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R. Boast 21 January 2011.
Objects and Learning
Cabinet and the Context of Enquiry
Edited by
Dr. Robin B. Boast
With contributions from:
Dr. S. Lucy, Dr. L. Thomas, Dr. M. Wintroub
University of Cambridge
Museum of Archaeology & Anthropology
Funded by the Higher Education Funding Council (England) (HEFCE), the Virtual Teaching Collection is a three year project based in the Cambridge University Museum of Archaeology and Anthropology and the Whipple Museum of History of Science. Also involved, as consortium partners, are Glasgow University, the University of London, Middlesex University and Oxford University.
The aims of the project are to establish a database of digital images relating to curricula in the fields of archaeology and history of science, and to provide the tools necessary for research and the construction of teaching materials. In doing this, the Virtual Teaching Collection will give access to a range of objects which is unavailable even in the largest teaching collections. The completion date for the project is December 1996, by which time a fully operational image database system, consisting of over 4,000 images relating to the two disciplines, will have been evaluated, and will be available for use in undergraduate teaching at the consortium sites. A working prototype of the system with a sample set of images will be ready for preliminary assessment by January 1995.
The Development Team consists of four people: Dr. Lester Thomas is responsible for system/software engineering, Charlie Gere is in charge of interaction and graphic design, Michael Wintroub is the research assistant for History of Science, and his counterpart in Archaeology is Sam Lucy. The directors of the project are Dr. Robin Boast from Archaeology, along with Dr. Liba Taub and Craig Rodine, both from History of Science.
The Executive Committee consists of representatives from the consortium sites. It comprises Dr. Jim Bennett, Curator of the Museum of the History of Science, Oxford University; Stephen Boyd Davis from the Centre for Electronic Arts, Middlesex University; Dr. Jeremy Huggett of the Department of Archaeology, Glasgow University; and Dr. Derek Keane of the Centre for Metropolitan History, University of London.
To the Museum
We go from room to room, down long corridors, and through a maze of exhibits. We pass crowded display cases. We walk at eye-level with the masterpieces hanging on the walls. We stoop and strain to read cards covered with fine print, and we stop and stare in amazement at an item that for some ineffable reason particularly touches us. Then we think about how much our feet hurt, about how much more there is to see, and we shuffle on to the next room, in search of culture, knowledge, and perhaps even entertainment.
We go to museums to be, and to become, Cultured, to learn about our past, our present, about other cultures, and even other worlds. Whether it be the school field-trip, the Sunday visit, or the tourist excursion, the spectacle offered up by the museum is considered an essential component of the larger process of "cultural enlightenment". Yet, curiously, we are not invited to participate in this presentation of culture, of "enlightenment", as anything other than passive subjects. Indeed, we are encouraged neither to think critically, nor to interact with the exhibits or the stories they tell. We are, in a word, tourists.
Matters of Dissent
The traditional role of the museum is being challenged. Questions are being raised. Dissenting voices are being heard. One has only to look at the furore over the "Art of Death" exhibition at the Victoria and Albert Museum (1994), or the angry exchanges incited by the Smithsonian Institute's exhibition of the Enola Gay (1995) to see that museums and their collections have become arenas for social and political debate.
Clearly, museum collections have become so controversial because they are closely related to the ways we define and understand our own and other cultures. The problems begin when more than one culture, nation or group claims an object or collection as its own; when the facts as recounted about a particular collection or exhibit represent one point of view, neglecting all others. Accordingly, much of the sound and fury associated with museums has to do with where collections come from and to whom they legitimately belong. The question thus becomes: who determines how best to collect, present, understand and appreciate these objects? Whose interpretation is right? Whose is wrong? Who should have access? Whose views should be represented? And who should be vested with the authority to judge between the often volatile differences that might arise?
At the very time when the intellectual and moral status of large multicultural collections has become increasingly problematic, it has become apparent that such collections are crucial not only to understanding our own history and culture, but also other peoples, places and times. This is because the objects within a collection have been, and continue to be, invested with so much meaning. The irony is clear: collections have become most important precisely when they have become most problematic, when their ownership, interpretation, and use have become highly politicised and contested issues.
The teaching of archaeology has always depended upon the "material culture" found in museums, and this is also increasingly becoming the case with the teaching of history of science. Clearly, to demonstrate the richness of a particular culture, a particular time, or place, one object will not suffice. Rather, a whole series is needed if one is to examine the ways in which objects are used and understood. The problem, of course, is that such collections are increasingly difficult to assemble, and that once assembled, access to them tends to be severely limited.
The Virtual Teaching Collection is a project designed by archaeologists and historians of science to redress some of the problems and controversies associated with access, control, and interpretation of collections. To this end, a set of software tools have been developed called Cabinet. The goal of Cabinet is to ensure that students, lecturers and researchers are not only able to have access to the wide range of objects associated with our curricula, but also that they be able to explore some of the many different contexts in which these objects are used and understood. In this sense, the goal of Cabinet is not to dictate how or what should be taught in using the remarkable resources found in the museums of Cambridge, Oxford, London and Glasgow, but rather to provide an environment within which instruction and research can take place virtually anywhere and with any collection of digital representations.
Rethinking the Museum
Commenting upon a recent exhibition at the Smithsonian, a former curator of its Air and Space Museum asserted that "...didactic arguments have no place in a museum of history. Such discussions should not infiltrate their way into what should be, after all, a pure (factual) recollection of precise moments of the past." We could not disagree more. The stories which museums recount are not simply factual; they reflect the opinions, points of view and interpretations of those who tell them.
The growing awareness of the "political" nature of museums, and the part they play in maintaining the cultural values of elite or privileged groups has encouraged a new openness and self-awareness on the part of some museum organisers. The questions of "Who does the culture belong to?", "How is it being portrayed?" and "Who is portraying it for whom?" have brought about new conceptions of what museums should and should not be doing. These questions have led to attempts to redefine the relationship between museums and visitors by encouraging the visitor to interact with the collection.
Such trends can be identified in some recent innovative museums which have attempted to demystify the traditional authority of museums and their exhibits. For example, in the Archaeological Resource Centre in York visitors participate in the archaeological process, classifying and recording real artefacts, thus gaining an insight into some aspects of what archaeologists actually do. The Prehistoric Gallery at the Museum of London offers a number of different interpretations for the same phenomena, thereby making the point that there is not a "true" record of the past, but many different versions of it. The history of science exhibits at the Whipple Museum in Cambridge (1993-1994) have aimed to make plain the fact that social and political conditions were (and still are) an integral part of scientific research and explanation.
Enabling Technologies:
New approaches to virtual images and their associated data have been made possible by developments in hardware and software. Increasingly sophisticated circuit design and ever subtler microchip manufacture have lifted microprocessors to new pinnacles of performance. Packed into a couple of square centimetres of silicon there are up to three million transistors arranged using the latest innovations in processor design (RISC architecture, pipelining and superscalar operation, for example). The chips now being used have speeds of 50 to 200 MHz and perform 100 million to 400 million instructions per second. The whole aim of this hardware is not just to make spreadsheet or word processing applications that operate faster, but to be a catalyst for whole new realms of functionality and interactivity: event driven WIMP (Windows, Icons, Menus, Pointers) software with speech, images, movies and hypertext, for example.
Computer software has come a long way since the terminal command line interfaces of a decade ago. Led by research at Xerox PARC and popularised by the Apple Macintosh, WIMP interfaces have become the norm for human-computer interaction. Because these interfaces are event driven, they allow the user to be in control of the interaction. The events (for example, opening a window or running an application) are usually generated by selecting menus or icons, typically with a mouse pointer. This is very different from the old command line interface where the user typically chose from a small selection of commands and the control of the interaction rested with the computer.
Decreasing prices of ever more powerful hardware have also lead to the development of interactive multimedia: the integration of images, video and sound into interactive software. A major problem with this integration is the high "bandwidth" and large storage space required to handle multimedia data in digital form. The use of data compression is one of the key factors needed to enable the use of digital multimedia. The last ten years have seen a large research effort in this area and there now exists a range of widely accepted standards for digital multimedia compression. For the Virtual Teaching Collection project, the following standards were chosen: For images the Joint Photographic Experts Group international standard (JPEG) and for video, Apple Computer Inc.'s QuickTime™ standard (see Research Report No. 2).
The main problems with generating software are managing its complexity and reducing the length of the software development time needed to produce these complex programs. Central to the solution of these problems is the use of object-oriented tools and techniques which have been developed over the last decade. Object-oriented software development tools allow the modular design and reuse of software components. Commercial "libraries" are available for user interface components (windows, buttons, menus etc.) and database components (object persistence mechanisms, searching and sorting). These features allow for increased speed and efficiency of programming and improved maintenance and reliability of the system.
Advances in hardware and software technology thus allow the development of new and innovative applications, and the use of computer technology in new areas. The aim of the Virtual Teaching Collection is to develop the technology to meet the challenges of object-based teaching and learning in an effective way.
The Role of Objects
To demonstrate what can be done with Cabinet, the Virtual Teaching Collection project has developed two collections: a collection of materials covering British Archaeology from the Neolithic through the Medieval periods with objects from the University of Cambridge Museum of Archaeology and Anthropology, the University of Glasgow Hunterian Museum and the Andover Museum; a collection of history of science instruments from the Oxford University Museum of the History of Science and the University of Cambridge Whipple Museum.
Objects in Archaeology
The use of objects is an integral part of archaeological teaching and research. With no documentary sources to provide an historical framework, archaeological knowledge is constructed by contrasting and comparing excavated artefacts. Often fine typologies and chronologies, around which frameworks of interpretation are based, are reliant on minute differences between similar objects. Thus, an intimate understanding of object materials and categories, and the development of knowledge about how they fit into structures of meaning, are two of the primary means by which ideas about the past are formed.
Virtually all archaeological teaching makes use of images of objects, in the form of slide shows to accompany a lecture, or uses the objects themselves, in the context of practical sessions. This usage presents considerable problems of access, however. With regard to images of objects, an extensive slide collection is only built up by a lecturer over a considerable amount of time, and remains in the possession and control of that person, who therefore also controls the information associated with those objects. Students are not free to use these images for their own purposes, and have no access to contextual information except through the lecturer or readings. Illustrations of artefacts are found in widely diffuse sources, such as text-books, site-reports and artefact catalogues, and in such sources they are usually divorced from the detailed description of context which is the mainstay of archaeological interpretation.
