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Crack Intros


Thursday, January 11th, 2007

A brief history of the Crack Intro via Wikipedia..

A crack intro, also known as a cracktro, loader, or just intro, is a small introduction sequence added to cracked software, designed to inform the user which “cracking crew” or individual cracker was responsible for removing the software’s copy prevention and distributing the crack.

These first appeared on Apple II and later Commodore 64 games that were distributed around the world via Bulletin Board Systems (BBSes) and floppy disk copying. Initially the intros consisted of simple messages, but they grew progressively more complex as they became a medium to demonstrate the purported superiority of a cracking group.

Crack intros became more sophisticated on more advanced systems such as the Apple Macintosh II, Commodore Amiga, and Atari ST, as well as some IBM PC clone systems with sound cards.
Eaglesoft’s logo used in their intros became familiar for most Commodore 64 users
Eaglesoft’s logo used in their intros became familiar for most Commodore 64 users

As a result, crack intros began to feature big colourful effects, music, and scrollers. Cracking groups would use the intros not just to gain credit for cracking, but to advertise their BBSes, greet friends, and to give themselves recognition. Messages were frequently of a vulgar nature, and on some occasions made threats of violence against software companies or the members of some rival crack group. Occasionally intros also told players to support the designers of high quality games by buying also a legal copy of software in question. Often trainers appeared with intros. A trainer is a cracker’s addition to a game program, which allows the player to make the game easier for example by selecting unlimited lives or unlimited time.

Crack intro music (when present) usually falls into the chiptune genre. In the early days advanced sound chips were unavailable and high quality instrument samples could not be efficiently stored or used. Today chiptune music is used in homage to the original intros. Occasionally, the color palette used in modern intros will also reflect the old video hardware limitations.

Crack intro programming eventually became an art form in its own right, and people started coding intros without attaching them to a crack just to show off how well they could program. This evolved into the demoscene. The separation of demoscene from The Scene is reflected by the fact that many people dealing with software piracy no longer tolerate intros in the releases.

Crack intros that use chiptunes live on today in the form of background music for small programs intended to remove the software protection on commercial and shareware software that has limited or dumbed-down capabilities. Sometimes this is simply in the form of a program that generates a software packages’ serial number.

Some great soul has converted these historic intros into flash for your viewing pleasure at flashintro.com

check it!

Super Duper Mash Mania. Enjoy!


Wednesday, January 10th, 2007

Video Mash Up Mega Mix, featuring:
Napoleon Dynamite
DQwon’s dance grooves
Eminem Without Me
Sweet Dreams The Eurythmics
Call on Me Eric Prydz
50 Cent In Da Club
Benny Bennasi Satisfaction
I’m Rick James Bitch Dave Chappelle

Unlock your fucking Cell Phone!


Tuesday, January 9th, 2007

Bitches trying to restrict where you can use your cell phone?? well, you paid for it, so you should have the right to open it up and make it work wherever you are right? I think so. Here’s a quick step by step on how to go about unlocking your phone. Well, before you start looking on ebay for some unlocked phones from the Czech Republic or Poland you might be able to just hack away at all the proprietary bullshit with a little help from your good friend the internet:)

Unlocking via computer

One of the most popular ways phones are unlocked is using the RS-232 or LPT port of a computer using software usually written specifically for the model of phone being unlocked. In some cases, special “unlocking clips” or “unlocking boxes” are used which re-program the software that controls the phone, removing the SIM lock. However, such clips are usually very expensive.

Regulations on unlocking

Unlocking a phone without the permission or unlocking code from the provider is usually in breach of the agreement with the provider, though most countries do not make specific laws prohibiting the removal of SIM locks. (In many markets, it is also unlikely that a customer who has purchased a pay as you go phone over the counter in a store is legally bound by any such contract anyway). For example, in Poland, the law states that providers cannot word their customer contracts so that they forbid the removal of SIM locks, and the process is entirely legal providing that the IMEI number of the phone is not changed during the unlocking process.

