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Mod Pods Achroma Item 2539946 Michael MullanAfter growing up in the Chicago suburbs, Michael Mullan studied graphic design and illustration at the Savannah College of Art + Design.If you asked any teenage aspiring Dubstep producer what some of their goals are, on that list would be some of what Dion Timmer has accomplished before hitting 20 years old. His latest stride toward legend status being his new album on Deadbeats “ Enter Achroma”, a seamless story from beginning to end, if you can spot it. ![]() You are here: Home / Photography / Achroma. Then there’s Dion Timmer, the 19-year-old Dutch producer, DJ, and legend in the making. Achroma VS Handsome Plasma-dans Conspiracy: Directed by Norihiko Sut, Kunihiko Yuyama. Download the latest version of Achroma for Mac - Image manipulation tool that allows you to remove colors. As a young person who enjoys a decades-old genre, I rarely get to witness a legend in the making. The first player unable to capture an enemy piece is the loser, and the other player is the winner. Traditional rectangular board dimensions include 9×13, 14×17, and 13×20. In practice, square Kōnane boards can range from 6×6 to over 14×14. Furthermore, the game can be generalized to any size geometrically. Pieces can be laid out in the beginning of the game in an alternating checkerboard pattern of two colors on top of a table, on the ground, or on any flat surface. The game is played on a rectangular or square board. Kōnane played with stones on a wooden board. However, there are significant differences in Kōnane and Leap Frog. In both Kōnane and Leap Frog, every square of the board is occupied by a playing piece in the beginning of the game, and the only legal moves (after the first turn) are orthogonal captures by the short leap method. Kōnane has some resemblances to the games of Leap Frog, and Main Chuki or Tjuki. Furthermore, in Kōnane all moves are capturing moves, captures are made in an orthogonal direction (not diagonally), and in a multiple-capture move the capturing piece may not change direction. In Kōnane, both players' pieces are intermixed in a checkered pattern of black and white occupying every square of the board. In draughts, one player's pieces are initially set up on one side of the board opposite the other player's pieces. Pieces hop over one another when capturing however, the similarities end there. The game is somewhat similar to draughts. The Puʻuhonua o Hōnaunau National Historical Park has one of these stone gameboards on its premises. īefore contact with Europeans, the game was played using small pieces of white coral and black lava on a large carved rock which doubled as both board and table. The first player unable to capture is the loser their opponent is the winner. Players then hop over one another's pieces, capturing them similar to checkers. It begins with black and white counters filling the board in an alternating pattern. The game is played on a rectangular board. It was invented by the ancient Hawaiian Polynesians. Kōnane is a two-player strategy board game from Hawaii. It gets faster the further you go.Mathematicians playing Kōnane at a combinatorial game theory workshop. When you see one of the four lights light up red, click the grey button underneath that light.
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![]() If you look at a recent project like vvvvvv game with ray casting, its index page has this code:Īs you can see, while the game is scripted entirely inside game.js, we also have to include both Phaser and the library to calculate the visibility polygon.Īs a result, we have three JavaScript files. Most – but I’d rather say “all” – recent tutorials you can find around the web do not cover the bare bones of webpack, so I think a “Hello World” is needed.Ģ – Most HTML5 game publishers want your game to fit in one single JavaScript file, and while you should be able to build a game in a single file, what about frameworks like Phaser and other kind of dependencies? Each one is neatly encapsulated in a single, non-scrolling screen with a witty title by Bennett Foddy.The idea behind this basic guide came for two reasons:ġ – There isn’t a basic webpack guide around the web. ![]() From this simple but original twist on the most basic platform-game template, Cavanagh conjures dozens upon dozens of satisfying spatial puzzles and challenges to your dexterity and - above all - timing. The Captain can't jump, but he can suddenly fly to the ceiling or the floor and stick to it he needs to be standing on a surface to flip, otherwise you'd be able to make him fly just by hammering the space bar. VVVVVV controls with just three inputs: left, right, and flip gravity. In doing so, he'll need to negotiate a handful of tortuous yet linear levels set within a loose, chaotic overworld, like a disintegrating Metroid map. Taking the role of Captain Viridian, the player's job is to find the crew and reunite them aboard ship by reactivating a network of teleporters. The world's most economical intro movie telegraphs the set-up: a spaceship encounters some kind of dimensional disturbance on its travels, and its six crew members (all of whose names start with V) end up scattered about a mysterious and treacherously dangerous space station, around which the fabric of space and time seems to be distorting. It's as if Portal had been made in 1985 it's a