With regard to the objects themselves, many university and college departments do not have access to adequate teaching collections which their students can work with. Even in those departments with extensive teaching collections, such as Cambridge, the complete range of artefacts necessary for detailed explanation of a topic is often not held by the museum. In addition, many artefacts are too delicate to be handled by large (or even small) numbers of students. Students are also rarely permitted to use the collections without supervision.
The Virtual Teaching Collection aims to side-step these problems by making use of representations of objects in museum collections with a high level of documentation and giving the user free access to as much contextual and descriptive information as possible. In this respect, the uses to which the collection will be put, whether by the student, the researcher or the lecturer, will be determined by the aims and needs of the user, rather than by the limitations of the information itself.
Objects in History of Science
In contrast to archaeology, the role which objects play in teaching the history of science is very different. The history of science has been, until recently, dominated with telling a narrative of progressive enlightenment. The standard bearers of this "enlightenment" were represented by certain canonical figures such as Copernicus, Bacon, Galileo, Newton or Darwin. These "Great Men" have been depicted as single-handedly freeing "Man" from the tyranny of ignorance and superstition. Although their ideas have been explored in some depth, they have been treated as curiously ahistorical.
This picture, of late, has been drastically revised. The ahistorical genius has been firmly placed within specific historical circumstances which conditioned both the production and reception of his ideas. As a result, increasing attention has come to be placed on the specific practices and tools that he employed in producing his theories.
Traditionally, there has been a wide gulf between the work that goes into making a scientific theory, and the presentation of the theory as a scientific fact. Increasingly, historians of science are concentrating their attention on specific experiments, the ways they are structured, carried out, observed, written about and understood. This emphasis on the "work" of science directly contradicts the picture of the scientist as some kind of disembodied being who never gets his (let alone her) hands dirty with the often messy work which precedes the eventual written presentation of the elegantly performed experiment. Indeed, much of the work of science is carried out, not by the "great genius", but rather by everyday craftsmen and technicians.
The Virtual Teaching Collection's curriculum in the history of science grows directly out of this changed emphasis, and it has several interrelated goals. Firstly, we aim to give the lecturer, student or researcher the access which they would not normally have to the rare and precious devices used by natural philosophers, astronomers, sailors, merchants and surveyors of the past. Secondly, we wish to communicate through these instruments the sense that science is heavily influenced by specific historical, social and cultural contexts. Thirdly, we want to allow our users to explore the work of some of the canonical figures in the history of science through the instruments they developed and used. And finally, we would like to permit our users to explore the history of science according to their own particular interests, by giving them the freedom to create their own sub-collections for purposes of teaching and research. We hope that this will both promote a critical reexamination of traditional ideas and encourage original research.
Virtual Collections
It is evident that the true potential of information technology has yet to be realised, for although museums and institutions concerned with material culture have embraced computing technology, the uses to which this technology has been put, and the results that have been obtained, are relatively disappointing.
Indeed, the end result of their forays into information technology often differs little from the publication of a well-indexed book. As such, they reproduce many of the shortcomings of "actual" collections in the sense that they are closed linear systems which offer the user no chance of real interaction. The contents and links are decided and fixed by the writers or designers, and the user remains a passive recipient of knowledge. Even more limiting, attempts have been made to reproduce the physical space of the museum. Using virtual reality techniques which enable the user to "walk through" the museum in essence transfers the inadequacies of the museum experience directly onto the computer.
Computers have revolutionised our ability to store and manipulate complex information. Their potential now permits us to reexamine the various ways in which collections are made, used and understood. Associations and connections which were once hard and fast, and seemingly fixed by the very order of things, can now be challenged. Information and objects can be assembled and manipulated, and narratives can be explored, or even rewritten, according to new and diverse criteria.
Applying these ideas to museums and their collections allows us to open out systems of classification and organisation which were previously rigid. And, though for many purposes there is no substitute for the experience of the actual artefact, the ability to virtually place objects in different contexts has the potential to transform our understanding of these objects when we do actually see them in museums. Cabinet is the first software tool, that we know of, that is designed for this form of user driven recontextualisation of collections.
Cabinet and The Virtual Teaching Collection
Outlined above is a brief review of past, present and future roles of museums and their collections. The critique of such roles has enabled the development of new ideas about collections, and thus has given rise to new uses for them. The Virtual Teaching Collection, with the use of Cabinet, aims to build on this critique. We realise that it would be impossible to entirely avoid the pitfalls associated with these ideological dilemmas, and that in any case it would not be desirable to do so. Indeed, the recognition that we are not working in an objective, non-ideological, medium, is the starting point for the development of this work. The diversity of our users, and the richness of our chosen curricula in archaeology and history of science, demand that interaction take place on a number of different levels.
This points to the unique capacity of Cabinet to do what a museum cannot. Objects in museums can only occupy one place and one context at a time, and thus they can only be situated in the particular linear narrative which is imposed by the physical order of the museum's rooms. The 'space' in a virtual collection, on the other hand, operates in a very different way, for it enables objects to exist simultaneously in very different contexts, and be manipulated within them. This would be altogether impossible to duplicate in a conventional museum.
Freed from the constraints and restrictions of the linear display, objects can thus be viewed in new and different ways and understood with reference to a number of different narratives. What Cabinet offers users is the possibility of determining their own paths through the collection, and viewing the objects in a multiplicity of contexts and narratives. In this, Cabinet arguably offers not just more functionality than other software concerned with material culture, but an entirely different approach, which is far more appropriate to the needs of users now and in the future.
Cabinet derives much of its inspiration from applications developed from within computer culture. Spreadsheets, graphics programs and word processors are not only appropriate uses of the computer's power, but offer truer interaction and, arguably, a greater sense of pleasure than multimedia, virtual reality and other more heralded developments. What Cabinet offers, then, is a set of tools with which to construct, examine and contextualise collections, rather than a fixed medium. The user can search for a specific item, browse the collections using visual and iconographic representations of their contents; examine the distribution of objects by place or date through visual cues; make sub-collections according to a variety of parameters, and construct arrangements of objects at will. Such collections can be annotated and made into paper documents, slide shows, hyper-documents and other teaching materials.
In conclusion, Cabinet, and the Virtual Teaching Collection, can perhaps best be seen to function as an extremely portable collections of representations, accompanied by a versatile set of tools with which to construct, examine and organise them. This catalogue can be personalised according to individual needs and specific requirements. At the same time, for those with little or no knowledge of our chosen curricula, objects in Cabinet will provide distinct advantages over authentic objects in a museum, for it will allow for the possibility of integrating objects into larger explanatory contexts of primary and secondary texts and images. These contexts can be construed narrowly, e.g. in terms of short narratives, anecdotes, and bibliographies, or more broadly by merging the possibilities of a textual archive with our collection of virtual objects. In either case, the point will be to anchor these narratives firmly to the image-objects in our collection, for without such an anchor there is the very real danger that the freedom and the versatility of our medium will collapse into incoherence. Accordingly, we will both offer the user a wide degree of latitude, while at the same time allowing the less sophisticated user the possibility of choosing defaults which are designed to offer more structured narratives and traditional interpretations.


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Local hospital affliations reflect national trend
Patients may not notice the change at first.
But officials of the greatly expanded Western Connecticut Health Network -- which includes Danbury, New Milford and now Norwalk hospitals -- are promising the network will provide area residents with better, more cost-effective care, with more specialists and more access to medical research.
"We're not just looking at having great community hospitals," said Ervin Shames, chairman of the network's board of directors at a meeting at Danbury Hospital. "We want to be one of the premier health networks in the country."
The network is now the third largest in the state after Yale New-Haven Health System and Hartford HealthCare. It will serve 650,000 patients in 25 municipalities.
The merger reflects a trend in hospitals across the nation, which have seen that belonging to larger networks puts them in a better position to withstand financial storms and address changes resulting from the Affordable Care Act. At the same time, hospital administrators say a larger organization can provide patients with better care.
Since 2010, there have been 13 affiliations or attempted affiliations of hospitals in Connecticut, said Michelle Sharp, spokeswoman for the Connecticut Hospital Association. The Yale-New Haven network added Bridgeport Hospital and Greenwich Hospital in the 1990s. In 2012, it added the Hospital of St. Raphael in New Haven.
Stamford Hospital and St. Vincent's Medical Center in Bridgeport remain unaffiliated with larger networks.
"I think every hospital in the state, and in the country is thinking about this," said Vin Petrini, spokesman for the Yale-New Haven network.
By joining such networks, Petrini said, hospitals can achieve greater efficiencies through economies of scale. They can also offer patients more -- and different -- care than they could by remaining a single, unaffiliated hospital.
The expanded Western Connecticut Health Network will offer many benefits to patients, Murphy said.
None of the three hospitals has enough patients to support hiring a surgeon who specializes in the pancreas, liver and stomach, he said. But, together, the network does. It has hired such a surgeon, whose services will now be available to all the patients in the network.
"It will bring the care closer to our patients," said Dan DeBarba Jr., the network's executive vice president.
DeBarba, who had been president and chief executive officer of Norwalk Hospital will now be president of all three hospitals, as well as executive vice president of the network.
Murphy said the three hospitals are interested in research protocols for cancer patients and for people suffering from other diseases, such as the Lyme Disease Registry the network now runs. The network will be able to promote that research, he said.
"We'd like to see 10 percent of our patients newly diagnosed with cancer enrolled in clinical trials," he said.
The new consolidated network, approved by the state Office of Health Care Access this month, will stretch from Long Island Sound to the southern towns of Litchfield County, and the New York towns that line the western Connecticut border. Collectively, it will have a $1.1 billion budget.
The network will have a single board of directors. While DeBarba will oversee the day-to-day operations of the three hospitals, Murphy will remain as president and CEO of the network. He will concentrate on long-term planning and strategic development, helping the network make the changes needed in a new era of health care and government reimbursement for that care.
