If you live in the US, from now on, don't worry about your cracking screen of HTC smartphone. Don't even think that the HTC smartphones are invincible, if you dropped it, it would be broke as usual.
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Got broken HTC screen? Don't worry, it'll be replace for free
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- on 2/18/2014
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How did I start using Bitcoin? (Part 1)
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- on 2/15/2014
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Do you ever heard about Bitcoin? I think you did.
So, what is Bitcoin and can we use it like a real currency such as Dollar, Euro,...? How to get Bitcoin?.... and so on, there maybe a lot of question about Bitcoin. In this article, I'll explain a little about Bitcoin by using the experience I just got 1 month ago.
What is Bitcoin ?
Bitcoin, we can split it to 2 words "bit", "coin". The word "bit" is the basic unit of information in computing and digital communications, and the word "coin" means a coin (real money, use to exchange something). So Bitcoin, we can understand that it is a digital currency (or virtual currency).
So, what is Bitcoin and can we use it like a real currency such as Dollar, Euro,...? How to get Bitcoin?.... and so on, there maybe a lot of question about Bitcoin. In this article, I'll explain a little about Bitcoin by using the experience I just got 1 month ago.
What is Bitcoin ?
Bitcoin, we can split it to 2 words "bit", "coin". The word "bit" is the basic unit of information in computing and digital communications, and the word "coin" means a coin (real money, use to exchange something). So Bitcoin, we can understand that it is a digital currency (or virtual currency).
The reason why Flappy Bird was removed from App Store and Google Play
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- on 2/11/2014
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Games are grotesque.
I’m not talking about games like Grand Theft Auto or Manhunt, games whose subjects are moral turpitude, games that that ask players to murder, maim, or destroy. I mean games in general, the form we call “games.” Games are gross, revolting heaps of arbitrary anguish. Games are encounters with squalor. You don’t play a game to experience an idea so much as you do so in an attempt to get a broken machine to work again.
In this way, games are different from other media. Sure, a movie or a book or a painting can depict squalor, can attune us to the agony of misfortune. But unlike film and literature, games do not primarily depict human events and tell stories. And unlike sports, games do not primarily showcase physical prowess. We don’t watch or read games like we do cinema and novels and paintings, nor do we perform them like we might dance or football or Frisbee. Rather, we do something in-between with games. Yes, we “play” games like we do sports, and yes, games bear “meaning” as do the fine and plastic arts. But something else is at work in games. Games are devices we operate.
Sometimes that operation simulates piloting a mecha or a pro athlete or a space marine, but more frequently it entails more mundane activities: moving cards between stacks as in Klondike solitaire; swapping adjacent gems as in Bejeweled; directing a circular, discarnate maw as in Pac-Man. Some machinery is fantastic, but most is ordinary, forgettable, broken.
If you look past the familiar shimmer of Super Mario Bros. and Super Bowl Sunday, there in the middle you will find the unsung paragons of gaming: games like Chess and Go and Backgammon; Tic-Tac-Toe and Dots and Boxes and Crosswords; Monopoly and Candy Land and Sorry!. These are games that frustrate more than they titillate, because operating them involves minimal effort yet considerable misery. It’s not the misery of boredom or stupidity, but the misery of repetition. The misery of knowing what you want to accomplish but not being able to, whether thanks to the plodding pace of a child’s board game, or the bottomless strategic depth of a folk classic. Whereas football yields its beauty through the practiced triumph of the human body and will over circumstance, Sorry! delivers only the stupid, gratuitous anguish caused by our decision to play it in the first place.
Every now and then a game comes along that forces us to admit this inconvenient truth of games. Recently, we have been graced with such a one, a free mobile throwaway called Flappy Bird. The game was first released last summer, but as the year wound down it experienced an unexpected surge in popularity. By the start of 2014, the game had nested itself at the top of the Apple App Store free charts.
Flappy Bird is a stupid game. You control a bird so cute as to signal deformity. Tapping the screen causes the bird to flap, making it rise slightly before quickly falling. The game asks only that you pilot the bird through narrow passageways between two green, Super Mario-style pipes that issue from the top and bottom of the screen. A point is awarded for every pipe you pass. But touch anything and the cute bird tumbles beak-first into the ground: game over.
I’m not talking about games like Grand Theft Auto or Manhunt, games whose subjects are moral turpitude, games that that ask players to murder, maim, or destroy. I mean games in general, the form we call “games.” Games are gross, revolting heaps of arbitrary anguish. Games are encounters with squalor. You don’t play a game to experience an idea so much as you do so in an attempt to get a broken machine to work again.
