richardmurray

@Mzuri I quote you I asked what label will you give paula patton, you in your reply to me you said biracial or mulatto. That was what my first question asked. I didn't ask which is the right or wrong lable, I merely asked what you would label her, since you didn't in your original post. THe two quote above is from your post. Now I Quote myself I think from your quotes, me using the word tired is appropriate. Me saying you described PAtton as not black is appropriate, nothing you didn't say, no mysitcal inferences between lines. I just asked two questions. I didn't read anything in between lines. Thank you for answering the two questions. @nels only one problem exists with your position. while you and others of a similar mindset are certain in your label to someone like paula patton, she is not in agreement to you. THe way paula patton cuts it, your wrong. I am not suggesting who is right or wrong, but agreement has not been made and agreement is the key to positive discourse.

@Mzuri I read your comment and I have a few questions, you didn't state what phenotypical or lineage racial category paula patton need to apply to, can you state which one? I know you said you are tired of her or halle berry and you described the way in which patton is not black in your view, so is paula patton: not black, white, biracial in your view?

Weaving Our Stories Spring Resistance Magazine - submissions due january 15th 2022, use the following link for more details https://aalbc.com/tc/profile/6477-richardmurray/?status=1776&type=status

Ah cool @ProfD I had to make sure that is clarified cause in various online spaces, i read comments from various strangers that displayed a miscomprehension to this law as something that is for anyone in nyc just stepping off the boat so to speak or that it applies to all levels of government. It will be interesting if a state in the union makes a similar law, i wonder how the states rights argument will coincide to this, as states by the constitution have sovereignty over their legal code, and if the law goes through a legislature, not a mandate, then it is law.

@ProfD good point, like @nels the issue of the value of citizenship is being tested with this law. But a key point is that this law only applies to new york city, it doesn't apply to new york state or any federal level, so... I will like to ask you, if you go to a city in another country, do you think you have the right to vote in the elected offices for the city in said other country, if you are registered a resident, not an illegal alien, and you are not sentenced with any illegalities for thirty days, barring you still from voting for the county/state/federal level elected offices in said other country?

@nels yes, the concept of giving a non citizen voting powers is against the idea of citizenship being a valuable and unique item for involvement into the civic community in the usa. Your choice of language is energetic but I think alludes to falsehoods. This law was voted on by the nyc city council first. and then eric adams voted on it. So this law isn't an usurping and applies to legal resdients. so, nothing in this law is illegal. I admit it is aphilosophical to many, but it isn't an usurping or illegal. As for the condition of countries, the usa has the most powerful military on earth and involves itself in the affairs of every other country. A great statistic I learned from an opinion editorial article in the ny times stated that the three letter organizations of the usa/ cia/ fbi/et cetera have had hundreds of deaths in foreign countries in the last few decades. and this is what is known. So, I will not refute the responsibility of people living in a country to improve it. but empires, and the usa is an empire, influence militaristically lesser countries, usually to their detriment. So I think the usa has to evade the empire business before the people in it can demand the people influenced outside the usa by the statian empire are disinterested in leaving countries the usa has mangled. Isn't that fair? I ave countless examples to support my position. I support my position with iraq. An easy example. the usa invaded iraq, iraq did not invade the usa, nor was it behind the 9/11 attack. now many iraqis have come into the usa, but like the koreans/vietnamese/colombians and many others, the usa's role in their countries is a large part of their problem. anyone can have their reasons to support a policy. But, the party of andrew jackson supports this policy for the voting power it will bring. This will blockade the party of abraham lincoln in nyc, as the party of abraham lincoln will make an opposing policy by default. And it is plausible as this law is for a city only. So other cities have the right to make laws to ban such voting powers, as well as blockade or restrict immigrant communities. For me, this law is strategy. NYC was called by many in the party of abraham lincoln, a harbor city , and thus it is living up to that even more. Nothing is banning other cities from doing similar things in opposition. @nels just to clarfy, the law doesn't allow illegal aliens to vote, cause they are committing a crime. the law allows noncitizens to vote, but only noncitizens who are registered residents who haven't committed a crime in 30 day.

thank you guest

@nels why is it bad?