Deborah Weymouth, the network's executive vice president and executive director of New Milford Hospital, will continue in that post. But she will also take on the duties of chief integration officer, overseeing the affiliation of Norwalk into the network. There are two dozen committees now working to bring three hospitals together into one organization.
"She's in a good position to do this," Murphy said of Weymouth. Having overseen New Milford Hospital's integration into the network, Murphy said she's learned "how to balance a unified approach with respecting the cultural idiosyncrasies that vary from place to place.''
New Milford and Danbury hospitals affiliated into one organization in 2010. They are now seeking permission from the state to operate with a single license.
That same year, Murphy and DeBarba began the discussions that led to their affiliation.
Along with improving patient care, the two hospitals came to the conclusion that being part of a larger, more stable health network could provide some protection against the vast changes in the nation's health care system.
Murphy said it's clear Medicare will be reimbursing hospitals based on outcomes, rather than individual procedures. There is also increasing emphasis on basing procedures on best medical practices and evidence-based medicine, rather than on the way things have always been done.
Murphy gave as an example the different approaches hospitals use to treat prostate cancer -- robotic surgery done by human hands, treating with radiation, implanting radioactive beads, or simply watchful waiting -- monitoring the slow growth of many of these cancers without taking any further action. The federal government may decide to fund hospitals for the procedures that work best, based on the data, rather than funding all of them equally.
The Affordable Care Act -- bringing more patients, more regulations and an emphasis on preventive care -- will also alter the medical landscape.
There is also the fear that federal and state funding to hospitals could decline. Gov. Dannel P. Malloy's decision to cut $550 million in state support to Connecticut hospitals in 2013 was evidence that could happen.
A larger network will give the three hospitals savings in purchasing and put them in a stronger position for seeking financing for capital projects.
They will also save money because, in some cases, they will apportion high-tech equipment among the three hospitals.
DeBarba said the end result will be a medical network that will serve western Connecticut for generations to come.
"We put aside our egos and did what's best for our communities," he said. "Not just for our customers now, but for their children."
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Having missed the Egyptian's 70mm presentation of both 2001 and Vertigo last week, I'm going to make the trek out to the Aero on the 23rd to catch Vertigo. My last vacation to San Francisco was heavily influenced by the film; we checked out a few of the landmarks that pop up throughout the winding plot. Anyhow, back to 70mm: A few years back I took my son to a Sleeping Beauty 70mm screening and was blown away. During the 80's I caught quite a few of the major blockbusters (E.T., Raiders, Return of the Jedi etc.) but I most remember the Cinema 21 showing of Lawrence of Arabia back in '89. I remember it was '89 because they played "So Alive" by Love and Rockets during the intermission and I hate that song. Even at 14 I could appreciate what the 70mm projection did for Lawrence of Arabia and I'm sure you'll agree if you too choose to run out to Santa Monica next weekend and catch the sceening of either Lawrence or the Hitchcock classic. While you're at it, tomorrow night they're showing an amazing Noir double as part of their Jules Dassin tribute-- Thieves' Highway and Night and the City!
posted on May 16, 2009 at 11:51am
posted on May 17, 2009 at 8:59am
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Volunteer Community Village Projects in Samoa
- Placement locations: Various villages on Upolu Island
- Role: Assisting with school activities and on-going community projects
- Accommodation: Host families
- Price: From
- What's included? Food, accommodation, transfers to and from our specified airport, transport to and from work where required, insurance, personal webpage, induction and orientation, 24/7 support
- What's not included? Flights, visa costs, spending money
- Length of placement: From 2 weeks
- Start dates: Flexible
The Community Village project in Samoa gives volunteers the chance to fully immerse themselves in traditional Samoan village life and learn about their fascinating culture.
Depending on your skills and interests, as a volunteer you will have the opportunity to get involved in a variety of activities that will benefit the local community.
Samoans are always eager to learn and as a volunteer you have the chance to exchange ideas and stories. Using your skills and knowledge, you will teach at the local school in the morning and do other activities later in the day. The school is the hub of the community and working at the school will mean you will be a part of the village life from the grass roots up. You will learn to sing like a Samoan, dance like a Samoan and speak like a Samoan!
Other activities that volunteers may assist with later in the day include a drama group, gardening, exercise classes and reading classes for children and adults. Volunteers are also able to create specific workshops that can benefit the community, for example, vegetable growing, sustainability schemes or healthy eating and living programmes.
Volunteering on the Community Village project
Living in the village you will become part of the community and will get to learn and understand the way Samoans live. Living with your host family will automatically allow you to experience the Samoan way of life, from eating and cooking their food, to going to church, to understanding the village chief system. Samoans are famous for their hospitality and you will quickly become part of the family.
All villages are on the main island of Upolu, and may be up to one hour drive from the capital Apia. Due to being in a more remote location, the minimum age for this project is 18 years old.


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Resident Evil 3: Nemesis – Speed Handgun Walkthrough
Speed Handgun Walkthrough by VMerken
Updated: 09/16/02
"...So I'm back." ._______. ._______. ._________.___._______. ._________._______. ._______. | ._. !_| ._. !_| ._. | | ._. !_| ._. | ._. !_._! ._. | | |\| | |\| | |\!___|___| |_| | |/| | |/| | |/| | | | | | !_! | !__\__| | | | | !_! | | | | | | | | | !___| ._____!_____. | | | | | ._____| | | |___! | | | | |\__| !\_____\____! | | !_! _| !_____| | | |__/| | | !___! | !_________________. | |_______!_! ._________! !___! | !___! \___\| \________| ._. !_| |\________| |________/!/___/ !/___/ | | | | | | |___| | | !_! | | | | | | .___. | ._____| !_! | | |/| | | !\____!_. ._| | !_! | !_________!_!_____!_!___!_________! \________! !_______!___!________/ | ._. |_. | | | | !___|_| ._| |___|_ |_| ._____! | !_________! !_________! SPEED HANDGUN WALKTHROUGH (c)Millennium-1 VMerken, started ed. Jan 16th - finished Jan. 20th -------- 00 INTRO -------- Mes chers Resident Evil Fans, Umbrella is amidst us again. The mighty corporation releases yet another wave of terror upon Raccoon City. Join STARS agent extraordinaire Jill Valentine on her craziest escape yet... After writing two FAQS on the previous RE games concerned with nothing but speed, I thought it would be nice to make something else for a change. So how about... completing Jill's mission with nothing but her trusty Handgun? And to do that within 1:30 - 1:35? You read it right. No Shotgun, no Magnum, no Grenade Launcher. The only bullets you'll see flying are 9mm parabellum rounds. The Handgun, rated 2/10 by some people, will become your best friend. Or why do you think Jill is holding one from the start? "Why on earth should I give up on all these great weapons?". You don't. However, as with Nicholai in the Mercenaries subgame, it's a great method to improve your gaming skills. Anyone can aim a Rocket Launcher at Nemesis. But a Handgun? Besides, it's great boasting material... Him "Hey, wotsyatime in RE3?" You "1:30..." Him "Bwahahahah, I've got 1:2..." You "...with the Handgun." Him "Wha? But Hunters...?" You "Handgun." Him "Clock Tower Nemesis?" You "Handgun." Him "No way that you got Nemesis ty..." You "Handgun. Three bullets." You'll soon be the Prince of RE land, but watch out for those who go... You "Hey, wotsyatime in RE3?" Him "2:03..." You "Bwahahahah, I've got 1:3..." Him "...Knife only." You "Wha? But Neme.." Him "Knife ONLY." Those are the Kings. They have the mental insanity to stab Nemesis 60+ times for a kill. They don't care about bonus items. Grave Digger needs 80+ stabs. The final fight is under time pressure, but these guys finish. So pay heed. OK, this intro is getting way too long and I wanted to put some structure into this guide. Anyway, read on and never forget to have fun playing the game. -------------------- 01 TABLE OF CONTENTS -------------------- 00 INTRO 01 TOC 02 RE3 REVIEW 03 PRELIMINARIES 04 THE WALKTHROUGH 05 TED (The Essential Disclaimer) 06 ???????????? ------------- 02 RE3 REVIEW ------------- In a time where PSX1 is showing its age, the King of Sequels, Capcom, brings us RE3: Nemesis - luckily they didn't call it RE EX PLUS ALPHA C 3 (altho' there is a RE ZERO coming on N64 - ack). They decided to say goodbye in style, because, well, this game is a friggin' bomb. Graphically, the polygons are not trilinearly filtered, there is no realtime shadow calc, and the backgrounds are not 3D. But there is no way that any current 3D engine could ever reach the same quality as these prerendered graphics. It's a joy running around in what was once a pretty normal US city. As a bonus to all this eye candy, the enemy count has been greatly enhanced. And that raises the difficulty level. This is the hardest game yet, which is what we were all screaming for - Capcom did listen. Furthermore, Nemesis, the 'Live Selection' process as well as random scattering of objects add incredibly to the gameplay. Finally, you get the best bonus game yet - the Mercenaries. Choose one of three characters, each with their unique armament and style and play one helluva tough mission. This makes Tofu from RE2 look like a stroll to the nearest pub. As this game's the only way to unlock the bonus weapons, you'll be playing it a lot. And then some. Capcom deserves praise for this release (I haven't found a single bad review on the 'Net which says it all), and one can only hope that RE: Code Veronica on DreamCast is just as satisfying. Judging from the demo movies, it is... I think I'm gonna buy a Dreamcast, just for this one game. But I'm NOT (never) buying RE ZERO. Why? N64. I don't care how hard or challenging it's gonna be. ---------------- 03 PRELIMINARIES ---------------- Before we get started on the real thing, I'll give you some general tricks and tips that'll prove useful