In the United Kingdom under the Mobile Telephones (Re-programming) Act 2002, changing the IMEI of the phone is illegal. However, the IMEI is not changed during any unlocking process.

In the Netherlands unlocking is legal provided that the process does not overwrite the handset’s flash memory with a (modified) copy of copyrighted firmware, since this would be a breach of copyright retained by the manufacturer. However, unlocking a handset will void its warranty.

In the United States under new copyright rules, cellular phone unlocking is now legal. The new rules took effect November 27, 2006 and will expire in three years.

Need some Unlock codes??? well, then you go here dawg! link

Exclusive interview with Gus and Tex of Red vs. Blue


Monday, January 8th, 2007

Shomari chats with Gustavo “Gus” Sorola & Kathleen “Tex” Zuelch at the 2005 Machinima Film Festival in NYC. Halo fans know them as the voices of 2 popular characters. Learn about the creators of the hit series Red Vs. Blue.

3-D imaging with the Vectrex system


Sunday, January 7th, 2007

The Future was Now!!! The GCE Vectrex Arcade System was introduced in June 1982 at the Summer CES show and became available for purchase at $199 later that year. This system was noteworthy for using vector graphics to display images on the screen. Vector graphics employ X,Y positioning to draw wire frame images and are in contrast to the raster graphics used on practically every other consumer display in which continuous scan lines draw the image. The advantage of vector graphics is that they were fast in the 1982 time frame, but this display technology was not well suited for drawing text or solid objects.

The Vectrex was a black & white system, but achieved color by using overlays on the screen in much the same way as the Magnavox Odyssey and some of the early full-size video arcade games. In 1984 GCE introduced the Light Pen and 3-D Imager pictured in the above advertisement, and used the name Vectrex Graphic Computer System with plans to provide a keyboard with BASIC and a wafer tape storage device. The head-mounted 3-D imager was unique in that it achieved both 3D and color images by putting a spinning wheel in front of the viewer’s eyes that contained red, green, blue and opaque black sections. The 3D color games were synchronized with this wheel which is similar to the spinning wheels used on some early B&W TV’s to achieve color.

The Vectrex did not survive the great videogame crash of 1984, so the computer keyboard and drive were never released. But in a way the basic design of the machine did survive in the form of the Macintosh 128K which made the display a raster after rotating it 90 degrees and used the same internal component board layout as the Vectrex.

Mario’s evolution over the years.


Saturday, January 6th, 2007

Mario is the most famous video game character ever created. Check this article to watch how he’s changed over the years. I’ll always be a slave to the (somewhat) OG variation in the original Super Mario Brothers. But take your pick.

Mario Evolution

Make LED Throwies!


Friday, January 5th, 2007

Feeling that your local neighborhood could benefit from a few LEDs illuminating the nighttime banality? Well here’s step by step instructions on how to make some led throwies that are hotter than Britney Spears with no panties. Booyakasha!!1!one

Step by Step

Top Ten Best Movie Robots Of All Time


Thursday, January 4th, 2007

He’s 50 tons of space titanium in the shape of Godzilla! Need I say more? This monstrosity is the most weapon-equipped robot of all time with torpedo fingers, eye beams, a crazy 360-degree rotating head that creates a force field, and multiple guns in his toes, knees, shoulders and chest. And yet, Godzilla is somehow able to beat him by inexplicitly becoming a magnet (?!) Geek factor: The best part of the film comes when a Japanese scientist finds an odd metal found in a cave and says, “This material can only be space titanium.” Of course! Best standard feature: Did I mention the 50 tons of space titanium?

In the future, two men visit an amusement park that allows them to actually live out their Wild West fantasy—and the period parts are played by robots. This means that vacationers can fight them, shoot them, and even kill them as part of “the experience.” But then, the robots go mad (for no discernable reason) and begin killing the guests (hey, I want a rebate!). The most frightening of the rampaging robots is The Gunslinger, played coldly and forcibly by Yul Brynner, in a performance that set the groundwork for Arnold’s terminator. Geek factor: It’s Yul Brynner! Even better, it’s Brynner spoofing his own character from The Magnificent Seven. Best standard feature: The slow saunter … that haunts you … with every step.