#openpulpit Eric Adams/NYCC signed a law that allows a noncitizen/permanent resident NC/PR who has not been sentenced for a crime in 30 days to vote for elections in NYC,agree? NC/PR of NYC will not be able to vote for NYS/Federal. please state the city you live in the comments https://aalbc.com/tc/profile/6477-richardmurray/?status=1772&type=status

Far Cry the tears of hope - for fans of the game , here is a bande desinee Video announcement EXCERPT Far Cry The Glenat and Ubisoft collection https://www.glenat.com/bd/collections/ubisoft?at_medium=email&at_emailtype=retention&at_campaign=newsletter_glenat_BD&at_creation=&at_send_date=20211221

hahaha @KENNETH yeah, a new virginia senator is a black woman. She is pro schtrumpf, anti abortion, a bootstrapper in fiscal views. She is a DOSer of the caribbean , not the usa. I listened to what she had to say and she nothing about policy so... she wants black people to become POALs but, she offers nothing policy wise. She doesn't deny negative bias, but she offers no solutions outside individualism

no problem @KENNETH most in the usa know this is true, the question is, can individualism plus collectivism exists simultaneously while positively in an extremely multiracial sector of humanity? Right now, no one in power or near power has an answer

I think one thing that will help everyone is to disassociate terms like liberal or conservative or democrat or republican to parties of governance. The POAJ or POAL , PArty of Andrew JAckson or Party of Abraham Lincoln are none of those terms. NEither is liberal or conservative or democrat or republican. Both are parties of government, trying to get votes, by any means necessary. IF we all stop looking at parties of governance as philosophical havens it will make it easier to relate to their actions. TO your issue of phenotypical race. The POAL knows that you can get votes by saying "blacks bad" so they do and they win those place.

good points, the usa's fiscal environment, from the destruction of most indigenous peoples to the enslavement of blacks, no matter their ancestral descendency, was communal in nature. It wasn't each indigenous must be killed or each black is enslaved, it was all indigenous must be kileld or all blacks are enslaved. The fiscal reality is in contrast to the declaration or constitutions legal framework, which emphasizes individual rights over any collective. For whites who had and have the positive fruits of both the fiscal communalism or the legal individualism, it has brought about a modern white community that is in itself very multiracial. But, for communities of differing descent<indigenous> or phenotype<black> the fiscal disadvantage and the legal misapplication they received and received creates a terrible environment for the 2022 usa to be a happy rainbow

Enjoy The Head of HAtshepsut Dreadful Fable PLEASE READ Head of HAtshepsut Game Boss Head by HDdeviant on DeviantArt

I really love this post, the truth in it is stunning The truth in the following article about Nintendo's early days is something that saddens me deeply, to read now. I said many of these things absent the ability to cite and people in the usa, in majority would and will refute. Glad to have finally found evidence to show the statian populace in terms of the history of video games.