throughout the walkthrough. (A1) Time If you want to be fast, you got to know how the game measures elapsed time. Fortunately, RE3 is very easy on this point: the clock starts as soon as Jill starts to ramble about her story and it ends when she and Carlos escape with the chopper. (A2) Abuse Select The clock does not stop for FMV or cut-scenes, so you must effectively keep these very brief, which can be done using SELECT. Hold SELECT to shorten a FMV, tap it furiously if you run into a cut-scene. Note that some cut-scenes can not be aborted. (A3) Get out Fast While heading for an exit (a door, a gate, whatever), hold both the Run and Action Button. Jill will exit in the quickest possible way. (A4) Menu Access The clock ticks away while you're deciding whether to equip that Shotgun or not. The key to really good times is to only access the menu when it's absolutely unavoidable. Figure out in advance what you have to do, then do it quickly. Keep in mind that simply opening and closing the menu screen costs you seconds, so keep access to a minimum. (A5) Puzzles It's obvious that solving a puzzle quickly is essential. I'll give you tips and hints on how to do that for every puzzle in the game. (B1) Enemies When speed is all-important, and you're only using low-power enemies, you can't afford to take on everything you meet. So most of the time, you're running around the monsters, evading their attacks. You'll need techniques to outsmart them when they get too close for comfort. (B2) Zombies Pelt them down using 3-5 Handgun bullets, then aim down. Two more bullets should work wonders. If the zombies are stacked and it's impossible to evade them, let them have a bite at you. Sure, you'll be hurt, but at the same time Jill'll dodge them away, clearing a path to escape. It's fast and saves bullets. (B3) Dogs A running technique mostly is best; when the attacking dog gets close, swiftly move left or right. He'll miss and by the time he recovers, you're long gone. (B4) Hunters Again, there's a neat running technique. I've read about 'run, then step back' stuff andsoforth, but I think a 'Wait, then run' technique is far better. 'Wait, then run' basically goes like this: a Hunter is running at you. You're running at him, but before the clash, you stop briefly. The Hunter will always attempt a jump attack, so once you hear it's combat shriek, start running again. If you perform this with three Hunters, you'll have a nice screeching and jumping parade following you as you go to the exit. Pretty amusing to watch. (B5) Drain Deimos/Brain Sucker These creatures are pretty harmless as they're completely blind and only react to sound. Use this to your advantage by tapping the Run button as you advance through a DD/BS-filled room. Jill will 'float' along and pass the them without being noticed. You'll only be detected if you float into them or get real close. (B6) Nemesis type I If you meet Nemesis type I during the game, here's a little secret: He's LEFT-HANDED. See his right shoulder, showing all that brown tissue? That's what you have to run for if you want to get past him. Caution: sometimes, he does use his right arm, so keep some distance. (C) Quick Reload Trick While shooting, try to rhythmically press/depress R1. If the timing's right, Jill shoots faster than normal. Get the 'Infinite Ammo' item from the Mercenaries subgame and practice. (D) Recovery Items In RE3, you don't get penalized for using First Aid Sprays (unlike RE2), but too many of them still can turn your A into a B. We're aiming for A rankings here (all secret outfits and the bonus game), so use the Sprays moderately. With practice 3-5 Green Herbs and 1-2 First Aid Sprays are sufficient. The guide will only show you the essential pick-ups, so for the rest... use your own judgement. (E) DIFFICULT SPOTS There are several places in the game where you'll have to reset due to various reasons, like too dangerous or too much timeloss. In such instances, there's really nothing else but to restart, unless you're willing to lose more time. The first few plays, boss fights could prove very difficult, so it's no problem if you save regularly and train these fights. However, saves absorb time (and I suspect that the game even penalizes you for it), so the fast runs should be done without the use of Ink Ribbons. I'll denote the difficult spots and recommended saves in the text. (F) Rooms All the rooms are numbered and named, so you can easily follow the route I've taken. Also this way, I don't need to say 'take the closest door' or 'get to the left exit'. The room names are the official Capcom ones. By the way, if I say 'go left', I mean this from Jill's perspective. (G) Scenarios Due to the random positioning of enemies/objects/events, there are several 'scenarios' you need to act out according to situation. For each scenario, I'll tell you what to do. These scenarios are only valid for a single room, they're NOT connected. ------------------ 04 THE WALKTHROUGH ------------------ At the Menu Screen, select 'New Game' and 'Heavy Mode' to ignite the game. Tap Select to skip Jill, then hold it for the FMV. Chapter 1 My, Last Escape has, begun ------------------------------------- Jill sure did change from RE1. Being a STARS agent, it's only logical to adopt sexy attire while escaping a zombie-ridden town. I guess she was a bit jealous of her polygonal colleague Ms. Croft and decided to show her 'potentials' to the world, too. Anyway, we see her blasting out of a burning hotel room of some kind. Run forwards and drop the zombie blocking her path. Go over the dumpster and enjoy the non-skippable cut-scene. Once Jill finishes saying 'I CAN'T beLIEVE that I'm stILL aLIVE', tap select followed by a reversal (tap the Run button and Down at simultaneously). 100 Storehouse Pick up: Handgun Bullets (30) (locker near First Aid Spray) 101 Storehouse Office Pick up both A Gun Powders and combine them to AA. Use the Reload tool to get 35 bullets. Then head for the Magic Box. Discard: Game Manual A, Game Manual B, Reload Tool Pick up: Warehouse Key 100 Storehouse Use: Warehouse Key 102 Lane in front of Storehouse 103 Main Street 104 Y Junction If you go up the stairs, you'll soon meet a door from which Brad comes storming out, zombies pursuing him. If you don't see this happen, try to open said door. Then, run back from whence you came. 103 Main Street Do a 180 to re-enter the door. 104 Y Junction DIFFICULT SPOT The zombies are now much calmer. Go down the stairs, negotiating the two zombies coming out. Once down, let the single zombie bite you. Tap all keys to drop/dodge him. Pick up: Lighter Oil (Wha? No Shotgun?) Head back up the stairs. If some zombies are making their way down, eliminate them. As you exit the stairs, curl right and enter the street Brad was going for. A single zombie should be there, but he's easy to evade. Pick up: Green Herb 105 Street in front of Apartment Building with 1F Shop Real easy here. 106 Garbage Dump Go down the the stairs, where Brad's shooting a zombie. He'll kill it, then retreat to the Bar Jack. The zombie blocking the entrance is really quick, so pause shortly to lure him away, then run for it. 107 Bar Jack Tap Select, followed by a 180 once Jill's visible again. You're so scared of Brad pelting a walking undead that you want to exit back to the Garbage Dump. As you do that, Brad somehow raises caliber and brings his assailant down quick. Tap Select. Pick up: empty Lighter, Handgun Bullets (30) (cash register) 106 Garbage Dump The zombies have retreated to fairly innocent positions. 108 Street where policemen were slain DIFFICULT SPOT A large group of zombies are hiding behind a fence. (Scenario 1) Run up to the gate. Combine: empty Lighter, Lighter Oil Use: Lighter Once the ropes burn off, the zombies will crash through the fence, two crawlers in front. Don't let these get you, they stall enough for the pack to catch up. (scenario 2) The zombie crash occurs BEFORE you get close to the gate. Reset the game, or use the oil barrell (R2 aim) to kill all but two attackers (time loss). Run up to the gate. Combine: empty Lighter, Lighter Oil -> Lighter Use: Lighter (scenario 3) You get to the gate, but the zombies come before you get a chance to access the menu. The crawlers are close, but there's still some room to unlock the gate. You don't need to be exactly in front of the gate, the far side works just as well. Combine: empty Lighter, Lighter Oil -> Lighter Use: Lighter Tap the Action button like crazy to get out before the crawlers bite. If they do, reset the game. If you're not comfortable doing this stunt, go for the oil barrell (R2 Aim)(time loss). 109 Garbage Collection Point Just two doggies who'll never catch you. 110 Street in front of Police Station Main Gate Nothing there, so you might as train your running skills by following the shortest path to the Police Station (straight lines). 201 Police Station Main Entrance Hold Select to end the FMV. LIVE SELECTION 1 -> Fight the Monster Do a 180 and dash for the exit. Do it quickly or Nemesis will catch up and hurt you with his overhead punch. You don't want to moonwalk (failed 180) here. 202 Hall in Police Station Run forward. Nemesis will push you in the right direction. Follow it up by a reversal. Pick up: Handgun Bullets (30) (near computer terminal) By the way, this part of the game takes place 24 hours BEFORE Leon and Claire arrive. But here, nearly all the exits are barricaded, whereas in RE2, they're gone! Mystery, oh mystery... unless the surviving cops decided that Raccoon City was safe again, so they removed their barricades. Makes perfect sense. 203 West Side Office (scenario 1) Jill looks dead ahead as she enters. All zombies are in a room you don't want to go to anyway. Good. Leave. (scenario 2) Jill looks to the left as a zombie is near. Pelt him, then let the zombie lying on the floor bite you. Evade the oncoming third zombie. In this very room, you'll find the DEAD body of Marvin, 24 hours BEFORE he gets shot by Leon/Claire in RE2. Yes this makes sense to me. I guess that in RE ZERO, Rebecca will find Ada's dead body holding information about the G-Virus, 3 months before she dies in RE2. (In the back, one can hear the annoyed voices of RE ZERO script writers: 'How.. did he know THAT? Now we have to rewrite everything from scratch! Nooooo!') 204 Storehouse for Seized Object Pick up: Blue Gem Pick up: Emblem Key (after entering passcode) I hear the entire survivalhorror community screaming at me. "YOU FORGOT BRAD'S STARS CARD! YOU DIDN'T CHECK THE COMPUTER! YOU DON'T HAVE THE PASSWORD! YOU'RE DOOMED! GO HOME!" No sweat then, mind if I take a lucky guess? The are only four codes: 0131 - 4011 - 0513 - 4312 I always enter them in this sequence as 0131 is the fastest to enter, so if it's the right guess, I'm out fast. But you could try the long 4312 from the start, if you feel that Lady Luck's at yo' crib. 205 Corridor in front of Darkroom Press upper left and run. The curve is large enough for the female zombie to notice you. As she marches forward, run past her along the other side. The two other male zombies are easy provided that you don't get stuck at the staircase. 