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The game takes place exclusively in Germany and you can drive around the entire country, delivering goods to and from 16 German cities, though my own city, Wolfsburg, is not included. It doesn’t affect gameplay, but it’s another reminder that this is a really low effort release where every corner that could be cut, has been. Every vehicle is driven by the invisible man. For one, there’s not a single human in sight. I can recognise certain landmarks and familiar roads that I’ve driven on in real life, but there’s very little simulation of real-life here. Of the 16 major cities included in the game, none of them look particularly good. To be fair, some effort has gone into making the interiors of trucks look good, but everything else is really quite poor and not up to the standards that players would expect these days. Instead, we’re left with a very shimmery game that doesn’t look great at all. A little bit of anti-aliasing would have gone a long way to making the game hit the absolute bare minimum, but I don’t think the budget extended that far. Not that Germans have ever had a problem turning a blind eye to bad things… That’s the idea behind the game, and if growing a fictional logistics company is your idea of good fun, you’ll enjoy this game, but you’ll have to look past plenty of bad things. You have to manage the expenses, too, and if you thought filling up at the Tankstelle in real life was expensive, try filling up a truck with 1200 litres of fuel… Very expensive. You save that money up, buy yourself a better truck, maybe even an employee to drive it, and your money comes in quicker. The concept of the game is that you start your own haulage company – every little German boy’s dream – and you start with one truck, one driver (yourself) and you have to work contracts to get money. Trust me, I’m not German, but I’ve lived amongst them for years now, so I know a thing or two about Germans. That’s not to say it won’t find an audience – I’m positive that in Germany it will find a following, as the game takes place in Germany and it’s made by a German company, and Germans love nothing more than other German things, but they don’t like other Germans. The basics are there and the core of the game works, but it has absolutely nothing else going for it. There is Truck Driver, but I tried it on release and tried to slit my wrists afterwards, so that’s a no-go. At this moment in time, there aren’t many competitors. I’ve put hundreds of hours into Euro Truck Simulator 2 and American Truck Simulator on PC, so I know my way around a big rig.Īerosoft’s On the Road – Truck Simulator aims to plug the gap that has been left wide open on consoles. These weird simulators tend to be peaceful, easy to play, and generally inoffensive.īear in mind, this isn’t my first time simulating the trucking business. ![]() Take Bus Simulator for example I played it last year and I’m a little embarrassed to say that I got sucked into it big time. They’re usually weird, janky, but a little bit wonderful. Upward trends in variables (for example, economic inequality) alternate with downward trends. ![]() Despite this complexity, our historical research on Rome, England, France, Russia and now the US shows that these complex interactions add up to a general rhythm. Cycles in the real world are chaotic, because complex systems such as human societies have many parts that are constantly moving and influencing each other. Incidentally, when students of dynamical systems (or, more colourfully, ‘chaoticians’ such as Jeff Goldblum’s character in the film Jurassic Park) talk about ‘cycles’, we do not mean rigid, mechanical, clock-like movements. And the cycles of inequality were an integral part of the overall motion. Over periods of two to three centuries, we found repeated back-and-forth swings in demographic, economic, social, and political structures. All of these societies (and others for which information was patchier) went through recurring ‘secular’ cycles, which is to say, very long ones. In our book Secular Cycles (2009), Sergey Nefedov and I applied the Phillips approach to England, France and Russia throughout both the medieval and early modern periods, and also to ancient Rome. But this is where looking at other historical societies becomes interesting. Does observing just one and a half cycles really show that there is a regular pattern in the dynamics of inequality? No, by itself it doesn’t. And if it’s cyclical, we can predict what happens next.Īn obvious objection presents itself at this point. In other words, when looked at over a long period, the development of wealth inequality in the US appears to be cyclical. Bring the 19th century into the picture, however, and one sees not isolated movements so much as a rhythm. The past 30 years are known as the ‘great divergence’. Commentators have called the period from 1920s to 1970s the ‘great compression’. From 1980 to the present, the wealth gap has been on another steep, if erratic, rise. Yet the wealth of a typical family increased by a multiple of 40. Over that time, the top fortunes hardly grew (from one to two billion dollars a decline in real terms). Then came the reversal: from the 1920s to 1980, it shrank back to levels not seen since the mid-19th century. In doing so, he found a striking pattern.