CouldnoT

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Numele tău: CouldnoT Numele jucătorului sancţionat: @iulliaN RichTheKid Data şi ora sancţiunii: 12.07.2021 09:59 PM Sancţiune: avertisment verbal Motivul sancţiunii: Postare melodie nespecifica genului topicului Link către topicul sancţiunii: aici Alte precizări: - Numele tău: CouldnoT Numele jucătorului sancţionat: @AIM BASTARDO Data şi ora sancţiunii: 12.07.2021 09:59 PM Sancţiune: avertisment verbal Motivul sancţiunii: Postare piesa care era deja pe pagina Link către topicul sancţiunii: aici Alte precizări: - Numele tău: CouldnoT Numele jucătorului sancţionat: @Danut. Data şi ora sancţiunii: 12.07.2021 09:59 PM Sancţiune: avertisment verbal Motivul sancţiunii: Postare piesa care era deja pe pagina Link către topicul sancţiunii: aici Alte precizări: -

@Danut. @AIM BASTARDO Cei care comentează piesele sunt obligaţi să se asigure că nu a mai fost postat un răspuns identic. Încălcarea regulii duce la primirea unui avertisment verbal. @iulliaN RichTheKid Asiguraţi-vă că piesa pe care o postaţi face parte din genul topicului în care o postaţi. Încălcarea regulii duce la primirea unui avertisment verbal.

Nume Real: CouldnoTNumele din joc (link website): https://www.rpg2.b-zone.ro/players/general/CouldnoT Vârstă: 19  O scurtă descriere a ta: Hello, I'm a Tunisian student, friendly and sociable, and I love pizza. ? Link poză: Here

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For almost every video game restriction, children and teenagers will find a way around it. But the room to maneuver is shrinking in China, where underage players are required to log on using their real names and identification numbers as part of countrywide regulations aimed at limiting screen time and keeping internet addiction in check. In 2019, the country imposed a cybercurfew barring those under 18 from playing games between 10 p.m. and 8 a.m. Recognizing that wily teenagers might try to use their parents’ devices or identities to circumvent the restrictions, the Chinese internet conglomerate Tencent said this week that it would close the loophole by deploying facial recognition technology in its video games. “Children, put your phones away and go to sleep,” Tencent said in a statement on Tuesday when it officially introduced the features, called Midnight Patrol. The wider rollout set off a debate on Chinese internet platforms about the benefits and privacy risks of the technology. Some were in favor of the controls, saying they would combat adolescent internet addiction, but they also questioned how the data would be relayed to the authorities. Others said Tencent was assuming an overly paternalistic role. “This type of thing ought to be done by the parents,” a user named Qian Mo Chanter wrote on Zhihu, a Quora-like platform. “Control the kid and save the game.” Daily business updates The latest coverage of business, markets and the economy, sent by email each weekday. Get it sent to your inbox. Thousands of internet users complained about the tightening controls and the shrinking space for anonymity in cyberspace. A hashtag on Weibo, a microblogging platform, reminded gamers to make sure they were fully dressed in case the camera captured more than their faces. Xu Minghao, a 24-year-old programmer in the northern city of Qingdao, said he would delete any video games that required facial recognition, citing privacy concerns. “I don’t trust any of this software,” he wrote on Zhihu. Privacy concerns were widely discussed when the real-name registration requirement for minors was introduced in 2019. Describing facial recognition technology as a double-edged sword, the China Security and Protection Industry Association, a government-linked trade group, said in a paper published last year that the mass collection of personal data could result in security breaches. Tencent said it began testing facial recognition technology in April to verify the ages of avid nighttime players and has since used it in 60 of its games. In June, it prompted an average of 5.8 million users a day to show their faces while logging in, blocking more than 90 percent of those who rejected or failed facial verification from access to their accounts. Facial recognition technology is commonly used in China to facilitate daily activities as well as regulate public behavior. Hotels use it when checking in guests, while banks use it to verify payments. The state uses it to track down criminal suspects. One city has even deployed the technology to shame its residents out of the habit of wearing pajamas in public. In the case of video games, the government has long blamed them for causing nearsightedness, sleep deprivation and low academic performance among young people. The 2019 regulations also limited how much time and money underage users could spend playing video games. China is not the only country seeking to rein in screen time. Last year, Kagawa Prefecture in Japan asked parents to set time limits on children under 20 years old, though without specifying enforcement mechanisms. The move prompted a 17-year-old high school student to challenge the government in court. The suit is still continuing. nytimes.com