206 Corridor with Stone Statue (scenario 1) You see three zombies as you go up the stairs. This is tricky, but you need to cut in behind the first and escape diagonally. If not, you'll be bitten. Run on. Chances are that you won't even see the fat zombie near the statue. (scenario 2) You see nothing as you go up. The fat zombie's here and poses no threat. The three previous zombies are now at the statue. It's less tricky to evade them here. 207 Corridor in front of S.T.A.R.S. Office Unlock the STARS Office with the Emblem Key (automatically). 208 S.T.A.R.S. Office Pick up: Lockpick, Handgun Bullets (30) (Barry's desk) Tap Select when you hear the first beep from the communications panel (happens when you exit). You shouldn't hear the second echo beep. All the way back now. 207 Corridor in front of S.T.A.R.S. Office 206 Corridor with Stone Statue 205 Corridor in front of Darkroom 204 Storehouse for seized Object 203 West-side Office 202 Hall in Police Station 201 Police Station Main Entrance 110 Street in front of Police Station Main Gate The Lockpick comes in handy here. 111 Shopping Street Side Road Pick up: Handgun Bullets (30) (from dead mercs body) Press the Run Button twice to avoid reading the document. 112 Lane in back of Shopping Street 113 Street in front of Car Park No threats. 301 Car Park It's easy to pass doggy one, but number two has seen you and will attack. Zig to the left and zag back for an unharmed escape. 302 Car Park Office Pick up: Handgun Bullets (30) (next to Jill as she enters) 303 Street in front of exclusive Hotel Run left. Two dogs behind you. Keep on running to the left until a third dog jumps and misses, then go for the exit. Enjoy the doggy parade. 304 Construction Site Run past the Drain Deimos. Don't stop or he might surprise you with a giant leap and drain the bejeezus out of Jill. 305 Street in front of Restaurant Carlos is shooting some rotten flesh. Ignore him and go to the T Junction. 306 T junction behind Restaurant This is a tricky area, but should work out okay with some practice. Run until you see a stationary zombie. Clip to the left so he notices you, then go around the other side. Keep running until you pass the junction, then glue all the way to the left wall. The three zombies waiting there can't reach you - most of the time. 307 Restaurant Use: Lockpick (on nearby locker) Pick up: Fire Hook Use: Green Herb, Fire Hook Immediately push Select to trigger... LIVE SELECTION 2 -> Do nothing 'Are you nuts? Nemesis is coming!'. Sure, but Carlos is around to stop him just before Major Mutant can reach you. Use this to evade him (remember, he's LEFT-HANDED), but don't get stuck at the kitchen table. Run like crazy as he'll pursue you at full speed. 306 T junction behind Restaurant Tap Select. Nemesis will come after Jill, but the next room's closeby. 308 Shopping Street Storeroom Pick up: Rusted Crank 306 T junction behind Restaurant Nemmy's waiting for you. Evade swiftly. If he's not there, he'll be at the next room, where it's very easy to circle him. 309 Street in front of City Office 310 Raccoon Press 1F Pick up: First Aid Spray Shove the stepladder to the high-up switch. Climb up and press it, then unlock the shutter. 311 Raccoon Press 3F DIFFICULT SPOT Pick up: Green Gem Guess who's there to get you in the small office corridor. Yep, Leftyboy, but this time it's hard to evade him. (scenario 1) Nemesis is running and will hit you once, leaving you all the room to exit. (scenario 2) Nemesis grabs you good and decides to kick bootie. Try to get out by whatever means necessary. 310 Raccoon Press 1F 309 Street in front of City Office Use: Green Gem, Blue Gem 312 City Office 313 Street in front of Pumping Station Lots of zombies, but nothing difficult. 314 Street in front of a Monument 315 Cable Car Stop Wait a moment, then press R2 to shoot the barrell. Dogs or zombies, they're dead. Go over the dumpster. If you barrell-killed zombies, press R2 again. Jill will aim at an unvisible barrell. Shoot to drop two more zombies. If, on the other hand, you killed dogs, another one will come out of the blazing fire. No need to take it down. 316 Back of Cable Car Tap Select to avoid conversation with both Nicholai and Mikhail. Chapter 2: Let's get this piece of junk moving ---------------------------------------------- 317 Front of Cable Car All babes dig Carlos' accent. Except Jill. She's a tough cookie, so mr. Oliveira decides to soften her up with gifts. Well, those extra two inventory slots do come in handy. Plus ooohh, the leather's real comfy and fashionable... Pick up: Wrench Unlock the nearby door. 315 Cable Car Stop 314 Street in front of a Monument 313 Street in front of Pumping Station 312 City Office 318 Street in front of Gas Station Use: Rusted Crank, Wrench 319 Gas Station Pick-up: First Aid Spray, Machine Oil (after solving puzzle) Now this puzzle's easy, here's the general strategy: Call AB the 'left side', CD the 'right side'. Suppose you have to solve for A. Well, reduce the puzzle so you leave a single light at the left side, then use the A switch if necessary. Same goes for the right side, except that you need to use the D switch. Reducing the puzzle to such a case is often very easy. I could list a table, but a keen eyesight and logical mind is usually faster than looking up the solution. 318 Street in front of Gas Station 312 City Office It's time to waste some bullets! Destroy the four surprise zombies. Pick up: Bronze Book. 309 Street in front of City Office 306 T junction behind Restaurant Follow Carlos on his way out. Zombies... what zombies? 305 Street in front of Restaurant Use: Bronze Book Pick up: Bronze Compass 306 T junction behind Restaurant Oh, *those* zombies. Run around the stationary zombie, then take a left turn at the junction. Eliminate the two zombies there. 309 Street in front of City Office 312 City Office Use: Bronze Compass Pick up: Battery 309 Street in front of City Office 306 T junction behind Restaurant 305 Street in front of Restaurant 304 Construction Site Execute the tap-the-Run-button-trick to negotiate the two Drain Deimos. Use: Battery 320 Street in front of Electrical Substation (scenario 1) You only meet a lonely female zombie while advancing through the area. There is lots more to come, but nothing you can't handle. You might try shooting the dynamite for some entertainment. (scenario 2) Male zombies home in at full throttle. Evade them, then work your way through the remaining masses (let them bite or shoot. Biting is quicker) 321 Entrance to Electrical Substation 322 Electrical Substation First, put the transformer in Manual Mode, then activate the console. Press Red - Blue - Blue - Blue to open the left shutter. Pick up: Fuse Start tapping Select as you get out of the left shutter room. LIVE SELECTION 3: Run to the Emergency Exit Tap select again, then the Run button. 320 Street in front of Electrical Substation Nemesis must be a big Pokemon fan, but he didn't get the slogan right: "STARS - gatta catch'em all". There's nothing to stop him from getting Jill. No zombies will hurt his trophy, so he uses the Rocket Launcher to remove them. Say "Thank you Nemmy!", then do a reversal and get out. 304 Construction Site 303 Street in front of exclusive Hotel 302 Car Park Office 301 Car Park 113 Street in front of Car Park 112 Lane in back of Shopping Street Use: Wrench (Discard afterwards) Pick up: Fire Hose 111 Shopping Street Side Road 110 Street in front of Police Station Main Gate 109 Garbage Collection Point Use: Fire Hose 114 Alley from Garbage Collection Point 115 Lane in front of Office Stick to the left to negotiate a Drain Deimos/Brain Sucker, then take a very tight curve so the second one can't stab you. 116 Pharmaceutical Company Sales Office Tap Select, then perform a 180 and activate the computer to enter the password. "HEY! YOU FORGOT TO USE THE REMOTE FOR THE PASSCO.. Ohh.. 'Lucky guess' again?" Yup. There are three possible codes (ADRAVIL, AQUACURE and SAFSPRIN), so I'll take the gamble. The keyboard wraps and I see every next letter I have to input, so the codes are quickly entered. 117 Pharmaceutical Storeroom Pick up: Oil Additive As you retreat to exit, hold Select for the surprise FMV, then enjoy Nich's 'OOoooaaajjjjj!' afterwards. Use the steam pipe near the oncoming zombies (run up three steps, then aim with R2) and try to evade the remaining lot, as they have the good habit of running into the wall, leaving you all the room to manoeuver through. 116 Pharmaceutical Company Sales Office Wrap around the table, then try to run inbetween two zombies guarding the entrance hall - don't pay attention to the fast female zombie closing in from the back. Let Jill stumble them if she gets hurt, then leave. The solitary entrance hall zombie's no biggie. 115 Lane in front of Office 114 Alley from Garbage Collection Point 109 Garbage Collection Point 110 Street in front of Police Station Main Gate 111 Shopping Street Side Road 112 Lane in back of Shopping Street 113 Street in front of Car Park 301 Car Park Pick up: Power Cable LIVE SELECTION 4 -> Climb up Tap Select, then leave zze reum. 302 Car Park Office 303 Street in front of exclusive Hotel 304 Construction Site 305 Street in front of Restaurant 306 T junction behind Restaurant 309 Street in front of City Office 312 City Office 313 Street in front of Pumping Station 314 Street in front of a Monument Tap Select as soon as Jill starts to shake. 323 Tunnel below Street in front of a Monument DIFFICULT SPOT "Hello mr. Digger, nice to meet you. Mind if I leave now?". As soon as Jill's under your control, do a 180, then walk backwards into the alcove perpendicular to the place Grave Digger got out of. Wait for him to come out (the ground shakes, strange noises can be heard), then run to the other alcove along the walkway. It's not bad if you bump into the walls here. You need a perfect position to hit the switchboard. If you do, press the Action button, then wait again for the maggot to rear its ugly head. Now run back to the first alcove (the one you walked into) and press the switchboard there. Again, wait. As Eartworm Jim comes out one last time, go for the switch at the end of the walkway. Make sure Jill's positioned directly in front of the switch. A ladder should come down. ATTENTION: IMMEDIATELY PRESS ACTION. If you get the 'Climb Ladder?' message, you're home free. If not, Grave Digger'll come out and most probably hurt you bad. You need to get back to the alcove you came from and lure him there, then retry. 315 Cable Car Stop 316 Back of Cable Car Combine: Oil Additive, Machine Oil -> Oil Mixture Use: Oil Mixture, Fuse, Power Cable, First Aid Spray (if necessary) After this, a small cut-scene begins in which Carlos offers Jill some Flame Rounds. Let's get him to think he's lost his romantic touch, so say no. Jill the ice queen. 317 Front of Cable Car Tap Select, then run back to see if Mikhail's all right. 316 Back of Cable Car Oh look, Nemesis dropped by for tea, biscuits and a good chat with Mikhail. It's better to leave them alone philosophizing about the stars, so turn around, Action button, tap Select, hold Select. 