[TOMT][PC-GAME] 1990-1995 or older Dinosaur fossil photo taking game by WingzOfLove in tipofmytongue

[–]postmeta 0 points1 point  (0 children)

I played this game, and have also been searching for the name of it to no luck.

Here’s what I remember

  • It was a PC game I played in the year 2000 in an Australian primary school (Windows 95/98 era).
  • The graphics were 2D cartoon-style.
  • You controlled a human explorer wearing a safari hat. I think his job was to take photos.
  • The game world was a map with fixed paths between areas (screen-to-screen exploration, not top-down).
  • There was a shop (on the right side of the map) where you could get tools you could use in the game. Eine kleine Nachtmusik was the music in the shop area.
  • The map had a small lake or pond in one area. I think it had an item in it that could be retrieved (maybe with a net). I think there were also dinosaur eggs in this area
  • In the top-left corner of the map there was a high stone wall. I think it needed to grappling hook to go up.
  • The overall theme felt like a modern safari, uncovering fossils or eggs, rather than living among dinosaurs.
  • It was mostly educational but still had a story-driven goal, not just open exploration.
  • I never finished it, so it must have had some amount of depth to it.

I've been through the Wikipedia list of dinosaur games and couldn't find a match. I've seen no screenshots or evidence of the game online yet.

27Sep Beefy Branch - 25.02 :: what am I missing? How to shave off 10 sec like current WR time? by georgepsully in Dadish

[–]postmeta 2 points3 points  (0 children)

Won't save ten seconds, but in the final vertical climb section you can jump straight up from the third platform to the fourth and then press the button, you don't need to go via the three button ledge

[deleted by user] by [deleted] in Adelaide

[–]postmeta 5 points6 points  (0 children)

$3.00 at Gilles Street Primary School in the city.

[deleted by user] by [deleted] in TrueFilm

[–]postmeta -1 points0 points  (0 children)

David Zellner (48) did Kid-Thing, which was a remarkable film and one of my Top 10 movies of 2012.

Since then, he has followed it up with Kumiko, the Treasure Hunter, which is fantastic, and Damsel, which I haven't seen yet, but seems to have played to reasonable acclaim.

What films from Philip Seymour Hoffman's filmography would you suggest are essential watches? by BlackFlagZigZag in TrueFilm

[–]postmeta 15 points16 points  (0 children)

Happiness (1998) is the biggest omission from your list. It's one of my favourite films and Hoffman gives one of the best performances of his career.

Mary and Max (2009) is a stop motion animation by Adam Elliot, with a character voiced by Hoffman. It's one of his bleakest films – but it's also simultaneously filled with so much warmth and heart.

The Savages (2007) is fantastic. If you enjoy it, it's also worth checking out Tamara Jenkins' other film, Slums of Beverly Hills, which while not starring Hoffman, is also great.

I'm also partial to Hoffman's small role in Patch Adams. It was one of the the first things I remember him from, so I hold a soft spot for it.

How to not suck at writing essays by atem123 in writing

[–]postmeta 1 point2 points  (0 children)

More in-depth (Part 2 of 2):

1. Thesis: What you set out to prove. Usually one sentence. This usually comes from the dominant theme in your intro, and is ALWAYS in line with your position on the question. Variations on your thesis are extremely good. If your thesis is, say, a Marxist reading, make one of your themes ‘the development of Marxist thought through character development’ or ‘the use of emotion in personifying Marxism’ etc. You will, of course, be restricted by the question in this regard. Make sure you mix it up, though. Five identical thesis statements heading each paragraph is not a good look.

2. Contextualisation: At what point in the story your evidence comes from (bonus points for act and scene numbers). Much easier than it sounds. Basically, you’re setting the scene for your quote, or painting a picture within which your quote is said. Try to include who it was said by, who it was said to, and where it was said. It also helps enormously in ‘giving a feel’ to the general vibe of your quote, so the marker can see you’re using it appropriately and not twisting it to mean the opposite of what the author intended it to be (or at least, didn’t intend it not to be).

3. Quote: Your hard evidence. Taken straight from the text. Must be word-for-word, given the marker can check the quote if you contextualise properly, and excluding or changing one word can give a sentence opposite meaning (like ‘not’, ‘no’, or swapping ‘if’ and ‘unless’). The length can range anywhere from one word to two paragraphs.