įrom 1800 to the 1920s, inequality increased more than a hundredfold. The ratio of the two figures provided a rough measure of wealth inequality, and that’s what he tracked, touching down every decade or so from the turn of the 19th century all the way to the present. He looked at the net wealth of the nation’s median household and compared it with the size of the largest fortune in the US. In his book Wealth and Democracy (2002), Kevin Phillips came up with a useful way of thinking about the changing patterns of wealth inequality in the US. ![]() ![]() What is slightly less obvious is how a very long historical perspective can help us to see the whole mechanism. Yet obviously enough, all these factors must interact in complex ways. Some commentators point to economic factors, some to politics, and others again to culture. ![]() As the Congressional Budget Office concluded in 2011: ‘the precise reasons for the rapid growth in income at the top are not well understood’. Just one rich family, the six heirs of the brothers Sam and James Walton, founders of Walmart, are worth more than the bottom 40 per cent of the American population combined ($115 billion in 2012).Īfter thousands of scholarly and popular articles on the topic, one might think we would have a pretty good idea why the richest people in the US are pulling away from the rest. The top one per cent of fortunes holds two-fifths of the total wealth. Today, the top one per cent of incomes in the United States accounts for one fifth of US earnings. ![]() the notes and other info (vibrato, tremolo, portamento, etc) you lay down in a DAW are MIDI data that could absolutely be exported as a MIDI file, but it's just being used to trigger the synths, samplers, etc you're using there. it can be played back any number of ways, as mentioned above. ![]() a MIDI file is just the note data, parameter changes, etc. Very short version: MIDI is a standard for sending and receiving information to/from instruments, software, etc. most people use the standard microsoft wavetable synth and also compose for how it sounds, while others use software players that stand in for it (fluidsynth, tmiditiy++) and other still use hardware romplers (roland sound canvas, korg 05r/w, etc), and everybody will get a slightly different outcome. the downside is variance in how they play back. Most doom mappers still use midi because midi is fairly quick to compose for (we don't have to worry about finalizing/mastering/too much tinkering in general), is small in file size (it's just note/parameter data), and is supported by every source port. it also just sounds better for the filesize), along with a number of tracker music formats (MOD, XM, IT, S3M, etc), so you'd be fine. Most modern source ports support streamed audio at this point in a number of formats (WAV/MP3/OGG - OGG is a big recommend as it doesn't add junk data to the start/end of the file and can loop properly using metadata that points to the samples at which the loop starts/ends. Maybe that would cause problems on some ports if I were to publish the wad. I just render the track to an MP3 and load it with Slade3 and call it by name in MAPINFO. I'm even half convinced that the top composers don't fully understand it. I probably sound insane, but this is the way I have come to understand it I don't fully understand it and that probably shows in my explanation. Most MIDI programs like Sekaiju will do this automatically, but with certain modern DAWs nothing is stored until you add everything individually, and certain ones like Pro Tools won't even tell you what anything represents, so you would want to look up what numbers represent what instrument, and which numbers correspond with what parameter. and if using a modern DAW, rather than setting the pan and volume (etc) on the track, you need to "embed" the data into the MIDI clip itself, so that when you export it as MIDI, all the info gets stored in the file to play on anyone's system. And there are very strict polyphony limitations depending on what you're playing it back on.