317 Front of Cable Car LIVE SELECTION 5 -> Jump out of the Window Chapter 3: Clock Tower and why I love RE3 ----------------------------------------- 401 Clock Tower Bedroom Pick up: Clock T. Key (#1) 402 Clock Tower Living Room Use: Clock T. Key (#1) (automatically) 403 Clock Tower Study Rumble rumble... who's making that noise? Oh, it's Carlos. Still not giving up, he now offers Jill a box of Freeze Rounds. Tempting as they are, refuse. Carlos'll give up. It's no time for romance anyway. 404 Atrium-style Entrance Why I love RE3... for this piece of music alone. It's not 'music', more a collection of noises, but god, it's so brilliant! This kicks any music score I've ever heard. This kind of music is why I feel Capcom is the best game company out there. More, please! 405 Dining Room 406 Dance Room 407 Clock Tower Chapel Pick up: Clock T. Key (#2). 406 Dance Room The perspective is misleading. After the small zombie cut-scene, press upper left and the Run button to turn around and head for the Dining Room. 405 Dining Room 404 Atrium-style Entrance 408 2F Corridor in Clock Tower Three spiders here, but lacking enthusiasm to get you. 409 Clock Tower Balcony Use: Clock T. Key (#2) 410 Clock Tower Mechanical Room Activate the Music Clock. In order to receive the Chronos Chain, you'll have to reproduce the short jingle by placing pins at the right position. Pick up: Chronos Chain (after solving the puzzle) Combine: Clock T. Key (#1), Chronos Chain -> Chronos Key This is a random puzzle with a total of 64 possibilities and unluckily, the odds are not in your favor, as 65% of the time, you'll place three or more pins incorrectly. I'll spare you the details on how I got that percentage. 409 Clock Tower Balcony LIVE SELECTION 6 -> Use the Light 408 2F Corridor in Clock Tower 404 Atrium-style Entrance 403 Clock Tower Study 411 Clock Tower Corridor Three huge spiders are here. In this direction, they're a piece of cake. 412 Clock Tower Closet Pick up: Amber Stone, Obsidian Stone, Crystal Stone Use: Amber Stone, Obsidian Stone, Crystal Stone (time puzzle) Pick up: Gold Wheel (after solving time puzzle) Time Puzzle: What's the time you say? I dunno, check the clock, then use the table to determine in what sequence you have to put the three stones. Looking it up is faster than trying to figure out the sequence by sheer calculation. Time Stone Sequence (past - present - future) 11 o'clock Amber - Obsidian - Crystal 10 o'clock Amber - Crystal - Obsidian 9 o'clock Obsidian - Amber - Crystal 7 o'clock Obsidian - Crystal - Amber 6 o'clock Crystal - Amber - Obsidian 5 o'clock Crystal - Obsidian - Amber 411 Clock Tower Corridor It could be that you get poisoned from the spiders here. Use the Blue herbs in the Atrium-style entrance if that happens. Be fast - every hitpoint you lose is one less against Nemesis... 403 Clock Tower Study 404 Atrium-style Entrance 408 2F Corridor in Clock Tower 409 Clock Tower Balcony 410 Clock Tower Mechanical Room Pick up: Silver Wheel Combine: Silver Wheel, Gold Wheel -> Chronos Wheel Use: Chronos Wheel (DWONG! DWONG!) Prepare yourself for the upcoming fight against Nemesis: You have one, preferably two First Aid Sprays. You have over 180 bullets for your Handgun. You are willing to dance the lambada. RECOMMENDED SAVE! If this is your first time playing the Handgun guide, Pick up the Ink Ribbon and use it. You'll soon find out why. 409 Clock Tower Balcony (BONG! BONG!) Once you're through the door, hold Select for the FMV. Btw, Jill in slo-mo... hoo-boy... don't get distracted, now. 413 Clock Tower Courtyard VERY VERY DIFFICULT SPOT Tap Select to skip the cut-scene. It doesn't get any better than this. Jill's infected with the T-virus and Nemesis is ready to stomp her with his bazooka. It's good that you have your trusty handgun to defend yourself with. Anyway, you have to get rid of that bazooka first. Gladly enough, Nemesis only has five shots. Once you're back in the game, turn around and enter the small backyard alley. You hear Nemmy arming the bazooka. STOP. He'll launch missile number 1, so run four steps forward, then halt. Missile 2 is on its way. Run another four steps. Now either missile 3 is coming, OR Nemesis is pissed off that he can't hit you and starts running. 2nd, 3rd, sometimes 4th missile, it doesn't matter. In the end, you'll see him moving in from the front, so reverse and run into the large courtyard. Should you get hit twice by a missile during the process, use a First Aid Spray. If you are skilled enough to evade all missiles, you'll only need a single Spray. His running attack'll miss, and then you need to take distance so he starts using the bazooka again. Just run back and forth on the courtyard and count to 5. Now get at a medium distance from him and start shooting. Don't be afraid: he'll try to fire another missile, but upon noticing that the damn thing is empty, he'll throw it away and do his hallmark pose ('Mwaahhhhh'). Meanwhile, you shot 5-6 bullets (even more using the shorter reload trick) into his large corpus. Now remember that he's LEFTHANDED, so the brown shoulder tissue is the safe side. As he starts closing in, run along the tissue side. He'll try to grab you, but misses. In the unfortunate event that he does use his right arm, tough luck, but be very happy with the fact that he never uses it to grab you. Get to medium range and fire a single bullet. Medium range is important or Big Guy will start a running attack, and you really don't want that. Repeat about 15+ times until Nemesis decides to take a short nap. Use a First Aid Spray. Get behind him, aim down and shoot 4-5 times until he finishes the pose. Then apply the same technique as before to polish him off with another 15+ bullets. By the way, count your bullets and reload via the menu screen, or you're toast. Laugh maniacally as Nemesis beats a hasty retreat. Congrats, you just finished the hardest battle of the game. Don't worry about your health. Once you regain control of Jill later on, she'll be in Fine condition again. Now take a small breather while Carlos wheeps and Jill brings on her monologue. Those who beat him for the first time should go out and chop some trees to work off the adrenaline. Chapter 4: The Carlos Connection -------------------------------- 407 Clock Tower Chapel You're now in control of Carlos. By the way, he ain't using his Assault Rifle. This is a true Handgun guide, so Equip: Sigpro 406 Dance Room Run straight to the exit, the zombies won't even get close. 405 Dining Room Once out of the small corridor, turn 45 degrees right, or you'll have to take some pain. 404 Atrium-style Entrance 403 Clock Tower Study 411 Clock Tower Corridor 412 Clock Tower Closet Carlos must shift the large clock. 601 Park Street You only have 15 bullets, so use them wisely. 501 Hall in Hospital Hurray, the Hunters are back! Immeadiately turn right and enter the door, or a Hunter'll snab you. You can't afford losing any health.. yet. 502 Office in Hospital Pick up: First Aid Spray (optional) 503 Doctor Station in Hospital Pick up: Tape Recorder, Handgun bullets (30) Initiate Voice Control Panel Use: Tape Recorder Once the elevator's up and ready, proceed to the 4th floor. 504 4F Corridor in Hospital (scenario 1) Nothing happens. Phew. Proceed. (scenario 2) From the moaning you deduct that zombies will come stumbling through the elevator doors. It is tempting to use the Assault Rifle as shooting the Sigpro is a waste of time. Break through the zombie rank by letting them bite you. You'll get your revenge later on. 505 Reference Room in Hospital Select. Tap. Pick up: Sickroom Key. 504 4F Corridor in Hospital Time to get even. If there are zombies here, shoot them with the Sigpro, but only take out those that block your immediate exit to the elevator, then go back to 505 and return. The remaining zombies are easy to evade. 506 Room 401 in Hospital Search the doctor's corpse for a passcode and look for a metallic cabinet. Memorize its position. 504 4F Corridor in Hospital 507 Room 402 in Hospital Place the metallic cabinet in this room opposite to the position of the cabinet in the other room. It's 'height' must be the same, tho'. Enter: Passcode Pick up: Vaccine Base 504 4F Corridor in Hospital Take the elevator to the third floor basement. 508 B3 Corridor in Hospital (scenario 1) Nothing happens. Proceed. (scenario 2) Zombies barge in. Let them bite you in order to get out. It's better than shooting your ammo without killing the pack. Lure as many as you can to the dynamite and shoot (R2 aim). Finish off any remaining living dead things. 509 Laboratory in Hospital Use the "Wait, then run" technique to exit. 510 Study in Hospital Pick up: Medium Base Drain the water from the Hunter Gamma capsules. Use: Medium Base Turn off valve I, III and A Pick up: Vaccine Medium Now, when you run back out, the Hunter Gammas will break loose. All you need to do is exit. 509 Laboratory in Hospital 508 B3 Corridor in Hospital (scenario 1) No zombies first time round? Then there'll be two Hunters. Take one out using the dynamite (R2 aim), the other using "Wait, then run" followed by a shot once he jumped over you (repeat about 7-8 times). (scenario 2) Nothing, because you already dealt with them zombies. 503 Doctor Station in Hospital (scenario 1) If you haven't seen a single zombie yet, they're here. Let them hurt you and just try to get out. (scenario 2) In any other case, you'll be greeted by two Hunters. These can be evaded by one smooth break to the door. 502 Office in Hospital 501 Hall in Hospital I think you get the general idea here: escape during countdown! 601 Park Street 412 Clock Tower Closet 411 Clock Tower Corridor Don't worry should you get poisoned. 403 Clock Tower Study 404 Atrium-style Entrance Whoa. Seems like Nemmy's had a clash with an octopus. Do a 180 and leave. You don't have enough Sigpro bullets left to take him on anyway ('I wanna use the Assault Rifle! You're sooo cruel!'). 405 Dining Room 406 Dance Room 407 Clock Tower Chapel Combine: Vaccine Base, Vaccine Medium Use: Vaccine Switch-back to Jill. She's fully healed again. Chapter 5: A stroll in the park ------------------------------- 406 Dance Room -> 405 Dining Room Nemesis will crush through the exit. Curve around his right side (surprise!) and GO RIGHT once through the small corridor. How often I panicked and had to run all the way round the dinner table... 404 Atrium-style Entrance There's a small pursuit, but N 2 won't catch you. 403 Clock Tower Study 411 Clock Tower Corridor I can hear Nemesis' music. But I don't see him around. Hah. 412 Clock Tower Closet 601 Park Street Use: Lockpick (automatically) 602 Park Security Center Pick up: Park Key (#1) 601 Park Street Use: Park Key (#1) (automatically) 603 Park Central Plaza 604 Passage next to Pond in Park Most of the time, two 'surprise' Hunter Gamma roam this area. That's good since they're easily avoided. Should there be four zombies instead, it's best to clear the path using the Handgun. 