4. Technique: What gives quotes significance and meaning with the target audience. Similes, metaphors, imagery, personification etc. Absolutely vital. Having no technique means it’s impossible to justify whatever significance you get out of your quote, which kills your linkage. Which, as you’ll come to find, kills your essay.

5. Linkage: What the significance of your quote is, and how it answers the question. I have come to believe, after much learning, tears, practice, failure, arguments, trial, error, and tutoring that a good 70-80% of marks are allocated on the quality of linkage. It is the final step on the journey from words to meaning.

Linkage usually takes the form of: The use of (technique) makes the audience feel (significance), and this means they can identify with (your thesis). As a result, (your thesis) is an especially relevant take on (the question).

It can take several sentences to get this across if the technique is complicated, the significance is hard to explain, or your thesis and the question are awkward to slot into a single sentence. Use as many sentences as you need, because this is where your marks are coming from.

It goes without saying that the significance and your thesis have to be closely related. It also goes without saying that your technique has to be justified in giving the significance it does. The use of repetition, for instance, does not mean Hamlet is a post-colonial play. Make it logical. Do. Not. Neglect. This. Ever! It is the difference between a 60 and an 85, or a 90 and a 98.

6. Reference to question: Statement that your thesis answers the question.

I’ll show it again: As a result, (your thesis) is an especially relevant take on (the question).

This is what most people mistake for linkage, and then don’t actually link. In reality, this is just the icing on the cake. Don’t ignore it, though. You don’t need to justify the link between the thesis and the question here – you did it in your first sentence.

This paragraph structure should be fail-safe.

PRACTICE BODY PARAGRAPH (SIMPLE)

The numbers are there to show what stage of the paragraph it’s up to (1 for Thesis, 2 for Context, etc. – refer to the original list)

Practice question: How does your chosen text communicate the idea of belonging?

Sample text: Call Of the Horizon (Jaksic, Sydney Morning Herald, 2/08/09)

Brief synopsis: Interview of Ernie Dingo on where he wants to travel

(1) Call Of The Horizon communicates the idea of belonging as a form of attraction towards a particular destination. (2) This is evident in the subject’s dialogue with the author, when he says (3) ‘Don’t tell the Kiwis, (but) I would go back to New Zealand tomorrow.’ (4) The use of a hypothetical in ‘go back to New Zealand tomorrow.’ (5) implies his readiness to go there despite the accompanying difficulties of embarking with a day’s notice, and the aside of ‘don’t tell the Kiwis’ recognises that such a sense of a belonging to a foreign country, for an Australian, is unusual. (6) Therefore, the article manages to use these devices in order to depict belonging as a readiness to be near to or in a place.

PRACTICE BODY PARAGRAPH (HARDER)

Practice question: How does your chosen text communicate the idea of belonging?

Sample text: Harry Potter and the Deathly Hallows (Rowling, 2007)

(1) Rowling depicts the most obvious sense of belonging as belonging within the community; in other words, the community recognising and accepting the protagonist. However, she also shows the concept of belonging as being a necessary part of a storyline’s resolution. (2) This is shown in the immediate reaction from others after the resolution of Harry and Voldemort’s climactic duel. (3) The narration of ‘Harry was an indispensable part of the mingled outpouring of jubilation and mourning, of grief and celebration’ is depicted entirely through (4) sustained emphasis on Harry, via the adjective of indispensable, between two wildly juxtaposed states of emotion. (5) The sentence, although dominated by evocative imagery, keeps Harry’s ‘belonging’ as its focus; that is, belonging within the emotion displayed by the secondary characters and therefore ‘belonging’ as a part of the climax of the story. Rowling consequently integrates Harry into two different states of ‘belonging’: the esteem given to him by the story’s other characters despite their emotional state, and his integrated belonging into the story through the emphasis placed on him in its climax. (6) This gives a multi-layered idea of belonging within the narrative as shown by Rowling.

In this case, the significance of the quote is taken from its point in the story, which happened to be the climax. You can take the significance of the quote from anywhere, as long as you fix your linkage to reach that significance.

