textures repeat themselfs on buildings, you cannot go under water, which I dont blame them it was useless on SA BUT it was a fun feature there were fish and all kinds of goodies at the depths of the ocean, I just feel like on this NEW technology of NExt-GEn systems that they could have made use of the underwater feature found in SA, maybe add submarine or scooba gear, they could have expanded upon it instead of deleting it completly. Another thing that bugs me about this game is simply sitting down, there are 100's of chairs and whatnot, but you cant sit down in/on anything. You could do that on Driver 2 why cant I in GTA4 in the year 2008????
That brings me to another complaint which I have with GTA4, instead of expanding from SA they cut it down a notch and added lil details that "juicen" up the game a bit but most of the time get over looked, for example, they made the older junky cars backfire and smoke heavily to show there age, its a new realistic thing that you really never notice, another thing is if a car takes alot of damage to the front it will stop running and your char will crank the engine over and over but it will never start. They add alot of lil features like this to make the game feel more realistic, but yet when it is raining the rain doesnt even bounce of the vehicle anymore and to add to this gripe here is one that kinda puzzled me, they added a high and low beam to the cars....but yet when it rains they didnt make the wipers move on the windshield? So when/who set down and decided that high beam pulls a player in more that wipers on the windshield??? I think they should have added both. THe technology was there. With all the amazing tricks they pulled off in SA I feel they could have really used everything like the RPG elemets to the jets/airplanes the fact that the world felt huge and reall on SA should have been put into 4. Thats my opinion.
Now, for the GOOD.
The biggest thing I liked about GTA4 was the graphics, I have been wanting to see a realistic looking gta for the longest time. The graphics to me dont let me down at all. From the charactors movement to the handling/looks of the cars, its all good. HD is impressive. When the sun is setting the city really looks good.
Another big plus to me was the story, they really created a movie in this one. It's high quality, although it took a while to get to the reall good parts it was all worth it. Nikko does some crazy &%*# if you ask me.
I have to say Im a big fan of FPS liek Rainbow SIx Vegas, GOW, and so on mostly because of the cover systems that are involved. Now, in Gta 4 they put a coversystem. It isnt perfect and is almost like something they used GTA 4 to test it out in, but I like it, its awesome to duck behind cars and walls etc. just makes the game feel more organic.
Most already know about the online so there isnt much to add to it just that its fun. Im not sure about its life as in how long people will play it because alot of the modes get repetitive. There great idea's but there just not fully developed yet. But its fun and will keep a person buisy for a long while.
Anyways my finnal opinion of the game is its a good game, but the fact is maybe the company is getting board with the series or something but I feel like it was a step back. They didnt utualize the technology to the max like they did in SA. I dont know maybe they have a huge plan for gta5. I feel like they used GTA 4 as an experiment. They add alot of new features but non as big as the ones in SA. And non of the big feature's from SA made it to 4. You probably already own the game and know what im saying so with that Ill end my review. Good game not perfect.
Something also to add was even the stragedy guide was a step back. To me the one for san andreas was very well laid out giving information on main story first then ha dside quests together and so on and also had a brief description of the vehicles in the game. The guide for 4 is confusing as how it goes through the story, they mixed in the side missions and have no details on the vehicles, and since the side missions come at you at different times according to how you play alot of the side missions get missed and you have to constantly turn the pages back and fourth to find what your looking for. Just another thing that felt thrown quickly together.


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Friday, January 14, 2011
Heads on Poles
"Heads on Poles" is a show of sculptures that treat the theme of severed heads on display. Curated by Paul Nudd and Scott Wolniak, it runs from January 14 to February 9 at Western Exhibitions in Chicago. More info here.
While I do not have a sculpture in the exhibit, I did contribute these two images to an accompanying artists' booklet. Other participants include such luminaries as Onsmith, Lilli Carre, and Bruno Richard.
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