In this way, games are different from other media. Sure, a movie or a book or a painting can depict squalor, can attune us to the agony of misfortune. But unlike film and literature, games do not primarily depict human events and tell stories. And unlike sports, games do not primarily showcase physical prowess. We don’t watch or read games like we do cinema and novels and paintings, nor do we perform them like we might dance or football or Frisbee. Rather, we do something in-between with games. Yes, we “play” games like we do sports, and yes, games bear “meaning” as do the fine and plastic arts. But something else is at work in games. Games are devices we operate.
Sometimes that operation simulates piloting a mecha or a pro athlete or a space marine, but more frequently it entails more mundane activities: moving cards between stacks as in Klondike solitaire; swapping adjacent gems as in Bejeweled; directing a circular, discarnate maw as in Pac-Man. Some machinery is fantastic, but most is ordinary, forgettable, broken.
If you look past the familiar shimmer of Super Mario Bros. and Super Bowl Sunday, there in the middle you will find the unsung paragons of gaming: games like Chess and Go and Backgammon; Tic-Tac-Toe and Dots and Boxes and Crosswords; Monopoly and Candy Land and Sorry!. These are games that frustrate more than they titillate, because operating them involves minimal effort yet considerable misery. It’s not the misery of boredom or stupidity, but the misery of repetition. The misery of knowing what you want to accomplish but not being able to, whether thanks to the plodding pace of a child’s board game, or the bottomless strategic depth of a folk classic. Whereas football yields its beauty through the practiced triumph of the human body and will over circumstance, Sorry! delivers only the stupid, gratuitous anguish caused by our decision to play it in the first place.
Every now and then a game comes along that forces us to admit this inconvenient truth of games. Recently, we have been graced with such a one, a free mobile throwaway called Flappy Bird. The game was first released last summer, but as the year wound down it experienced an unexpected surge in popularity. By the start of 2014, the game had nested itself at the top of the Apple App Store free charts.
Flappy Bird is a stupid game. You control a bird so cute as to signal deformity. Tapping the screen causes the bird to flap, making it rise slightly before quickly falling. The game asks only that you pilot the bird through narrow passageways between two green, Super Mario-style pipes that issue from the top and bottom of the screen. A point is awarded for every pipe you pass. But touch anything and the cute bird tumbles beak-first into the ground: game over.
What is Flappy Bird? How did it succeed in the games industry?
The important thing to make a game success is "Know what the player want".
So that why everyone in the games industry is trying to figure out what "the people" want, and Flappy Bird is not an exception.
The big players in the AAA sector believe the people want military
shooters and open-world games full of the old ultra violence. The indie
community believes that what people really want is experimental games
with heart and a unique visual sensibility. And puzzle platformers. And
roguelikes.The mobile and social game companies, like Zynga and King, are of the opinion that people want something inoffensive to click on every now and then, but not too often, unless they’ve got cash to spend.
Recently, the people have spoken, and what they’ve said might come as a shock to many of the prognosticators and taste makers across the video game business. It turns out that what the people really want, for the moment at least, is Flappy Bird.
[How to] Symbolic Links (symlinks) on Windows or Linux
Want to easily access folders and files from different folders
without maintaining duplicate copies? Here’s how you can use Symbolic
Links to link anything in Windows 7, Vista, XP, and Ubuntu.
So What Are Symbolic Links Anyway?
Symbolic links, otherwise known as symlinks, are basically advanced shortcuts. You can create symbolic links to individual files or folders, and then these will appear like they are stored in the folder with the symbolic link even though the symbolic link only points to their real location.
There are two types of symbolic links: hard and soft. Soft symbolic links work essentially the same as a standard shortcut. When you open a soft link, you will be redirected to the folder where the files are stored. However, a hard link makes it appear as though the file or folder actually exists at the location of the symbolic link, and your applications won’t know any different. Thus, hard links are of the most interest in this article.
Why should I use Symbolic Links?
There are many things we use symbolic links for, so here’s some of the top uses we can think of:
So What Are Symbolic Links Anyway?
Symbolic links, otherwise known as symlinks, are basically advanced shortcuts. You can create symbolic links to individual files or folders, and then these will appear like they are stored in the folder with the symbolic link even though the symbolic link only points to their real location.
There are two types of symbolic links: hard and soft. Soft symbolic links work essentially the same as a standard shortcut. When you open a soft link, you will be redirected to the folder where the files are stored. However, a hard link makes it appear as though the file or folder actually exists at the location of the symbolic link, and your applications won’t know any different. Thus, hard links are of the most interest in this article.
Why should I use Symbolic Links?
There are many things we use symbolic links for, so here’s some of the top uses we can think of:
- Sync any folder with Dropbox – say, sync your Pidgin Profile Across Computers
- Move the settings folder for any program from its original location
- Store your Music/Pictures/Videos on a second hard drive, but make them show up in your standard Music/Pictures/Videos folders so they’ll be detected my your media programs (Windows 7 Libraries can also be good for this)
- Keep important files accessible from multiple locations
- And more!
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