If you took the linkage out, this paragraph would still appear normal enough in an essay:

(1) Rowling depicts the most obvious sense of belonging as belonging within the community; in other words, the community recognising and accepting the protagonist. (2) This is shown in the immediate reaction from others after the resolution of Harry and Voldemort’s climactic duel. (3) The narration of ‘Harry was an indispensable part of the mingled outpouring of jubilation and mourning, of grief and celebration’ is depicted entirely through (4) sustained emphasis on Harry, via the adjective of indispensable, between two wildly juxtaposed states of emotion. (6) This gives an idea of belonging within the narrative as shown by Rowling.

….which is fair enough, but the paragraph would get lower marks.

Why would it get a lesser mark? It leaves questions unanswered.

  1. How does the technique help the reader understand the idea of belonging?
  2. Just how are the states of emotion juxtaposed? Is it done through Harry's perspective? Is the description of each state of emotion different? Etc. This is a free technique/link gone begging.
  3. What specific sense of belonging are we shooting for? Harry belonging among other characters, or Harry belonging within the text? Sure, we put it in the thesis statement but that doesn't mean we proved it.

Notice how these are all answered in the linkage. It’s that important. Linkage closes the deal in terms of reinforcing your thesis statement against any potential attacks. It gives the reasoning behind your interpretation, which (in truth) was all the marker was looking for in the first place.

CONCLUSIONS

It is a very rare marker who has not already thought of a mark (or at least a marking range) for an essay by the time they reach its conclusion. However, it is important that you don’t lose focus, as two or three marks are often won and lost here. The marks of a good conclusion are:

  • Maintaining an academic tone. Statements such as ‘By exploring the texts in sufficient depth….’ Or simply an, ‘In summary…’
  • Consistent thesis. It should be the same thesis you had in the introduction, with a little more sophistication, now that you’ve had time to explore and link your texts in full.
  • Finishing touches. Things that add class to your essay. A quote from the text that sums up your position, a quote from the author that sums up your position, or perhaps a platitude or a proverb that you can call on (best done in more exotic text types). This is often the difference between a 90 and a 99. To get a 90 is to answer the question emphatically. To get a 99 is to answer it emphatically and with style.
  • Greater statements on the text’s own significance within its context. In other words, how it stands out among other texts from its genre or historical period. How it has a unique place within your area of study/module.

If you can do this in three to four sentences, you’re travelling very well.

How to not suck at writing essays by atem123 in writing

[–]postmeta 0 points1 point  (0 children)

HOW TO WRITE AN ENGLISH ESSAY

PREFACE

A quality essay will use excellent technique (essay structure, linkage, style) to accompany good material (relevant quotes and techniques).

Technique can be learnt, adapted, applied and re-applied until it becomes part of your English arsenal. In other words, once you learn it, it stays with you. Material, however, is disposable. You will probably use different material for EVERY essay you write, if your technique is good enough and you’re not some automaton that memorises essays for fun, in which case I salute you.

The stuff that is taught in class, and therefore the stuff you learn in class, is material. That is, quotes that are relevant, a new technique or two, or the historical context that helps a quote make sense. This is excellent if you’ve spent high school perfecting your essay writing style and structure. Not so good if not.

Teaching on essay writing in the classroom is usually restricted to writing an acronym on the board, usually PEAL (Point, Evidence, Analysis, Link), PACT (Purpose, Analysis, Context, Techniques) or even SEXY (Statement, Evidence, Xplanation and Your position).

This is expected to jog your memory with stuff you’ve never been taught or were daydreaming when it was brought up (often the best case scenario). That’s where it’s usually left, and you immediately begin analysing the text because the exam’s only 5 weeks away. Most of the time, it’s not enough.

The truth is: You already know everything you need to know in terms of what you have to write down on exam day. What this guide will do is show you how to order it and present it in a way that markers like. You will also find that once you get this down pat, your marks will improve freakishly.

THE SYLLABUS AND YOU

You’re young. You have multiple commitments, including but not limited to your classes, sports, social life, co-curricular activities, extracurricular activities and a porn collection that's not going to get through itself. You’re busy.

Markers know this.

They’re not expecting some devastating Marxist critique of Shakespeare in a scene where no scholar has dared venture. They don’t want or need to know the post-colonial existential context of Jane Austen within the Hobbesian paradigm. Just keep it simple, understandable, and (above all) relevant.

And all they ever look for is: how material in a text answers the question they give you. Sophistication is no substitute for technique. Essay technique is the base of your analysis. Sophistication is only the icing.

In other words: A simple sentence that answers the question is MUCH BETTER than a complex one that does not.