The Designer Of The NES Dishes The Dirt On Nintendo's Early Days Masayuki Uemura demonstrates a Famicom at Nintendo's Kyoto headquarters on July 1, 1985. Photo: The Asahi Shimbun (Getty Images) By Matt Alt 7/07/20 5:00PM When discussing Nintendo’s rise as a digital dreamsmith in the ‘80s, game designers like Shigeru Miyamoto and Gunpei Yokoi get most of the limelight. But it was the hardware designed by Masayuki Uemura that served up their fantasies to millions around the globe. I spent 2019 criss-crossing Japan researching my book Pure Invention: How Japan’s Pop Culture Conquered the World, in search of the country’s architects of cool. In March of that year I came face-to-face with a true legend: Masayuki Uemura, the engineer who designed Nintendo’s first cartridge-based game system, the Family Computer, aka the Famicom, aka the Nintendo Entertainment System. With a design based on the arcade hardware that powered Donkey Kong, the Famicom quickly revolutionized home gaming in Japan when it was released in 1983. As the NES, it revitalized the home video game market in the United States after the Atari market crashed. From then on, it proceeded to deliver a steady stream of Japanese fantasies into the hearts and minds of people around the world. It’s hard to imagine a world today without Uemura’s machine. Masayuki Uemura joined Nintendo in 1972. Gunpei Yokoi, the inventor and toy designer whose products like the Ultra Hand had transformed Nintendo from a humble maker of hanafuda, Japanese playing cards, into a well-known toy and game company, recruited Uemura away from his previous employer, the electronics company Hayakawa Electric, known today as Sharp. Uemura retired from Nintendo in 2004, and currently serves as the director for the Center for Game Studies at Ritsumeikan University in Kyoto. The university’s leaf-covered Kinugasa campus is a quiet oasis in what is—or was, before COVID-19—a bustling and tourist-packed city. It is also a 10-minute walk from the ancient Zen rock garden of Ryoan-ji temple, whose evocatively arranged boulders and artfully raked gravel seem to me one of Japan’s earliest “virtual realities.” Departments that teach students how to make video games abound in higher education today, but the Ritsumeikan Center for Game Studies is one of only a handful of academic efforts specifically designed to preserve home video gaming equipment and ephemera. Its archives contain everything from early home versions of Pong to the latest consoles, every controller variation under the sun, and an ever-expanding library of software on tapes, cartridges, and discs. The packed shelves of its climate-controlled storage facility look like something out of a kid’s dream, organized with the obsessive rigor of the Library of Congress. The scent in the air is that paper from countless magazines and strategy guides, tinged with the nostalgic ozone smell of vintage electronics. Uemura was 75 years old at the time of our interview, but seemed much younger. A benefit of a life spent making playthings for the world? Whatever the case, there is no mistaking the amusement and restless curiosity in Uemura’s eyes as we sit down over a round of Famicom Donkey Kong to talk about the little beige and burgundy machine that touched so many lives. < Interview> Kotaku: What was Nintendo like when you joined the company? Masayuki Uemura: One of the things that surprised me when I moved from Sharp to Nintendo was that, while they didn’t have a development division, they had this kind of development warehouse full of toys, almost all of them American. Kotaku: What were your impressions of Nintendo’s former president Hiroshi Yamauchi, who ran the firm from 1949 to 2002? Uemura: He loved hanafuda and card games. I remember once, early on, a birthday party for an employee and he showed up and got right into hanafuda with everyone. He was a Kyotoite. It’s a city with a lot of long-running businesses, some maybe five or even six hundred years old. In the hierarchy of the city, traditional craftspeople rank at the top. Nintendo, as a purveyor of playthings like hanafuda or Western playing cards, originally ranked down at the very bottom. Doing business in that environment made him very open to new ventures. He wasn’t interested in specializing. He was keenly interested in new trends. Here’s an example of what I mean. In 1978, he bought around 10 tabletop versions of Space Invaders and placed them in headquarters and our factory. The idea was that we’d playtest them as a form of research. But what ended up happening was the entire company got so obsessed playing it that we couldn’t get a turn in. It was like a fever. Everyone abandoned their posts and stopped working. I was just bummed out that we hadn’t made it ourselves. Shocked and annoyed [laughs]. Kotaku: Did you feel behind the curve compared to other game companies back then? Uemura: In the 70s, we had no idea what was going on with companies like Namco or Atari because we were here in Kyoto. If you lived in Tokyo, you’d probably pick up lots of things about companies like Taito or Sega or Namco or even what was happening in America. But none of that filtered down to Kyoto at all. That’s Kyoto for you—a little standoffish, going its own way, and proud of it. To a certain degree, not even caring about the outside world. A little conservative when it comes to new things. When I worked for Sharp, I took many business trips to Tokyo. But when I started working for Nintendo, that completely stopped. It’s pretty shocking when I think back on it, but Kyoto has always been kind of closed off that way. So no, there wasn’t any sense of us being behind. Kotaku: I’ve heard that the atmosphere inside the company was very competitive, with a big rivalry between Nintendo’s two R&D divisions. Uemura: There wasn’t really any R&D 1 and 2! It was just Yokoi and Uemura. There wasn’t any rivalry! Yokoi found me and recruited me to Nintendo; he was my senpai. It was Yamauchi who set us up as rivals. It was symbolic, which is important in any corporate organization. That’s why he created R&D 1 and 2. Kotaku: How did the Famicom project come about? Uemura: It started with a phone call in 1981. President Yamauchi told me to make a video game system, one that could play games on cartridges. He always liked to call me after he’d had a few drinks, so I didn’t think much of it. I just said, “Sure thing, boss,” and hung up. It wasn’t until the next morning when he came up to me, sober, and said, “That thing we talked about—you’re on it?” that it hit me: He was serious. Kotaku: Were you influenced by other companies’ machines? Uemura: No. I mean, after I got the order I bought every single one, took