Originating on TV’s The Next Generation, android Data mixed Spock-like logic with childlike innocence and intense curiosity about humanity. A Lieutenant Commander aboard Picard’s Enterprise, Data made his movie mark with a dramatic character arc about what it means to be human in the last three Star Trek films. In the films, Data installs an emotions chip that allows him to feel (Generations), resists the temptation to become more human in exchange for selling out his crew (First Contact), and makes the ultimate sacrifice by giving his life for others (Nemesis). Geek factor: You gotta love any robot who has a pet cat. Best standard feature: Umm, maybe his jaundiced skin?

Killer robots are nothing new. Robots who like The Three Stooges? Now that’s special. Robot Number Five is one of several advanced Nova Robotics military robots created to be the perfect soldiers. But when lightning hits him, he begins to ask questions, reject commands, and think abstractly. Number Five is alive! Calling himself Johnny-5, the robot learns what it really means to be human: to love and to be loved, to learn the wonder of life (like dancing) and the horror of death. Amazing that a robot that looks completely machine-like could, by film’s end, feel so human. Geek factor: Why would Nova Robotics create a military weapon that looks so darn cute till it’s time to kill (when its big black eyebrows cock at an angle like an angry grandpa). Best standard feature: That rockin’ shoulder laser.

Seven feet tall and solid metal, Gort is the ultimate imposing robot thug. He arrives via UFO with galactic spaceman Klaatu, who has come to warn Earthlings to quell the violence that results from all their irrational fears. But before he can deliver the message, the Earthlings freak out and start shooting at him—which only proves his point. With that, Gort lays down the law and starts melting stuff with his eye laser. That said, it’s not surprising why the rest of the galaxy lives in peace: Gort and friends. Klaatu explains: “For our policemen, we created a race of robots to patrol the planets in spaceships. At the first sign of violence, they react automatically against the aggressor.” Gort is one bad dude. Menacing, featureless, and silent, he is the ultimate frightening, unstoppable robot. Geek factor: “Klaatu barada nikto.” Best standard feature: The eye beam … but really, the dude is so tough he doesn’t even need it.

The perfect manifestation of the 1950s dream of what robots could be, Robby is a cook, chauffeur, translator, fork lift, security guard—and loyal friend. He’s a polite, fully functional home machine—with a bulky form built completely out of ’50s technology and electronics. Because of that, he feels like he could be a reality—an illusion helped by his visible circuitry and mechanical features that make it seem like he’s literally working in front of you. Plus he tells jokes. Robby ultimately shows us that technology can equally aid good—or evil. Geek factor: When asked to commit violence, Roby’s circuits overheat, which is depicted by his head just turning pink. Best standard feature: He can replicate any product, such as the 60 gallons of bourbon he makes for one Earth solider.

Easily the greatest animated robot, The Iron Giant is a space visitor who befriends a young boy, Hogarth, in the 1950s. But even though Giant is extremely human (his stomach even growls when hungry), he turns into a deadly weapon when threatened—a trait the film handles almost like a sinful urge the robot fights to suppress. When Hogarth shows the robot comic books, they agree that Giant can be Superman and not Atomo, a killer machine. Says Hogarth, “It’s bad to kill. Guns kill. You don’t have to be a gun. You are what you choose.” In the end, Giant chooses to be Superman and sacrifices himself for others. This scene will make you tear up, but the final scene—which furthers the Giant’s comparison to Christ—will make you bawl. Geek factor: In one of the best voice-casting selections ever, Vin Diesel plays the Iron Giant. Best standard feature: The Giant’s kick-butt, full-out battle mode, complete with giant energy cannon, War of the Worlds-like serpent heads, and at least 5 more imaginative weapons.