According to the on-console patch notes, the 902 MB update to version 21.01-03.21.00 makes improvements to system performance, and nothing else. However, it’s possible that other changes have been made and not mentioned, such as April’s quiet fix for a disc spinning issue. The last system update for the PS5 was version 21.01-03.20.00, which rolled out last month. That update fixed a battery indicator bug which had resulted in the battery icon constantly blinking (indicating low battery) even though the controller wasn’t low on charge. The official patch notes also listed fixes for a PS5 screen reader issue and hidden games problem, plus improvements when copying games from USB to console. Sony released PS5’s first major system software update globally on April 14, adding the ability to store PS5 games on external USB drives (but not play titles from them), and cross-gen Share Play, meaning PS5 users can let friends on PS4 remotely play their games, among other features. Sony also made additions to the PlayStation smartphone app, including the ability to join a multiplayer session on PS5 from the app, manage PS5 console storage, compare trophy collections with friends, and sort and filter products shown in the PlayStation Store. In a post on the PlayStation Blog at the time, Sony’s Hideaki Nishino stated: “We’re only scratching the surface of the many updates and improvements we’ve made across PS5, PS4, and PS App, so check them out and let us know what you think.” videogameschronicle.com

The newest edition in Codemasters’ incredible series of F1 video games – F1 2021 – is nearly with us. And ahead of the release on July 16, we can exclusively reveal the ratings awarded to each driver within the game. The ratings were calculated according to five real-world metrics: 1. Experience - Based on the number of races a driver has competed in during their career 2. Racecraft - Based on positions gained or lost in a race, compared to the average for a given grid slot 3. Awareness - A measure of the driver’s ability to avoid incidents and penalties in a race 4. Pace - A measure of a driver’s best lap times – the closer they are to the fastest lap in a race, the higher the score 5. Overall - Which takes into account all of the above, calculated with a weighted average Unsurprisingly, when the numbers were totted up it was seven-time world champion Lewis Hamilton and his 2021 title rival Max Verstappen who emerged top of the pile, both with a score of 95. But how did the other drivers score? Flick through the cards below to see! And tell us what you think of the scores on social media, using the hashtag #F12021game. F1 2021 features teams, drivers and circuits from the 2021 F1 World Championship, with the Deluxe Edition – available on July 13 as a digital download only – also enabling fans to hire one of seven iconic drivers from history as their F1 team mate, including Ayrton Senna, Alain Prost and Michael Schumacher. formula1.com

2021 has been a bit of a ghost town for video games—and not just because one of the most prominent titles of the year took place in an escalating series of themed haunted houses. Although the steady rain of remakes, reissues, re-releases, and other all-purpose retreads continues to fall on the industry’s head, the slowdowns imposed by the COVID-19 lockdowns have led to a certain lightness on the medium’s release schedules in the first half of this year. Not even the ramping up of the Xbox Series X and the PlayStation 5 (now sporting five whole console-exclusive games!) has managed to spawn much of a gold rush—especially since studios are as likely to divert energy toward next-gen updates of existing games than to develop expensive new projects of their own. Still, though: The (relatively) low volume of releases hasn’t stopped 2021 from having some fantastic titles hidden in among the weeds. Indie horror games, big-budget murder simulators, and even—yes—a few remakes have all found inspiration in the quiet, while some of gaming’s most beloved franchises managed to top themselves with new innovations. As such, we’re celebrating our favorite games of 2021 so far, letting you know what were The Games We Liked—and why we liked them—in the first half of the year. I liked Bowser’s Fury because it felt like watching the Mario series evolve in real-time. It would have been very easy for Nintendo to slap a few (cat) bells and whistles onto its re-release of underplayed WiiU title Super Mario 3D Land, hook in some online multiplayer, and call it good. Instead, the endlessly innovating publisher crafted Bowser’s Fury, a near-perfect distillation of everything that makes 3D Mario games great, minus all the bloat and frustrations that tend to creep in around the edges. Merging ideas from Mario Odyssey, Super Mario Galaxy, and even a little of the open-world hostility of Zelda: Breath Of The Wild, Bowser’s Fury cuts down on the size of the world our plucky plumber (and his temporary partner, Bowser Jr.) are exploring, but never skimps on the series-high running, jumping, and stomping action that make this a bite-sized-but-thrilling experience. [William Hughes] avclub.com