them apart, analyzed them piece by piece. I looked at the chipsets, saw what CPUs they used, checked out the patents, all of it. That took about six months. Most of it I did myself, but I did have some help from outside resources, people who worked at semiconductor companies. I looked into Atari’s [2600] machine, of course—it was the biggest—and the Magnavox machine. Because those two were the biggest hits, and Atari’s biggest of all. Kotaku: How did you analyze rivals’ game consoles? Uemura: I had a semiconductor manufacturer dissolve the plastic covering on the chips to expose the wiring underneath. I took pictures, blew them up, and looked at the circuitry to understand it. I had some experience with arcade games, and right away I knew that none of what I was looking at would be any help in designing a new home system. They simply didn’t have expressive enough graphics. They had a monopoly on patents for them, circuit structures and features such as scrolling. And they were simply old-fashioned. That’s why I couldn’t use anything from them. Kotaku: Did America’s game industry crash scare you? Uemura: Japan didn’t really experience a video game industry crash like America did. What we had was an LCD game crash. They stopped selling at right around the same time—Christmas of 1983. Kotaku: In US the crash made the very concept of games taboo in the industry for a while. What about Japan? Uemura: In Japan, the issue was that toy stores didn’t know how to carry them. Toy stores didn’t carry televisions. So they didn’t see game systems as things they should carry, either. That’s why a lot of companies tried positioning their products as educational products, with keyboards, more like PCs than game systems. The thinking in the industry was that was the only way to go, back then. The only way to sell a video game was showing it on a screen, and it was a big ask of toy stores, making them purchase TVs. LCD games had their own screens; you could just put them out and they’d sell themselves. Kotaku: Is that why you chose to style the Famicom more like a toy? Uemura: It was less of a choice and more that this was the way it had to be. Kotaku: Why is that? Uemura: Because that was the cheapest way to do it [laughs]. The colors were based on a scarf Yamauchi liked. True story. There was also a product from a company called DX Antenna, a set-top TV antenna, that used the color scheme. I recall riding with Yamauchi on the Hanshin expressway outside of Osaka and seeing a billboard for it, and Yamauchi saying, “That’s it! Those are our colors!” Just like the scarf. We’d struggled with the color scheme. We knew what the shape would be, but couldn’t figure out what colors to make it. Then the DX Antenna’s colors decided it. So while it ended up looking very toy-like, that wasn’t the intent. The idea was making it stand out. Kotaku: And it did. Were you surprised when it became a societal phenomenon? Uemura: I didn’t have time to be surprised! When it really took off, I was totally focused on making the NES for the American market, and also on making the Disk System. I had my hands full. And we were swamped with defective returns. At first we had a very high percentage of defective machines being returned to us. We were just getting so many returns, far more than anything we’d ever seen before. That’s when I realized just how many people out there were playing with them; there hadn’t ever been a system this popular before. That was about the time Super Mario Bros. came out, 1985. Everyone in the company realized we were going to be swamped. Super Mario was fuel on the fire of the fad. Kotaku: Mario arguably became even more of a phenomenon than the Famicom itself. Uemura: Super Mario Bros. was the first to really bring a kawaii perspective to game characters. Actually, Donkey Kong was first to do it, in the arcades, and it established that unique sense of design. Until that point, most games followed the arcade style of shooting game design. Super Mario is often cited as the very first game to connect that style of cute character and cute music together. I’m not sure who specifically on Miyamoto’s team connected the dots, but that’s what happened. Probably Miyamoto himself. Kotaku: After Nintendo went from 3rd or 4th place to 1st in the ‘80s, was there a sense things changed, among people inside the company? Uemura: No! We’re in Kyoto [laughs]. Well, my salary went up. That’s a fact. So I was getting paid more, but the flip side was my job got a lot harder. President Yamauchi’s attitude played a big part in this, but my feeling was one of “seize the day.” Just go for it. You have to remember, there was a time, after Donkey Kong, that we really didn’t make another game for about two years. Well, not exactly, but pretty much. That’s the period Super Mario Bros. was being developed. That game basically ended up including everything and the kitchen sink, gameplay-wise. Kotaku: What led to the decision to export the Famicom abroad? Uemura: There’s a rule in the game industry that fads last for three years. That’s why President Yamauchi targeted America—to get around that. The prevailing sense at the time was that television games would fade into history as they were replaced by personal computers. So we were shocked that the fad kept going. It was Kudo-san, the president of a company named Hudson, one of the Famicom’s first licensees, who said to Yamauchi, “this is a culture.” Yamauchi was like, “What are you talking about?” Kotaku: Japanese games swept the globe starting in the late 70s: Space Invaders, Pac-Man, Donkey Kong. Why do you think this made-in-Japan culture resonated with people all over the world? Uemura: Actually, that’s what I want to ask you [laughs]. Super Mario Bros. isn’t set in Japan, but the character’s Japanese. The name Mario sounds Italian, but he isn’t Italian. They were really able to capture that ambiguity. The number of dots you could use to draw the characters was extremely limited, so Miyamoto was forced to use colors to differentiate them. He spent a lot of time working on the colors. In the end, it became the template for how a designer might express themselves through a game. It was a whole new world. Until video games became able to portray characters, they were nothing more than strategy games like shogi or chess. Once hardware developed to the point where you could actually draw characters, designers had to figure out what to make. Subconsciously they turned to things they’d absorbed from anime and manga. We were sort of blessed in the sense that foreigners hadn’t seen the things we were basing our ideas on. The Designer Of The NES Dishes The Dirt On Nintendo's Early Days (kotaku.com)