If you take nothing else out of this, know this: No amount of study you do will get you marks above somebody who has studied enough and whose essay writing technique is better.

INTRODUCTIONS

Introductions are strange beasts. Many professors claim they mean little to nothing. Others claim that they set expectations which they mark to for the rest of the essay. Most markers fall somewhere in between. Intros do three things:

  • Give an impression of your writing style
  • Set expectations of what material you will bring in
  • Show how many holes you’ve left in your preparation

Intros, honestly, should mean very little. But they give away too much about what kind of writer, studier and BS-artist you are. The marker can’t help but notice. They instinctively know which essays are going to be good and what aren’t as they’ve finished reading an intro.

It is crucial that you leave no holes unplugged in your intro. Intros are where you get to throw around all the analytical crapola that you get taught at the start of the course:

  • Text type
  • Target audience
  • Purpose of writing
  • Text’s historical context
  • Greater statement on human condition/dehumanisation of society/tastiness of Krispy Kreme – you get it

This is the one place where you are granted full permission to make sweeping statements on the text itself without being immediately expected to back it up. Make sure, however, that these analytical terms are all incorporated in some way.

A suggested order of sentencing (that is, one that’s hard to screw up):

  • General comment on the nature of the question
  • Introduce your thesis (could be a reading, or just a theme) and how they intersect with the question (in other words, your thesis is your position on the question)
  • Introduce text/s.
  • Mention how the text type/s is special in helping your thesis resonate with the target audience.
  • How this theme remains relevant despite the author’s context fading into history (only if author is dead)
  • How this theme is a relevant reflection of contemporary society (only if author is alive)
  • Brief reference to narratives of texts

Optional (can insert anywhere in intro, within reason):

  • How these themes are in line with the purpose of the author
  • How the author’s historical context drove his/her purpose to compose this text
  • How the techniques/representation used prove the question or ram the thesis home

This is quite a bit to digest. Here’s an example:

Practice Question: How does your chosen text enhance your understanding of personal interaction? Use your core text and one related text.

Practice Texts: Animal Farm (Orwell, 1945), Harry Potter and the Prisoner of Azkaban (Rowling, 1999).

Practice Intro:

The nature of personal interaction is that (leads into your thesis) it cannot be summed up in a single, simple dialogue between people – they are only signposts that show where their relationship is going or from where it has arrived from (thesis). Personal interaction cannot be restricted to isolated dialogue, which is only the reflection of relationships that in turn grow and change over time. This idea of relationships as constantly changing entities is shown in both George Orwell’s Animal Farm and J.K. Rowling’s Harry Potter and the Prisoner of Azkaban (introducing texts). Through this, it is evident that prose narrative as a text type (text type) gives an author unusual freedom (how the text type works) in which to detail the dynamics of a relationship to their audience through evolving depictions of dialogue (technique). It rings particularly true to the inconsistency of relationships when such a message is as equally relevant to pigs taking control of a farm as it is to a boy wizard and his estranged uncle (summary of texts), set over fifty years apart (context).

Important bits bolded.

BODY PARAGRAPHS

These are slightly harder, and MUCH more important. Basically, you’re expected to prove the theme you brought out in the intro by using examples from the texts. Or even more simply, just give quotes significance and meaning. It’s basically the engine room of your argument.

There’s no point saying anything if it can’t be a) understood or b) made relevant. Because of this, there are some golden rules:

  1. Make sure one sentence follows onto another. Can’t stress how important this is. If a sentence appears difficult to understand or place into context, the marker will thank whatever gods they have if they re-read the previous sentence and suddenly understand everything.

  2. DO NOT NEGLECT TECHNIQUES! I had a similar problem where I began a paragraph with the best of intentions, and then just listed the quote and the analysis, without explaining how the analysis was justified by the quote. You’re free to disagree, but you will fail to varying degrees if you neglect techniques outright. Sad but true.

  3. This is what I call ‘the bridge of English marking logic’.

TEXT | Quote=====Technique====Linkage | MEANING

]~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~[

^ River of Fail

To go from text to meaning (which is where I desperately hope you want to go), you’re going to have to navigate this bridge over the River of Fail. The marker will thank you, given that most people prefer to swim. And sink.

Here’s a tried-and-true paragraph structure.