A cartridge of Nintendo's classic video game "Super Mario 64" set a world record Sunday, selling at auction for $1.56 million. The sale, the first ever of a game cartridge to surpass $1 million, came just two days after a sealed copy of "The Legend of Zelda" -- made for the old Nintendo NES console -- sold for a then-record of $870,000. Dallas-based Heritage Auctions, which handled both sales, has not identified the buyers.Before Friday, the record for a video game auction was the sale in April of a 1986 "Super Mario Bros." cartridge: it went for $660,000. Retro video games have become increasingly popular among nostalgic collectors in recent years, driving up prices for old-school consoles and cartridges at auctions. The past year has seen record prices not only for video games but also for Pokemon cards and for the digital collectibles known as NFTs (Non-Fungible Tokens). france24.com

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Sales and production company Film Constellation has secured further pre-sales on upcoming English-language horror “The Twin,” starring Teresa Palmer and directed by Taneli Mustonen (“Lake Bodom”), with BF Distribution boarding the film in Latin America and Studio DHL in South Korea. Film Constellation has also revealed the art for the film’s poster (see below). Palmer (“Lights Out,” “Warm Bodies,” “A Discovery of Witches”) stars as a young mother who is haunted by the violent death of one of her twins. As she and her partner set out to rebuild their lives in the Scandinavian countryside, they soon come to realize that some secrets are so evil, they need to be buried twice. Steven Cree (“A Discovery of Witches,” “Terminator: Dark Fate”) and Barbara Marten (“The Turning”) also star. Previously announced sales on the film, signed at script stage, include France (Mediawan), German-speaking territories (Leonine), Benelux (Dutch Filmworks), CIS (Nashe Kino), MENA (Falcon Films), Taiwan (Deepjoy Picture Corporation), Indonesia (PT Prima) and Vietnam, Malaysia, Cambodia and Brunei (Suraya Filem). AMC’s Shudder (North America, U.K., Ireland, Australia and New Zealand) and Nordisk Film (Scandinavia) are also on board to release the film. First footage was shown to buyers at the Cannes Marché du Film. “The Twin” has been selected to take part in Frontières Platform, the genre-focused event run by Fantasia and Cannes’ Marché du Film. It is written by Taneli Mustonen and Aleksi Hyvärinen, and is produced by Don Films’ Aleksi Hyvärinen (“Arrhythmia,” “Lake Bodom”). Executive producers are Joris van Wijk, Shudder’s Emily Gotto, Film Constellation’s Fabien Westerhoff, and Post Control Helsinki’s Toni Valla. The film is backed by Shudder, Playtime, Nordisk Film, the Finnish Film Foundation, Estonian Film Institute and the Finnish television channel MTV3. variety.com

Pahah Panahi — who is the son of Iranian master Jafar Panahi — has not had much trouble coming to the Cannes Film Festival from Iran, unlike his father, who is banned from travel. “Traveling was not problematic; I travelled to Paris to quarantine for seven days before going on to Cannes,” he said. To speed things up, Pahah’s visa was organized with the help of an invitation from the Director’s Fortnight, where his first feature, “Hit the Road,” about a chaotic Iranian family on a road trip across a rugged landscape, is world-premiering on Saturday. Of course his father, whose film “Three Faces” won the best screenplay award at Cannes in 2018, is not just banned from leaving his home country. He’s also banned from filmmaking, after being tried and found guilty of “propaganda against the state,” though he surreptitiously makes films anyway. And Pahah has served as an assistant on most of his father’s recent works. Jafar also indirectly had a hand in his son’s debut. “I wrote the script on my own and had my father read it once I felt it worked,” he said. And, though “Hit the Road is “the opposite of Jafar’s cinema, he immediately got on board and gave me great advice,” Pahah added. In fact, his father’s help was crucial, “especially in the post-production phase.” “Hit the Road,” which was filmed in remote areas of Iran with a regular permit, portrays Iranian society that is not at ease with the country’s hard-line government, including scenes depicting the fear of being under police surveillance, stemming from the director’s real life, but also from that of the country at large. “The more I think about it, the more I realize that we have always lived with this feeling that we are being watched. That someone is listening in on us,” he said. “This is how it’s been for my family, but I’m sure it’s the same for the families of a lot of artists and intellectuals, on whom the regime exerts constant pressure.” “Hit the Road” also features songs that are unlikely to sit well with Iranian censors. “These songs are hits that we all grew up with in Iran that date from before the revolution,” said the helmer. “The regime does not tolerate them and frowns upon their use: They were sung by artists who had to flee abroad after the revolution.” That’s among reasons why, though he hasn’t had problems shooting the film in his country and taking it to Cannes, Pahah doesn’t think there is a chance he will be able to release “Hit the Road” in Iran. In that respect his predicament is just like his father. variety.com