Ĭomposing for games like Doom or any game with MIDI playback need all the instructions beforehand in the form of a number that represents an action, usually between 0 and 127: the instrument, volume, pan, modulation, etc. You would use MIDI with a VSTI plugin the same way a Doom MIDI composer would, the only difference is that a MIDI composer for Doom will make sure that a few extra parameters are in place so that the game will essentially act as the DAW, and their computer's playback synth/soundfont program acts as the VSTI, playing the sound in real time, every time. The term "MIDI" has become confusing, especially because it's so widely used in modern music production, and all usages of the term are correct, though different in practice. ![]() When I finish something I call it a track. I use Reaper along with several VSTI's besides my guitar, bass and Yamaha keyboard. Somehow I need to get on the sa me page with you doo m mu sic pe ople. ![]() I don't know whether to be annoyed at coffee for letting me down like this, or at my own brain for tricking me. But they also thought they would do better, and we demonstrated that this expectation was at least partly responsible for their improved performance. Adriana Madzharov, a lead researcher on the study and a professor at The School of Business at Stevens Institute of Technology, said in a press release, It's not just that the coffee-like scent helped people perform better on analytical tasks, which was already interesting. Given those findings, the study's authors concluded that it's pretty likely that a placebo effect skewed the results in the first phase of their study. According to the survey's results, many people believe the mere scent of coffee can improve the way they work. But before you brew yourself another batch and waft it all in sans sip, there’s a catch.Īfter discovering these differences in performance, the researchers conducted a survey of 200 totally different students, their goal being to find out if people simply assume that certain scents, such as coffee, will influence their performance and productivity - and in fact, that's exactly what was going on. The researchers found that the students who were taking their exams in a room that smelled like coffee performed significantly better than students completing the same exam, but in a room that didn't smell like coffee. ![]() The researchers tested their theory on a group of people who arguably need coffee the most: students taking an exam. The study, published in the Journal of Environmental Psychology, set out to discover what happens when you smell coffee rather than drink it, and whether the scent alone can affect your productivity. Setting a timer for your coffeemaker to spring you out of bed in the morning could be enough to wake up your body, according to a new study, but the findings are, well, complicated. But can the smell of coffee actually wake you up? Sadly, maybe not. In the words of my queen Lorelai Gilmore, "I stop drinking the coffee, I stop doing the standing, walking, and words putting into sentence doing." Even the smell of coffee alone feels like it pushes your brain into productive mode. The promise of an entire day of energy and good vibes seem to rest in that little cup. There's nothing like the gurgle of a fresh pot of coffee first thing in the morning. ![]() Yes, this thing is a little easier to handle because of its new design, but the Pro Max is obviously going to be way too much phone for some people. A few people I've spoken to already think the 6.1-inch iPhone 12 has gotten too big, and the Pro Max offers even more screen to navigate. Apple bet that people wouldn't miss it and that'll largely be true, but if you have experienced faster screens, it's hard to go back.Īs for why this thing is daunting, well, just look at it. Maybe it's to prolong battery life in the company's first 5G phone, maybe it's something else. Leaks published before Apple's big event strongly suggested that the 12 Pros have all the hardware they need to actually do this - they just don't. The one real knock against it is that, unlike basically every half-decent Android phone, this screen only refreshes at 60Hz. The gorgeous part is self-explanatory: It's plenty bright for outdoor use, and the OLED display ramps its brightness up even further to 1,200 nits when displaying HDR video. At 6.7 inches, this Super Retina XDR screen is the biggest that Apple’s ever packed into an iPhone, and it's both gorgeous and a little daunting. The jury is still out on the extent of the impact, but if rumors are true and Apple really does plan to make a portless iPhone, expect a lot more on this subject.Īpple also gets credit for managing to squeeze in an even bigger display. Yes, it's convenient, but there's a notable body of evidence suggesting that widespread use of wireless charging could have a negative effect on the environment. Honestly, though - and I'll probably elaborate on this in another story - wireless charging is still too inefficient for me to fully embrace. Charging rates top out at 15W, or about double what you'd get from a standard Qi wireless charger. Apart from some neat cases, the most notable example is Apple's MagSafe wireless charging puck. ![]() The Pro Max also supports the full swath of MagSafe accessories, though most of them are forgettable. In any case, I'm sure it won't be the last such accident. At some point during my testing, the screen picked up a pronounced gouge right on the edge of the display, and I couldn't for the life of me tell you how or when it happened. Just remember, “shatter-resistant” is not the same as “scratch-proof”. It has an IP68 rating for water and dust resistance, and the same shatter-resistant CeramicShield covering the display. Its stainless steel body and frosted glass back repels grimy fingerprints and makes it less prone to sliding around. On the whole, Apple's nipping and tucking means the 12 Pro Max is more comfortable to use than last year's model, and that’s a big deal.