Hacking Nintendo Punch-Out To Control It With Actual Punches By Ian Charnas November 17th, 2021 I recently adopted a kitten I found on the street, and every morning we play with the laser pointer. She gets a lot of fun and exercise out of this single-pixel video game, and it got me thinking I should make a video game where I get exercise too! Fast forward 3 months and I’ve hacked a Nintendo Punch-Out boxing game so that you control it with actual punches instead of a controller. It gives you the feeling of actually being inside the video game! You can watch me build and test the game on my youtube video. VIDEO The hardest part of the project was hacking the game to slow the opponents. You see, punching into the air is much slower than pressing a button on a control pad. So, the opponents were moving too fast, relatively, and it wasn’t a fair fight. I had to reverse engineer the source code (a process called “disassembly”) and slow each opponent down one by one. The result is a very fun and playable game that you can try yourself — entirely in your browser — by visiting RealLifePunchout.com ARTICLE LINK https://makezine.com/2021/11/17/hacking-nintendo-punch-out-to-control-it-with-actual-punches/

You own a video game company. YOu have a round table for the games 5 years down the road. I say , The Wiz video game, what say you? Holly Wood Tonya is with Necole Collie and Rashad Muhammad Hasan. Ease on down the road. #blackfamilies https://aalbc.com/tc/profile/6477-richardmurray/?status=1671&type=status