turbo-charged, sci-fi Jet Set Willy set in a world that's falling apart. It's also sophisticated, with a cunning structure, varied and imaginative design, perfect pacing and even, in its simple way, storytelling prowess. VVVVVV is smart and generous: death is instant and very frequent, so restarts are immediate, checkpoints are everywhere and you get infinite lives. It's not, however, anything like as crude or ironic as its comically basic, pixellated graphics and stupid title might suggest. This is a game of fiendish design and extreme speed that requires both your reactions and your problem-solving to be razor-sharp. ![]() Such gluttons for punishment will enjoy Terry Cavanagh's VVVVVV, a short sharp shock of a 2D indie platformer with a gravity-flipping party trick. Gamers, cheeks stinging, have woken up from their mollycoddled daze and said, "hit me again!" Wii: games that would sooner slap you in the face than hold your hand. And so a new old breed of deliciously, sadistically difficult games has started to emerge, including retro throwbacks like Mega Man 9, but also modern reactionaries like Trials HD and Demon's Souls, and even supposedly cuddly uncles like New Super Mario Bros. They grew up, in other words, and quite right too.īut some people, including some of videogames' best friends, felt that in this drive for warm, all-embracing, one-button, smooth-curve accessibility, they'd lost their edge a bit, and were in danger of forgetting what they were about in the first place. They learned how to explain themselves properly, how to get to know people gradually, and how to be entertaining in polite company without being so rude and challenging all the time. They discovered that they would get invited round more often if they stopped being quite so horrible. Over the last decade or so, videogames have learned manners. Warning: Permanently added 'my.ip.here' (ECDSA) to the list of known hosts.ĭebug1: pubkey_prepare: ssh_get_authentication_socket: No such file or directoryĭebug1: kex_input_ext_info: server-sig-algs= debug1: SSH2_MSG_SERVICE_ACCEPT receivedĭebug1: Authentications that can continue: publickey,gssapi-keyex,gssapi-with-mic,passwordĭebug1: Next authentication method: gssapi-keyexĭebug1: Next authentication method: gssapi-with-micĭebug1: Unspecified GSS failure. The authenticity of host my.ip.here(my.ip.here)' can't be established.ĮCDSA key fingerprint is SHA256:sYatviRcS3BrbzUMMh+UErPWphD/A8FdpE41IBPyG2E.ĮCDSA key fingerprint is MD5:96:31:79:27:23:3b:be:f3:95:ea:62:8c:68:1b:c4:2e.Īre you sure you want to continue connecting (yes/no)? yes Here's what I get: ~]$ SSH_AUTH_SOCK=0 ssh -v OpenSSL 1.1.0f-fips ĭebug1: Reading configuration data /etc/ssh/ssh_configĭebug1: Reading configuration data /etc/ssh/ssh_config.d/nfĭebug1: Reading configuration data /etc/crypto-policies/back-ends/nfigĭebug1: /etc/ssh/ssh_config.d/nf line 8: Applying options for *ĭebug1: Connecting to my.ip.here port 22.ĭebug1: identity file /home/rberry/.ssh/id_rsa type 1ĭebug1: key_load_public: No such file or directoryĭebug1: identity file /home/rberry/.ssh/id_rsa-cert type -1ĭebug1: identity file /home/rberry/.ssh/id_dsa type -1ĭebug1: identity file /home/rberry/.ssh/id_dsa-cert type -1ĭebug1: identity file /home/rberry/.ssh/id_ecdsa type -1ĭebug1: identity file /home/rberry/.ssh/id_ecdsa-cert type -1ĭebug1: identity file /home/rberry/.ssh/id_ed25519 type -1ĭebug1: identity file /home/rberry/.ssh/id_ed25519-cert type -1ĭebug1: Enabling compatibility mode for protocol 2.0ĭebug1: Local version string SSH-2.0-OpenSSH_7.5ĭebug1: Remote protocol version 2.0, remote software version OpenSSH_7.5ĭebug1: match: OpenSSH_7.5 pat OpenSSH* compat 0x04000000ĭebug1: Authenticating to my.ip.here:22 as 'rberry'ĭebug1: kex: algorithm: kex: host key algorithm: ecdsa-sha2-nistp256ĭebug1: kex: server->client cipher: MAC: compression: noneĭebug1: kex: client->server cipher: MAC: compression: noneĭebug1: expecting SSH2_MSG_KEX_ECDH_REPLYĭebug1: Server host key: ecdsa-sha2-nistp256 SHA256:sYatviRcS3BrbzUMMh+UErPWphD/A8FdpE41IBPyG2E both usernames on local and remote exist. ![]() I've even got password auth enabled for testing and it still wont let me in. I've gone through the sshd config file with a fine tooth comb looking for discrepancies between it and a working linode sshdconfig file and nothing is out of place. Ssh connections are refused stating "Permission denied (publickey,gssapi-keyex,gssapi-with-mic,password)." ![]() I've been trying to ssh into my linode from my local machine, my local machine is Fedora 26, My linode instance is Fedora 26. ![]() You should get at least 152 points/kills with your main character each run from start to end of Episode 1. You need 2000 points/kills to reach max level per character. Stage Completion for other active players = 15 est Stage Completion for getting the last hit(?) = 25 est Those numbers do not include any of the Foot Soldiers during the boss battle Kills/points are not shared between characters Those numbers are how many Foot Soldiers will be available before Bebop * If you hit 2,000 during the stage, just quit the stage and change character. Bonus: You can have the other controllers join at this point as dummies and to receive (20 est) bonus points for stage completion and Bebop OR Fight Bebop and beat the stage for bonus (30 est) kills/points Keep the controllers on standby (character select) so you don't need to move each character to the next screen.