605 Path in Park The monsters in this area are random, too, being either three Hunters or just as many dogs. Evading the dogs is a piece of the proverbial cake, whereas Hunters need to be dealt with using the "Wait, then run" technique. Pick up: Park Key (#2) After pickup, tap the Run button to abort reading the document. 604 Passage next to Pond in Park 603 Park Central Plaza 606 Fountain in Park Pick up: Green Herb, Green Herb (optional) You have to drain the pool to open up a secret area. In order to do this, you need to solve a small puzzle. This one's so easy, that I'm not telling you how to do it. It almost solves itself. 607 Underground Water Pipe in Park Bit of a rumble here, then some Sliding Worms dropping down near the ladder. Ignore. It's not even worthwhile shooting the boogers as each kill gets replaced with a new one. 608 Graveyard in Park Use: Park Key (#2) (automatically) 609 Graveyard Shed in Park Pick up: Iron Pipe Use: Lighter, Iron Pipe 610 Strategy Room in Park Pick-up: Park Key (#3) 609 Graveyard Shed in Park "Well..." is all Nicholai can say, because you're tapping Select to end the cut-scene. 608 Graveyard in Park EASY SPOT Hold Select to terminate the FMV, then keep up and the Run button pressed. Jill will barely pass the outcoming Grave Digger. Don't waste any bullets on this powerhouse. Sure, you can take him down with skillful shooting, but it's quicker to simply wait a few minutes. Now, there are two attack patterns this guy likes to perform. Pattern 1: Gold Digger comes out for a full frontal attack. He'll slide over the surface, jaws extended to hurt you. If he's in this mode, get close to stall him and run when he decides to charge. Once he goes down again, he'll switch to pattern two. Pattern 2: Grave Digger moves underground and leaps up for a short bite for a certain amount of times (pretty random, in my experience between 2-6 times). After that, he'll revert to pattern one, which you can hear as the digging suddenly stops. You MUST run to the site where he emerges and stall/run. There's a great trick to outsmart the worm while he's in pattern two. Run to the place where you climbed the ladder to access the graveyard for the first time. For the moment nothing's there, except for a lot of dirt. Now position yourself about four-five steps before the track ends. Turn Jill around so you can see her bee-hind (ooohh..). Here, Grave Digger is unable to attack you from both sides, so he can only attack Jill from the back. When he does, simply run forward and he'll miss completely. Immediately reposition yourself and repeat. You can do this trick at the other side too, but the perspective is awkward there. Anyway, after a while, you'll see a cut-scene with two lampposts coming loose. Continue evading Grave Digger until he starts pattern 1, then run up to the small pool and press R2. Shoot lamppost #1. Press R2 again. Shoot lamppost #2. Do NOT step into the pool. A few moments later, your assailant's history. With just two bullets. 607 Underground Water Pipe in Park 606 Fountain in Park The music here is of unrivalled quality, too. Hear how the composer works magic with just a few silences here and there... brilliant! 603 Park Central Plaza Drop the annoying bridge zombie. 604 Passage next to Pond in Park 605 Path in Park You'll get to see a nice parade of dogs or Hunters as you unlock the gate. Use: Park Key (#3) (automatically) 611 Bridge in Park Tap Select once you're on the bridge. LIVE SELECTION 7 -> Jump off the Bridge 6-13 Wastewater Area under Bridge Chapter 6: Disused Plant Area ----------------------------- 701 Wastewater Channel 702 Sewage Monitor Room Pick up: Water Sample 703 Water Testing Room Pick up: First Aid Spray (optional) Use: Water Sample Pass the Quality Control Test by using following table. There are four possible sample puzzles, where you have to use 3 reels (A,B,C) to recreate the Water Sample. A sample contains 16 measure points, with each taking on a certain reactivity level (Hi-Middle-Low-Null(nothing)). For each possible sample puzzle, it suffices that you identify the first two measure points. From that, you can use the table to solve the puzzle in the shortest possible time. Table: Quality Control Test --------------------------- Pattern to recreate (first two measure points) Solution Hi-Null Reel A: right(1x) Reel B: right(1x) Reel C: left (2x) Middle-Low Reel A: right(1x) Reel B: right(3x) Reel C: left (3x) Middle-Null Reel A: left (4x) Reel B: right(2x) Reel C: left (2x) Hi-Low Reel A: left (1x) Reel B: left (2x) Reel C: right(2x) After this, lock 1 from a sealed area is released. 702 Sewage Monitor Room 701 Wastewater Channel Tap Select the second you hear an unexpected noise; you'll end a cut-scene prematurely. 704 Decomposition Pool (scenario 1) A Drain Deimos is lurking in front of Jill. Press R2 to barrell kill the blighter, then march up the stairs, evading two other Deimos. (scenario 2) Zombies can be heard in the distance. It must be your lucky day as nothing will block your way to the exit. 705 Decomposition Pool Elevator 706 Waste Processing Control Room Lotsa zombies here, but leave them alone for the moment. 707 Entrance to Waste Processing Plant Tap Select, then 180 to the next room. 708 Off-duty Room in Waste Processing Plant 709 Power Supply Room There's a puzzle here, but as you may have noticed, I likes to cheat and gain precious seconds. Click the button so you get in reach of the terminal. You'll see two steam blasts, one up, the other down. Press both nearby buttons until only the low steam blast remains. Now position Jill carefully to the left of the steam blast -get close- and tap Action. She gets hit by the blast, but at the same time the game will think you effectively solved the entire puzzle and unlock the final lock of the sealed area. Bwahahahah. 708 Off-duty Room in Waste Processing Plant RECOMMENDED SAVE! Pick up: First Aid Spray (optional if you already have one) 707 Entrance to Waste Processing Plant A Drain Deimos is here. You're unimpressed and press upper right and run to get to the exit. 706 Waste Processing Control Room Drop the zombie near the computer terminals. Pick up: System Disk Now head for the sealed area, dropping the solitary zombie guarding the door. 710 Passage in front of Waste Processing Room Reload: Handgun Use: System Disk 711 Waste Processing Room VERY DIFFICULT SPOT "It's dark in here. Smelly, too." "STAAAHHHHZZZZ...." "Whoopsie..." - jump - "Look - I'm sorry I pelted you at the Clock Tower, Big Guy, can't we talk this over, like adults?" "MWAAHHHHH...." It's not looking good now, is it? Nemesis has more resilience than ever and you're still holding that pop gun. Plus there's a four minute countdown. You're never going to beat him in time... Luckily, your worst enemy actually shows you how to defeat him. Look at that valve... it opens, and lots of gooey stuff comes out. It seems to hurt Nemesis bad. Well, that's your strategy right there. And it only takes three bullets. Once Jill's back, run forward to the last valve in a sequence of three. Lure Nemesis to it -Jill's the bait-, then R2 aim and shoot. You don't care if Jill gets hurt. What you care about is that he positions himself nicely in front of the valve. In fact, Nemesis' hits aren't that powerful anyway. After a short delay, a shower of chemicals gushes out, hurting Nemmy type II hard. Repeat this at the next valve and watch how your foe literally loses its head, but still keeps going. Now do your trick near the third valve. This will be lethal for Nemesis. Say: 'Mwaahhhhh YOU, sucker!' Pick up: Card Key Use: Card Key 710 Passage in front of Waste Processing Room 706 Waste Processing Control Room There's a whole bunch of zombies here. You're still in moderately good health after last fight (Yellow Caution), so let them bite and work your way through. Use the First Aid Spray afterwards. 707 Entrance to Waste Processing Plant Use: Card Key Finish the small threesome. Pick up: Green Herb, Green Herb 712 Control Room Pick up: Missile Radar Try to exit and tap Select once the screen goes to cut-scene mode. LIVE SELECTION 8 -> Negotiate with Nicholai Tap Select before Jill gets a chance to speak. There'll be a short sequence with Carlos running away in despair. Once Jill turns around, Select away and descend the ladder. 713 Back Door of Waste Processing Plant Check your stats. You're a badass and have 75+ bullets left. You have two Green Herbs and are in Fine condition. You're not sure about what's to happen and have 1 First Aid Spray (maybe even more) and two Green Herbs. You have 75+ bullets total. Anyway, there is an annoying sleeper and a solitary zombie here, which can be evaded without bloodshed (for both parties). 714 Passage for Scrap Chapter 7: Roast, NE1? ---------------------- 715 Waste Incinerator DIFFICULT SPOT I totally dig this part. Go to the control at the back to activate Rail Cannon, from now on called Shaq. Shaq likes to smoke weed, so.. he's.. totally off.. it, man... He needs some energy so shove in battery one. Down comes Nemmy type III, all morphing and growing. He absorbed so much chemicals that he's now a walking vat of acid. But you're not going to die here. Not now that you're so close. So shove batteries two and three to feed Shaq. Meanwhile, Nemesis three is crawling around on top of a giant platform. Aim up and shoot while avoiding his acid breath - beware, large spread. Should he decide to come down, fire cautious shots but don't stay in sight for too long. His acid spits are fast, accurate and damaging. He can hit twice if he has to and once you hit orange caution, it's practically instant death. And don't get trapped by him, it's lethal. Wait for Shaq to clear a pathway with his first shot - as with... everything Shaq... does, this is... painfully slow, so be patient. Once he does, you're through. Fire a shot, go round the pathway and shoot again. Since he's not a fast turner, you'll have the opportunity to hit him. Once he's turned around, do a reversal and go round again. Repeat and heal if necessary. Sooner or later, N 3 will be hurt so badly, that he'll crawl for retreat. That's when Shaq roasts him. Oh by the way, this fight was under time pressure, check the Missile Radar and discover that there's only 100+ seconds (and 5+ bullets!) left. Run for the door. LIVE SELECTION 9 -> Ignore Nemesis and proceed to the elevator I think Nemmy's had enough. The Shaq rules. 