Teaching the audience to see again.” That’s how co-director Michael Dweck has described his award-winning documentary The Truffle Hunters – and it’s a description that fits. Set amid the hilly woodlands of the Piedmont region of Italy, this entrancingly low-key affair (whose numerous executive producers include Call Me By Your Name director Luca Guadagnino) leads us into a secretive world far removed from the globalised bustle of modern technology. Here, we meet a disparate group of men whose closest relationships seem to be with their dogs (“If my dog dies I would die too,” says one) as they search for the rare and tasty white truffles that embody their disappearing way of life. The tone is set by a lengthy opening long-shot – a slow zoom into rich green and yellow foliage amid which the figure of a man is at first indistinguishable from the landscape. Like the face-through-the-fronds introduction of King-Lu in Kelly Reichardt’s First Cow, this lone figure seems somehow secondary to his surroundings, his canine companions making more of a visual impact than their human “master”. It soon becomes clear that, in this world, men and dogs are very much on an even footing. Octogenarian Aurelio may appear to live alone, but the bond he shares with his beloved Birba is as deep as any family ties could ever be (“Why don’t I get married? Because I have Birba!”). This odd couple live, work and eat together, with Aurelio tenderly discussing matters of life and death with his companion, diligently making plans for his own inevitable departure. Meanwhile, Sergio bathes and blow-dries his dogs between bouts of cathartic rock drumming, while Carlo’s disapproving wife thinks he’s too old to be scouring the woods by night with his blessed companion Titina (“But I like to listen to the owl … and if I fall it’s my pain”). While much of the fixed-camera footage has a distinctly painterly edge (Caravaggio and Raphael were apparently key influences), co-directors Gregory Kershaw and Dweck also mount tiny cameras on the heads of the dogs to capture the thrill of the hunt – a frenetic pursuit that proves unexpectedly gripping, particularly considering that the quarry is not darting nimbly between trees but simply hiding beneath the ground, impassive and invisible. Having previously collaborated on the elegiac 2018 stock-car doc The Last Race, Dweck and Kershaw spent years earning the trust of their subjects, documenting their lives with empathy, honesty and a generous helping of melancholy humour. Through their eyes we discover an ecosystem that is ruggedly permanent yet fragile and transitory, in danger of extinction. Deteriorating soil, poisonous competition and the depletion of woodlands are all part of the problem, with one retiring hunter declaring that nowadays “people are greedy… they know nothing about the forest but they want to plunder it”. With adroit understatement, the directors juxtapose verdant visions of nature with more sinister images of the truffle trade. From that sublime outdoor opening we cut to a starker, more sterile shot of a dealer negotiating presidential sales of prized tubers, assuring his client of the pricey value of his wares while noting ironically that “I can’t send you the aroma by phone.” No wonder Aurelio seems determined to take his own truffle-hunting secrets to his grave, sharing them only with Birba and insisting that if he had a child, he wouldn’t even tell them. Every bit as immersive as Victor Kossakovsky’s recent documentary Gunda, about a sow and her piglets, The Truffle Hunters serves as a timely reminder that the world does not turn to the industrialised rhythms of mankind alone, and that we lose track of its natural heartbeat at our peril. Joyous on-camera song (both a cappella and with accordion) is deployed to sublime effect, with sound designer Stephen Urata weaving barks, bells, creaks and wind-whistles together in symphonic fashion. theguardian.com

Display Name: CouldnoT Nume anterioare pe forum: NirvanaTN, SniikZ Numărul de post-uri: 4589 De ce dorești funcția de designer (minim 10 cuvinte): Graphic design is a good skill to learn and help me find a job after, I believe this is a good place to practice it, and why not improve my abilities and work more on them. Crezi că ai timpul necesar pentru a te ocupa de cereriile membriilor în fiecare zi?: I can take care of this section like for 2-3 hours daily in summer and probably less in school time. Ce te deosebește de un alt membru care dorește funcția aceasta?: I believe that what differs is that I improve fast and I have the passion and time to work on this skill. Experiența ta în Photoshop: It's a long story to be honest, I started with paint and photofilter and other unknown tools, I guess I was like 9 that means ten years ago. And I found photoshop after learned how to basic stuff and found myself improving by time, and here we are now. I don't claim I'm an artist, I like simplicity because it's the best way according to me to attract any attention, we can refer to apple logo as an example. Link către portofoliul tău (obligatoriu): https://forum.b-zone.ro/topic/438333-portofoliu-couldnot/ Link către activitatea ta: And many more and you can find in requests. Portofoliu arta digitala: I have some good work on my Instagram but I don't think I want to post it here, I can show some in a PM if asked.