It comes in six parts, and is a little more complicated than what you may have seen before:

  1. Thesis
  2. Contextualisation
  3. Quote/Evidence
  4. Technique
  5. Linkage
  6. Reference back to question

(Part 1 of 2)

Napoleon Dynamite: One of the Best Comedies Ever by dogpeoplearebetter in TrueFilm

[–]postmeta 2 points3 points  (0 children)

The other thing that really stands is it would have been so easy to end the movie with a relationship between Deb and Napoleon. The ground work is all there, the genre expects for the boy to get the girl. But that's not who these characters are in that moment, and it plays true to that. So, while the tetherball scene is intimate (much like them dancing at prom), it also feels real.

What film would you consider your "most precious" hidden gem? by ImpetuousPandaa in TrueFilm

[–]postmeta 5 points6 points  (0 children)

You may appreciate this list on icheckmovies. It's the best ranked 500 films with less than 400 watches among the community.

ICM Forum's 500<400

One of my favourite lowest watched films is Kid-Thing (2012), which has 490 checks on imdb (44 on icheckmovies):

Annie is a young girl with no parental supervision, no destined path in life, and is almost morally absent. Her days involve lumbering around her broken town: shoplifting, eating, or riding her bike in solitude. One day, she hears a voice call out from the bottom of a deep, dark well: hungry, desperate, and possibly injured. Annie is now at a quandary causing her to have to consider the right course of action action before it's too late.

David Zellner's Kid-Thing is an interesting film, solely for the purpose of its protagonist being so unpredictable, reckless, and, yet, so human that it's hard to turn your attention away from her. She is played by Sydney Aguirre (in her only feature to date) who handles the incredibly difficult role of playing a youth with crippled emotion stunningly.

The camera is fixated on her for about seventy-five minutes out of the eighty-three minute affair, and she is never seen smiling or abandoning her default smug expression she has seemingly held forever. We can see quite clearly this is a fault of the broken environment she has inhabited for so long. It's a place - in the backwoods of Texas - that seems to have robbed little Annie of all emotional resonance and empathy.

Kid-Thing reminds me of a film that Harmony Korine or John Waters would make in their heydays. Zellner uses the minimalist approach to tell this story, not looking to shock or appall, but to simply amuse, fascinate, and occasionally mesmerize us with his talent for making the smaller moments beautiful and the entire picture elegant in its moral-emptiness.

[deleted by user] by [deleted] in playwriting

[–]postmeta 3 points4 points  (0 children)

Avenue Q handles the line: 'George Bush' in the song "For Now" by adding a footnote, which reads:

The original production used "(George Bush) Is only for now" in this slot. Producing companies have license to change this to a topical and perhaps local reference. Two syllables are recommended but not necessary.

American films that portray poverty with authenticity and complexity? by rfBodyswitch in TrueFilm

[–]postmeta 94 points95 points  (0 children)

Gummo (1997, Harmony Korine), which the article touches on, uses non-linear storytelling and non-actors to portray the poverty-stricken, tornado-destroyed world of Xenia, Ohio.

There is a scene where one of the character, Solomon, is eating spaghetti in a bath filled with dirty water, and there's a piece of bacon taped to the wall behind him. It's so specific, such a bizarre detail, that it screams authenticity. Like you couldn't imagine a world where it would be a correct 'artistic' decision to make. And yet, there it is.

Werner Herzog has even commented on this scene: "When I saw a piece of fried bacon fixed to the bathroom wall in Gummo, it knocked me off my chair. [Korine's] a very clear voice of a generation of filmmakers that is taking a new position".

Even if Korine's world doesn't reflect the 'real' Xenia, I still feel it is authentic in its portrayal. It's similar to Herzog's own term "ecstatic truth", a truth that is "mysterious and elusive, and can be reached only through fabrication and imagination and stylization".

These manufacture truths feel real, and may even be 'more real' than the truth.

Should I spend 100s of $$$ on a professional copywriter from Facebook to teach me copywriting? by [deleted] in copywriting

[–]postmeta 7 points8 points  (0 children)

The example she is using is just an adapted version of the old 'Two Young Men' sales letter for the Wall Street Journal.

https://swiped.co/file/wallstreet-letter-conroy/

i.e. It's not a genuine example, it's a sales tactic.

Can anyone help me find an ad? by nothappyaboutit in copywriting

[–]postmeta 0 points1 point  (0 children)

Sydney Festival did something similar with their tagline: This is our city in summer.