716 Elevator Room 717 Scrap Site Just follow the pathway to start the final cut-scene and FMV. The End ------- That's it. If you didn't save, you should see something à la 1:35 or even better. Congrats, you're now the Prince of RE Land. Turn off the PSX and get a drink. After this ride, you need to relax.... --------------------------- 05 THE ESSENTIAL DISCLAIMER --------------------------- Room Names & Game characters are (c)Millenium-2 by Capcom. This entire text was written by Vincent Merken. All rights reserved. This document is hosted by GameFAQs and http://www.survivalhorror.com, thus only they have the right to display it. You are not allowed to print out this document for any commercial purpose (such as putting it into a strategy guide or separate booklet with the intention to ask money for it). Selling printed copies of the text is prohibited. You are not allowed to ask money in exchange for viewing this document on your website. If GameFAQs and survivalhorror.com do it for free, why should you do otherwise? You may not, in any way, alter the text. Not one letter. Lots of work and many hours of play went into this and I don't want to see any other name saying its their walkthrough. If you want to see this document on your website, send me an e-mail telling your intentions. I'll generally concur, if you agree with the terms stated in this disclaimer. Sorry to be so strict, but I don't like reading about people who see their text appearing on websites they didn't give permission for. The Internet is a FREE information center for anyone and serves to make our lives a bit easier. Period. -------------------------- 06 Secret Chapter: V TALKS -------------------------- I hope you enjoyed reading this FAQ. If you have questions about it, comments or flames, e-mail (email@example.com). As with my other FAQS, I'll probably won't update it, since I prefer leaving the tuning to you guys. However, I am thinking of doing a Knife only walkthrough. Since the Knife's "ammo" is unlimited from the start, I can try to create a FAQ in which ALL enemies get annihilated, including the Nemesi and the first Grave Digger. But then, the end time wouldn't be spectacular and I think only two or three players will actually try it. Knife only is insane and extremely frustrating. Still, I'm thinking about it... It's an exciting period for game playaz. Vagrant Story (from FFT people, this can NOT be wrong!), Chrono Chross (erhhmm, yeah, a bit TOO cute), Parasite Eve 2 (please let it be longer and better than part one) and of course RE: Code Veronica (made under Shinji Mikami's guidance, oh YES) are all on it's way and damn fine they look. Now let's hope the looks match the gameplay... I'd like to finish off by greeting some people; Yo's to: My parents, brother and sister, Nadine, Frank, Tim, Stijn, Koen, Bart, Gert, Griet, Geert, Els, Jo, Frank Michlick, Frank Glaser, Joerg Kraut, Ives Brabant, Geert Verschueren, Fredrik, Marco, Yariv, my former colleague-students at KUL, my fraternities Filii Lamberti and Wina, JR Kerr, Aya Brea, Mermaid, Xbow, Deekay and Jeff. Lectori Salutem, Vincent. Belgium. Wafels. Beer. Hmm... Beer.
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FITCHBURG — The new folks in charge of the Fitchburg Housing Authority are learning just how easy it is to draw praise from residents of public housing by making simple changes that are going a long way.
And they say there are many more positive changes to come.
At a board meeting Tuesday afternoon, Executive Director Gene Capoccia and Assistant Director Peter Proulx shared a homemade thank-you card sent to Proulx by Green Acres resident Polly Blodgett, thanking the FHA for the effort it has shown this winter in clearing snow and ice.
In the card, Blodgett said this winter was the first time in her 12 years living on Leyte Road that she has seen the FHA use ice melt, clear common stairways and properly sand and clear roadways.
"As a disabled woman who doesn't care to go out in the winter as it is, I appreciate the ability to be able to do so if I choose," Blodgett wrote. "So thank you very much for whatever it is that you said or did to make this happen."
The card was also signed by six other residents of FHA-owned properties, including Green Acres, Canton Valley and Daniel Heights.
While Capoccia said he feels no dramatic improvements have been made yet in terms of the physical conditions of the properties, the maintenance department has been reorganized, and better equipment has been purchased for workers, allowing them to do their jobs more efficiently.
"I think that the maintenance folks had a desire to do a good job, but they needed a little bit more direction and they needed better equipment to get that job done," Capoccia said. "We're pretty pleased with the results, and I think the residents are pretty pleased."
He said he also regularly receives phone calls thanking him for what he has done to the FHA, and residents regularly approach him in person at FHA meetings to say thanks and notice a difference in the attitude of staff.
FHA board meetings also cycle through the different properties now to give residents a chance to voice their concerns directly to board members, and question-and-answer sessions are held before each meeting.
"I think that's been really helpful, because they really feel that they're being heard," board member Linda Byrne said.
Byrne was appointed to the FHA board last year in an overhaul of the agency, which came under state scrutiny in December 2012. The Department of Housing and Community Development ordered an independent fiscal audit and extensive review, citing lengthy waiting lists, slow unit turnovers, high vacancy rates, and misused and severely neglected properties.
Capoccia, who also oversees the Leominster Housing Authority — as well as those in Lunenburg and Sterling — took over as head of the FHA when the boards of both the FHA and LHA agreed last fall to enter a five-year management contract in which the LHA is overseeing the FHA.
Capoccia said the board hopes to see the appointment of a fifth member soon, to fulfill the requirement of having a resident of public housing appointed. He said the hope is that person will reflect the people the FHA serves, which includes a large Hispanic population.
Robert Hill, who was receiving a salary of nearly $75,000 as the FHA's former director before the takeover, was first kept on in an advisory capacity for a short time. He has since chosen to pursue employment elsewhere, Capoccia said.
He said several other former top FHA officials have also retired, including former Director of Operations Bob Pacetti.
Capoccia said more changes will continue to be rolled out.
Some of the next improvements to come, thanks to state grants, according to Proulx, include handrails for exterior staircases at Green Acres, balcony and railing repairs at Wallace Tower, and Dumpsters, sidewalk and driveway repairs, and pothole abatement at Daniel Heights.
All FHA properties are also expected to receive new washing machines and dryers later this year, Capoccia said.
"We've got a long way to go, and I think, from an honest standpoint, we haven't done enough yet," Capoccia said. "We have to do much more."
Green Acres alone needs handicapped-accessible units, as well as offices and drainage-system improvements, among other needs, he said, and he would like to install cameras throughout the complex to help cut down on crime.
For the big-ticket items, the FHA will apply for funding through the DHCD's High Leverage Asset Preservation Program, Capoccia said.
He said the vacancy rate hasn't improved yet, but that's largely because of confusion within the placement system that has taken a great deal of time to sort out. Also, there are some units that remain closed while asbestos abatement is carried out.
He said staff is currently meeting with prospective residents, and he expects to fill most of the vacant units by early summer.
"I think Gene has a vision for this," Byrne said. "I think this will be a special accomplishment within five years."
Follow Alana Melanson at facebook.com/alanasentinel or on Twitter @alanamelanson.


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Optical Assistant
- Recruiter
- Inspired Selections
- Location
- Bath
- Salary
- £17,000
- Posted
- 10 May 2019
- Closes
- 06 Jun 2019
- Ref
- Job Role
- Optical Assistant
- Sector
- Multiple Practice
- Contract Type
- Permanent
- Hours
- Full Time
My client is a chain of opticians, who have been established for 75 years with over 150 practices across the UK. They are now looking for an Optical Assistant to join one of their busy practices in the Bath area.
You will be working with a small team and you will expected to provide excellent customer service while working towards targets and offering any support to fellow colleagues.Responsibilities of the Optical Assistant
You will work within a busy practice in an all around role. You will be helping patients with all their eye and hearing care needs, including contact lenses, designer frames, NHS eye care and hearing health checks. You will be dispensing spectacles and making sales as well as undertaking pre-screening, contact lens teaches and associated admin work.
You will be working in a team of 5/6 and be able to support and motivate the team working towards targets and KPI's
You will need a minimum of 1 years experience as an Optical Assistant and it's essential you can dispense spectacles to all levels. You will be pre-screening patients, delivering contact lens teaches and will be very focussed on delivering the highest levels of customer service.
Ideally some level of management experience either as team leader/ supervisor or higher.
On offer for the right person is a competitive salary of up to £17,000 as well as a generous bonus scheme (monthly and quarterly) and the opportunity to further your career. You will have 28 days holiday. NO Sundays
Working hours are 9-5:30 with an aerly finish on Saturdays at 5pm
To apply for this Optical Assistant position in Bath or other Optical roles in the South Coast area then please call Inspired Selections on 0121 778 6999 or join us at www.inspiredselections.co.uk


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On the 17th June we recognised and celebrated the work of 50 Ambassadors from 4 Primary schools from across England. Read about what activities these Ambassadors have done to reduvce bullying..
The Easter Holidays saw the Supercell Youth Board fly over to Helsinki for a very special few days spent feeding into Supercell's online safety strategy at their Helsinki HQ. Hannah K, a Supercell Youth Board member, shares her diary from the trip with us.
The government has launched an inquiry into the effects of social media and screen-use on young people's physical and mental wellbeing. The Diana Award has responded to share our feedback from working regularly with young people across the UK through our Anti-Bullying and online safety training programmes.
In December 2017 the government set out its plans to transform children and young people's mental health provision. We spoke to our National Anti-Bullying Youth Board, a group of young people who represent Anti-Bullying Ambassadors across the UK and Ireland, and shared our response to the proposals.
The Department for Education is proposing revisions to the statutory guidance Keeping Children Safe in Education (KCSIE) and is consulting on this as well as the new non-statutory advice on sexual harassment and violence between children in schools and colleges.
The Department for Education is exploring the current provision of PSHE and SRE (Personal, Social, Health and Economic education and Sex and Relationship Education) lessons in schools and how these subjects can be improved to adequately equip young people for life in the modern world.