The Arnold Schwarzenegger terminator (a T-800) is one of the most cold, calculating and unstoppable machines ever—at least until the creepily persistent liquid-metal T-1000 (Robert Patrick) shows up in T2. And so with the creation of a more terrifying terminator, what happens to Arnold’s T-800? He becomes the hero—and one whose ultimate sacrifice makes grown men weep (okay, maybe just me). On a thematic level, the terminators use violence to preach against violence and ultimately show that even a creation made to do evil can be redeemed, taught to love, and realize the value of human life. Geek factor: The T-800 (Cyberdyne systems model no. 101) is living tissue over a super sweet hyper-alloy combat chassis. (Yes, I need to leave the house.) Best standard feature: The ability to find really cool leather clothes again and again.

The first major movie robot, German director Fritz Lang’s Machine-Human was way before her time. While many film robots—from as recent as the ’80s—now look silly and dated, the grandma of all film cyborgs still seems futuristic. In fact, her look isn’t far from that of Star Wars’ C-3PO—who didn’t show up for 50 years! Her story is pure sci-fi geekiness: A mad scientist built her to stand in for his long-lost love and in an attempt for revenge, he uses a Frankenstein-like experiment to make the droid look like the local hero Maria. Lang’s Machine-Human represents the power of technology to seduce and corrupt. In fact, the hazards of technology are compared to the building of the Tower of Babel: Both being attempts to reach God that result in more distance from him because of sinful human desires. Geek factor: Actress Brigitte Helm’s portrayal of the fake Maria is geek bliss because it’s just jerky movements and big eyes. Best standard feature: The ability to look like anyone “in less than 24 hours!”

For decades, most movie robots were just that: robotic—cold, speech-stilted, and subservient. But George Lucas (with much debt to the past) gave two odd, loyal, bickering droids actual personalities and created not only the world’s most recognizable robots, but one of the most beloved duos in film. In fact, they are integral characters who not only add to, but push along, the plot; we see the Star Wars universe through their eyes. And more than any metal character before them, you care about them. I still remember my mental torture in The Empire Strikes Back (okay, I was 3) when C-3PO was blasted and R2-D2 was swallowed! That emotional connection is a surprising feat, considering one character emoted solely through shaking and beeping. But still, these inseparable droids are two of the most three-dimensional and defined characters in the Star Wars canon. Geek factor: Okay, Episode III had better explain why C-3PO doesn’t realize he was built by Darth Vader! Best standard features: R2’s little saw and C-3PO’s ability to calculate the odds of anyone’s demise.

somewhat ironically via christianity today

Ben Daglish and The Last Ninja


Wednesday, January 3rd, 2007

Ben Daglish was the man behind all those great tunes you heard on your C64 and Amiga systems. Also a vert important composer to chip tune musicians.

Ben Daglish is a composer and musician from the UK, known for creating many soundtracks during the 1980s for home computer games. These include Commodore 64 hits such as The Last Ninja, Trap, and Deflektor. Daglish teamed up with fellow C64 musician,a prolific programmer, Tony Crowther, forming W.E.M.U.S.I.C., which stood for “We Make Use of Sound In Computers”.

He still composes, and plays and performs in a number of UK bands incl. Loscoe State Opera, and regularly performs with violinist madfiddler and the band SID80s at retro computer game events such as Back In Time Live and Retrovision.

Selected game music work for the Commodore 64 by Ben Daglish

* The Last Ninja (with Anthony Lee)
* Ark Pandora
* Alternative World Games
* Auf Wiedersehen Monty (with Rob Hubbard)
* Bulldog
* Biggles
* Cobra (arrangement of the movie theme)
* Deathwish III (1987)
* Gauntlet and Gauntlet II
* Hades Nebula
* Krakout
* Mask III - Venom Strikes Back
* Terramex
* Trap

For the Amiga

* Deflektor (1988)
* Pac-Mania (1988, re-arrangement of arcade game tunes)
* Switchblade (1989)

Browse anonymously online


Tuesday, January 2nd, 2007


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