( Add to my favorite builders ) My name is Matija Grguric. I am an architecture student from Zagreb, Croatia. I got my first LEGO set when I was 4 years old. It is my favourite toy since then. I left LEGO for a couple of years when I was growing up, and then started collecting it again around 5 years ago when I discovered a large AFOL community (adult fan of LEGO) on the internet. I am 28 years old, and I own around 300 000 bricks. I am member and one of the founders of Croatian LEGO Club Kockice. I also have a Flickr account. I am this cycle LEGO ambassador representing the fan community in Croatia. If you want to help me buy more bricks and make better creations with those, check out my Bricklink store. Please support my Civilization creations on LEGO CUUSOO Counter added on 28th Septemper 2009. 5,344 viewsChitzen Itza - Kukulcan 8,437 viewsGreat West Railway StationGet bits of number. Latest activity Edited by on 13 Apr 2015
I have a 16 bit double I got from using wavread that I want to get the first 8 bits from.As an example lets say I have 67. Inside my computer it must be represented as a series of bits, 0111001 in this case. So lets say that I just want to have the last for of them 1001.How can this be done? Assuming you have a 16 bit integer, the simplest way to extract some bits from it is to use bitget:returnsYou can also use dec2bin but that involves string conversion so is going to be slower. MATLAB and Simulink resources for Arduino, LEGO, and Raspberry Pi Discover what MATLAB® can do for your career. Opportunities for recent engineering grads. Choose your country to get translated content where available and see local events and offers. Based on your location, we recommend that you select: . You can also select a location from the following list:ABC News•January 27, 2017‘Stock That Could Do No Wrong’ Goes Into TailspinResponse object error 'ASP 0156 : 80004005'
The HTTP headers are already written to the client browser. Any HTTP header modifications must be made before writing page content.Flexible before & after school schedules available during the school year. Accommodations can be made during elementary school closings, delayed openings and early dismissals for kids enrolled in our before/after school program.Summer Day Camp Available Each Summer The Kindergarten and School-Age Kids are offered many of the same materials and activities as the Preschoolers but they are used in a more advanced manner. For example, older kids also enjoy art materials and building materials (such as Legos) but would have advanced skills and techniques when using these materials compared to a young Preschooler. Outdoor play is also more advanced. In addition, these older kids have access to board games and other materials/activities specific to their age group.During the After School Program, a quiet area is set up for the children to do homework.
Some families prefer that their child complete homework at RTG and some families prefer that it be completed with their parents when home. anic and non-GMO morning and afternoon snacks are offered to children that are in attendance during those scheduled times. for website problems or corrections404 – Page not Found THE BAD NEWS: We can't find the page you're looking for. Some of our Best Sellers Valet™ Charge Dock for Apple Watch + iPhone QODE™ Ultimate Lite Keyboard Case for iPad Air 2 NetCam HD+ Wi-Fi Camera with Glass Lens and Night VisionSpecial Offer for Florida Residents Discover an amazing offer to See Cirque du Soleil® La Nouba™ as a family!I have to say, I do love a good narrative. In fact, stories and narrative are one of the major reasons I switched from my beginnings as a graphic designer into the games industry. There’s just not enough in traditional design — but games… Games can have it all. Narrative is the life and blood of any good storytelling, as in the traditional sense, it’s the sequence of events that make up a story, in a particular structure.
As a gamer, it’s easy to consume and immerse yourself in a game without ever contemplating how narratives are built into game development, but working in the games industry has shown me how much of a difficulty that can be, and in a way, games as a medium is still exploring more sophisticated ways to do this. It’s an exciting time for narrative exploration through games, and I’m very excited to see where it may lead, despite its challenges. One of the particular difficulties is meshing the narrative with game mechanics. One of the ways we’ve seen this over the years is by creating choice driven games — a popular theme, in heavily narrative driven games over the past few years. A few notable examples would be Dishonored, Lifeline, Life is Strange and the recent titles by Telltale Games. There are also of course games that use the world building and environment more heavily (combined with game systems) to showcase the narrative – such as Left 4 Dead, The Witcher 3, and of course Fallout 4.
But for the purpose of looking into the future of narrative as a whole, let’s stick to choice-driven narrative games, as we’ve seen their continued evolution in the spotlight over the past few years. In that context, it’s also important to consider that, as Warren Spector put it, “choices without consequences are meaningless.” Which is why games often receive a tremendous amount of negative feedback if the game hasn’t synced the mechanics and choice consequences well enough. In recent years, this ability to make the consequence feel real to the player has really gone through a lot of changes. Taking a few key examples, in The Walking Dead (2012) – the emphasis is on a “time-sensitive decision-making system,” which forces players to make immediate choices from their gut. But Telltale also “made sure that system would provide no qualitative feedback on choices that players made, so [that] players had to think about and live with the decisions on their own.”
In The Walking Dead, your choices: Together, these combined consequences make the game feel like you’ve carved in your own story. Also, the stats at the end of each episode let you see the percentage of people that made each decision, which adds to the effect. A more recent episodic, Life is Strange (2015) is an evolution on Telltale-style decision-making games, due to its ability to see the immediate consequences of your actions before you make your final decision — thanks to its rewind mechanic. Alongside these changes, we’ve also seen more and more procedural generation and expansion. The increasingly sophisticated algorithms in the games area can create procedural narrative too: “It’s not just environments, either: in Rimworld, an ‘AI storyteller’ creates events and mini-narratives for the player; Moon Hunters uses the technique to create ‘myths’ — in-world stories and art — about the player’s exploits; and in SkySaga: Infinite Isles, a role-playing game by UK-based Radiant Worlds, entire adventures are generated by algorithm.” – Wired
And then, there’s Ken Levine’s narrative legos. In 2013, he hinted that he was “playing around with a concept for a game that would allow people to create an AI-powered character and then impose feelings on it. Think of it as a super next-gen Tamagotchi.” This thought experiment led Levine to look at narrative – and break it down into the smallest possible parts, in order to remix and build pieces to create different narratives. The experiment could originally be seen with Elizabeth from BioShock Infinite’s ability to suddenly yell “Hey Booker, catch” and throw the player some ammo or other helpful item. Ken Levine expanded on this at GDC. Narrative legos, in short, are story elements that fit in and interact in many possible different ways with each other to trigger gameplay elements, without going through a specific fixed script. This way of developing games without imposing artificial boundaries on the player and instead giving them non-linear, replayable and player-driven narratives, creates a stronger emotional attachment for the player.
It becomes their game, and each of their decision will impact gameplay in very deep ways. But we’ll have to wait and see what Levine has in mind. Game narrative and storytelling have made major leaps forward in the past few years, as can be seen with Rhianna Prachett’s work on the Tomb Raider series, along with other powerful and impactful titles such as The Last of Us (Neil Druckmann), and This War of Mine, as well as many more. Now that consumers have proven to the industry that they are ready and waiting for more emotionally rich narrative experiences, we’re sure to see many different exciting directions come forward during the next few years. Moving forward, I hope all of these advances allow us to bring narrative in games up to speed to other mediums like film, which will allow us to explore new topics and dilemmas, as well as deeper and more diverse characters. Games (and their ability to allow us to experience stories first-hand) hold a great power to open empathy, teach us things about ourselves and the world around us, and eventually, maybe, affect our lives.