Īside from that, the 12 Pro Max shares a lot with the iPhone 12 Pro. That said, it's also a little heavier than the iPhone 11 Pro Max, but not to the point where most people would make a fuss. ![]() If you break out the calipers, the difference seems minimal, but trust me - every fraction of a millimeter counts when we're talking about large devices you're going to hold throughout the day. It's also important to note that the iPhone 12 Pro Max is slightly thinner than last year's big iPhone. (They're especially noticeable on my gold review unit.) Not everyone will appreciate Apple's design choices this year, but the new look evokes fan-favorites like the iPhone 4 and 5 and gives the Pro Max a distinctive feel compared to the rest of the year’s premium smartphones. Inspired in part by Apple's redesigned iPad Pro, the Pro Max is sleek and angular with flat, stainless steel edges that, while eye-catching, are quick to pick up fingerprints. Like the rest of the iPhone 12 lineup, the Pro Max cuts a striking figure next to the last few generations of iPhones. (It's worth noting that, unlike the regular iPhone 12, the Pro Max costs the same regardless of whether you want an unlocked model or buy directly from a carrier.) Design and display By subscribing, you are agreeing to Engadget's Terms and Privacy Policy. ![]() He drums his fingers on the belly, tracing the hiding harmonies, the matching rhythms of water, wind and trees. ![]() Seeking a motion to bind the drip, drip, drip of melting snow, to catch the fractured melodies that run through the chill boughs above. Chasing the rhythm, not quite yet a rhythm. He listens closely, blending his music with all he hears around him. Not a music to be played indoors, to be played within his father’s hearing. ![]() The first sounds moan and clash, as though in sorrow, but then reach out, testing the silver spaces of the frozen river, the keening of the breeze that troubles the highest branches, the muffled sound of the waters that move deep below the ice. He draws the viol from the canvas and opens its music to the air. He steals down to a clearing by the bank, to a seat on a toppled sycamore. Of how he steps through the drifts that lead down to the river, his footsteps first to break the newest fall of snow. … I can tell of how the boy creeps from the house in the first light of dawn, his viol swathed in thick canvas. I invite you to look at, listen to and enjoy this extract from the first chapter of this book, written by Charlotte-Elisabeth, purportedly Jean-Baptiste’s younger sister: By which I mean that it works contrapuntally, careering ahead but also looking back and catching itself up, complicating and enhancing itself via reversals and repetitions and new motifs, never short of a theme to be introduced and played on. The same words could be applied to this novel, a brilliant read inventively devised by Adelaide’s Michael Meehan, but somewhat devilish to review.Īn Ungrateful Instrument – Michael Meehan (Transit Lounge)īecause, although music often tells stories, this story tells music. This is how 15-year old Jean-Baptiste Forqueray (1699-1742) describes the music that his father Antoine (1672-1745) draws from the viol, aka viola da gamba. ![]() If you didn’t find any for your taste and wish, please send us photo and description of the required model and we will make it for you. In section “Shields”, you can see all models that we offer for ordering. ![]() SALES SHEET (PDF) Share this page Features Ballistics Sizes Options Images Tested to Federal Standard NIJ-STD-0108.
![]() ![]() Is the sender’s email from a suspicious domain name? (i.e., ).Does the sender’s email address and “from” name match? (You can hover over or click on their name to reveal their email address.).Is the subject line strange, with unusual punctuation and characters?.Is the sender asking for sensitive information like personal details or financial information?.Is this an unsolicited email from someone claiming to work for an organization like the FBI or the IRS?.Look at the strange sender email address starting with "kp7sx." How To Identify a Scam Email in 5 Seconds It catches you "off-guard" by tricking you into thinking you sent someone money.It has the same font and styling as PayPal.It has a subject line that makes you want to open.Example: PayPal Scam Email That Looks Real Read this guide before you click on a link, respond to a strange email, or download an attachment. Įven if you have the tiniest suspicion that an email is from a scammer, stop what you’re doing. According to the FBI, businesses lost $2.4 billion in 2021 to Business Email Compromise (BEC) scams. įor unsuspecting victims, scam emails can lead to downloading viruses - or even identity theft and financial fraud. The Anti-Phishing Working Group (APWG) reported that nearly 23,000 unique phishing email subject lines were used in September 2022 alone. These legitimate-looking emails are designed to trick you into giving up sensitive information or clicking on malicious links.