ġ- Play episode 1 (there might be a better stage, idk)ģ - PAUSE and RETURN TO MAP before fighting Bebop The best way so far from what I've figured out is that the more controllers you have connected, the more enemies will appear, but it appears you really only need 2 to get that boost. If you have more than one controller than this tip will help just a little bit for you. *More players = higher difficulty/enemy health = More time to complete stage Max remaining characters that joined boss fight = Less and less playthroughs and less time to grind Ep 1 for me: Splinter in 5 minutes, Donnie in 4 minutes. Find one that works for you, but for your own sanity, try changing the stage now and then. Character max = 50 mins to 1hr 20 mins in 13 playthroughs of Episode 1.ĭifferent stages may yield different/better results for you. Depending how you tackle this, you can end up with a character maxing out during the 3rd playthrough (12-15 mins) The more you have join in at the end, the less playthroughs you'll need to do later. Let standby character(s) join during boss fight to receive bonus/stage completion points for standby characters (be sure to exit them out in the map screen). Having a 3rd controller for Episode 1 only increased the difficulty. There may be a max enemy count per stage based off a certain number of players. Have an extra(s) controller on standby to increase enemy count. ![]() In a perfect world, all of the conversations we have would end the way we want them to. Once you’re in agreement, commit to the resolution and make sure there is an action plan going forward. For example, if you’re telling an employee they didn’t get a raise, explain why and offer solutions on how they can improve. Listen to their ideas if they have any and bring some of yours to the table as well. If the solution isn’t clear from the beginning, work together to come up with one that you both agree on. The goal of having this conversation is to reach a resolution. Try not to let your feelings get in the way of a resolution. Not every conversation is going to go your way and not everyone is going to agree with your point of view. Identify where either person went wrong and discuss the impact of this conversation on each of you, the team and the organization as a whole. Take responsibility for your part in the situation and focus on the facts. Stick to the factsīefore your conversation, have a clear idea of what happened. We’ve provided some examples of how to do this in the section below. 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They might tell you something that changes your mind, and you don’t want to be so committed to your initial assessment that you don’t hear it if they do.” Listening to their perspective lets the other person know you’re acknowledging their feelings. “Feedback shouldn’t be a monologue,” explains Ask a Manager’s Alison Green, “It should be a discussion, and it’s important to listen to the other person’s perspective. Be open to the other person’s perspective You’re never going to get what you want unless you ask. It’s cliche, but opportunities are rarely offered they’re seized.” If you’re asking for a raise or promotion, take initiative, begin the conversation with confidence and get to your point quickly. According to Facebook’s Sheryl Sandberg, “feeling confident - or pretending you feel confident - is necessary to reach for opportunities. If you approach it as an uncomfortable situation-it will be one. The person on the other end of the conversation will likely pick up on your energy. Remember, we’re all human and no one wants to be approached with a laundry list of issues. If you hone in on the root of the problem right away, you lessen the probability of the conversation getting away from you. What do you want to get out of the conversation? Write down three things you want to accomplish and focus on them. ![]() Make feedback a common occurrence, and get in the habit of addressing issues immediately as they arise. Just like Apple co-founder Steve Jobs said, your job is not to be easy on people. You can also build up anxiety that will make the situation bigger in your mind than it really is. Don’t avoid itĭifficult conversations can become more difficult the longer you wait. ![]() Here are a few tips to help make these conversations easier. Help make feedback a natural aspect of your organization and frame your thinking so that it’s key to growth and development. It’s common for defenses to be high when difficult conversations roll around, so it’s key that you have a plan for when they do. Nine tips for handling difficult conversations at work So, how do we encourage tough conversations and handle them eloquently? We’ll tell you how and check out our infographic below for some quick tips. If you’re not having them, you’re not growing, she says. Facebook COO Sheryl Sandberg encourages her employees to have tough conversations at least once a week. Seventy percent of employees avoid difficult conversations in the workplace, according to a study by career-coaching startup Bravely, this can lower morale and cause a toxic work environment. You know when you have to talk to Justin about how he keeps showing up 45 minutes late or Ashley because she’s underdelivering on projects? We’ve all been there. They’re awkward, sometimes unpleasant but, ultimately, inevitable in any workplace dynamic. |
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