Do you comprehend these two ideas in terms of programming or technology? By Oct 15th, consider below. Satellite A bluesky contest Our digital identities are like satellites we launch into cyberspace. You may link one to another here and there, but how would you link all of them, systematically, in a way that proves to others they belong to you? Let’s try an experiment: A contest to demonstrate how to link your accounts and content. $300 in BTC awarded to the top three submissions, to make it worth your time. Choose at least 3 of the following. Link them in a way that anyone can verify you are the author/owner of all. Explain how you did it, and what properties you were designing for. A Twitter account A Reddit account A website... or two A Matrix account A Mastodon account An SSB account A PGP key A piece of content on IPFS A cryptocurrency address Another decentralized social network Another service/platform of your choosing Have an answer in something that already exists? Feel free to use it, but describe how it works, the tradeoffs, and how it can be improved. Implement your solutions as much as possible. If you don’t want to actually link two of your accounts, create a new one for this purpose. Include any documentation or code needed to explain it. We’ll be scoring on a rubric of: thoroughness, robustness, originality, decentralization. Download the rubric and template here. Email solutions to join@blueskyweb.org. Multiple submissions allowed. We’ll keep a leaderboard up with pseudonyms of the authors who submitted the top solutions, so you can check if you’re on it. At the end of the contest, we’ll publish the top solutions and reveal their authors. End date: Oct 15. https://blueskyweb.org/satellite MORE INFORMATION Single Status Update from 10/02/2021 by richardmurray - AALBC.com’s Discussion Forums

BlockChain Protocol https://aalbc.com/tc/profile/6477-richardmurray/?status=1645&type=status

Caleb KRaft is a great maker, this is a video with examples on how to aid gamers with disabilities. The Controller Project This site is a place where you can find documentation on how to modify game controllers for people with physical disabilities. Most of my mods have been used for assistance muscular dystrophy, but the library is an ongoing process and people may find the modifications and accessories helpful for other physical needs. I will be adding other modifications from around the web as I find them. If you need a controller modified, or want to share a modification tutorial or 3d printable files, contact me at Hello(at)calebkraft.com http://thecontrollerproject.com/

How many black female gamers do you know personally? From Mergirl Dunne of Black Games Elite

What's up fam of BGE I was having a conversation early today with two young brothas talking bout video games..... One of these bros mentioned that he did not know one black female gamer. (Till he saw me rocking my RE2 GRAPHIC T-SHIRT) I'm like We are out there but unfortunately we don't get the same recognition as the bro's. 😔 My questions to BGE..... How many black female gamers do you know personally....And Why the exclusion From Mergirl Dunne of Black Games Elite BGE mewe page https://mewe.com/group/5f6a6b1e9bfa191d3a68cc0c/profile/5c3e37f67f857d550f1d9eea Mergirl Dunne Mewe page https://mewe.com/i/mergirlwhitedunne

With the industrial explosion of handheld gaming consoles in the year 2021, what does it mean the video gaming industry is missing? One thing all the entries in the assessment below have in common is all the games are already inside and all are circa 100$ to buy the basic version. The cheapest is 60 dollars usa. It was the 9th entry. And they all are trying to emulate games already made, not make new games with the same quality. Anbernic is sighted as the best. Rg351M is their best model in the description below. IT can play the old games, doesn't need to be adjusted when it comes out of the box. To me, it is clear, the handheld market is open to a high powered system with more ingenious games. These games play already developed games in a collage ... like having a bunch of old cars you are able to ride whenever you want. But, what about new games or ideas? I think space exists for new games new user interfaces in the handheld market. Phone games are still too limited or unfocused. A systems power is needed for higher level games. What are your thoughts? Video of the handheld retro gaming market assessment A small history for consoles Thanks again to MErgirl dunne of BlackGamesElite