Īnd they’re getting more aggressive and sneaky with their scams. Hackers use spam emails to “phish” for victims. Or an old friend is suddenly reaching out to ask for financial help. Maybe it’s an email from Netflix, PayPal, or another account you use, claiming your password’s been compromised. But while some are easy to identify as spam, others are less obvious. We’ve all received strange and suspicious emails in our inbox. ![]() This is the first time I've seen cannibals wearing polka-dotted skirts, but it doesn't detract from the cartoon. This move is obviously leading (just look at her dreamy expression) to an effective acquisition of "first base " but perhaps he will take a moment to suck on a breath mint before the maneuver begins.Īnother cannibal cartoon by Herbert Goldberg. I really like the expressions in their eyes, and the fellow's puckered lips. "Helen Hokinson published several books of her own cartoons: So You're Going to Buy a Book in 1931, My Best Girls in 1941, and in 1948 her last book, When Were You Built? The Hokinson estate published: The Ladies, God Bless Them in 1950, There Are Ladies Present in 1952, and The Hokinson Festival in 1956."Ī wordless smoking gag from Jerry Marcus. ![]() After a time she became fearful people were laughing at rather than with the buxom, strong minded but occasionally befuddled women whom she had stamped as her own, and launched a crusade to defend and explain them. "Her drawings for The New Yorker featured plump well-to-do club women who wore high heeled shoes and were conscious of hats, fashions, caring for pets, and gardens. Here's a bit of her bio from the Mendota Museum (Mendota, IL) site: ![]() I don't think there are many dowagers-in-meetings gags now, but back in the day, they were a genre, perhaps best remembered in New Yorker drawings by Helen Hokinson. Just a lovely bit of clean line drawing.īo Brown with a good dowagers-in-a-meeting gag. I thought that Stan Hunt's gag was maybe a bit shopworn, but look at his lines: even the individual plates and casually placed utensils are shown. We looked at dozens and dozens of houses before buying one this past summer. I would agree with my Italian cartoonist colleague if only he would stop making fun of the Irish!Īn early Henry Boltinoff cartoon. Related: My friend Roy Delgado bemoans the lack of good cannibal cartoons in today's market. The TV is more important than the traditional roles of family! This cartoon would sell today.Ībove is one of the top cartoon cliches, and I'll be darned if Clyde Lamb didn't come up with a new and funny take on the idea. The one and only Mort Walker shows us an early women's rights cartoon. Lem Grier with a wordless and universal cartoon that's less about fishing and more about crummy human nature. ![]() I like the economy of the bicycle wheel spokes. The time's are a-changin'.Įven in the early years of his MARMADUKE newspaper panel, Brad Anderson was contributing to the gag cartoon market. Aside: I was in Pittsburgh over the weekend and was surprised that people can still smoke in restaurants there. Look at how adeptly Wyma shows those toes through the split shoes.Ĭlyde Lamb draws a snappy cartoon line here. Pete Wyma shows us that you can take the husband out of the tavern, but you can't take the tavern out of the husband. I've recently seen his work in The Funny Times. Joe is still cartooning, still working in the NYC area. The boy's effective expression telegraphs all that we need to know - and seals the gag. What struck me as odd is that these 2 fellows have the same hair and mustache - something I didn't notice until maybe the third time I looked at it.Īn early Joe Farris cartoon. The doctor's office is suggested by a cabinet, one bottle with a medical cross on it, and a half-hidden stethoscope. The black pants draw our eye to the whole point of the gag. Nickles employs a Syverson-drawn little guy to point at YOU!įred Levinson draws a subtly masterful cartoon. Dutton and Company, Inc.Ībove: the dedication. Here is a small sampler from a collection of Saturday Evening Post cartoons culled from HONEY I'M HOME!, a Bantam Books paperback edited by Marione R. I don't know what those blue shapes are, but they pretty much get in the way of the graphic to today's design sensibilities. Above: Frank O'Neal draws a sit-com-like gag for the cover of HONEY I'M HOME. |
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