Telnet

TELNET:

·         TELNET (Telecommunication Network) is a network protocol used on the Internet or local area network (LAN) connections.

·         It was developed in 1969 beginning with RFC 15 and standardized as IETF STD 8, one of the first Internet standards.

·         Telnet allow a user on a remote client machine, called the Telnet client, to access the resources of another machine, the Telnet server, in order to access a command-line interface.

·         This protocol used to establish a connection to TCP port 23

·         Telnet uses an 8-bit, byte-oriented data connection over TCP,

·         A drawback is that there are no encryption techniques available within the Telnet protocol, so everything must be sent in clear text, including passwords.

Telnet Configuration: -

                  

Router(config)#enable password CCIE

Router(config)#line vty 0 4

Router(config-line) #password Gamer

Router(config-line) #transport input telnet

Router(config-line) #rotary 3

Router(config-line) #privilege level 1

Router(config-line) #session-timeout 1

Router(config-line) #login

PC# telnet 10.1.1.2

Trying 10.1.1.2 ... Open

1.      Before Enabling telnet, we need to set Enable Password.

2.      "Line VTY 0 4" Command identify the number of virtual terminal line.

 (0-4 means 5 Virtual terminal Lines are here)

3.      Using Password Command we enable the telnet password.

4.      Transport input Command allow to enable telnet for this virtual terminal.

5.      Rotary Command use to manually define the telnet port number.

(rotary 1- port no. 3001, rotary 2- port no. 3002, rotary 3- port no. 3003)

6.      Privilege level Command define in which Privilege level user will be access.

7.      Session-timeout Command define the session closing time; we can set time in minute.

8.      Login Command force to ask password. 

For more details, visit my You-Tube Channel:  CCIE Gamer

McCarthyism In Hollywood (Part Three)

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Part one | Part two | Part four | Part five

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Biskind argues that in the McCarthy period, 'every movie that was produced, no matter how trivial or apparently escapist, was made in the shadow of the anti-communist witch hunt' (1983: 4). This applied even to films such as the seemingly non related On the Waterfront and High Noon; with an understanding of the historical events that surrounded the production of these two films it becomes clear that they both reflected the process of being a friendly witness (Director Elia Kazan) or an unfriendly witness (Screenwriter Carl Foreman) to HUAC. While Kazan made On the Waterfront to act as a justification for his testimony to the committee, Foreman made High Noon for the opposite reasons: to give a filmic portrayal of the alienation that came with opposing the committee.

During the depression years of the 1930s the film director Elia Kazan, like many directors at the time, joined the communist party for a year and a half, since at a time when poverty ruled the country 'it was about belonging to a fraternity of like- minded individuals who perceived flaws in the American capitalist system' (Gladchuck, 2007: 113). In January of 1952 he confessed these actions to HUAC but refused to give up names of the individuals he was in the party with. However, in an interview published in 1999 Kazan explained that after this he became concerned about the political atmosphere surrounding communism; he claimed that his future actions had to be judged by the fact that in April 1952, "The Korean war was still going on and Russia was a monolithic power...I thought that if I don't talk then nobody will know about it"(Quoted in Young, 1999: 118).

Consequently, he took the decision in April of the same year to voluntarily return to HUAC and inform the committee of the names of those whom he knew when a member of the party. In contrast to the response to the Hollywood Ten, which was to ensure they would find it almost impossible to find employment within America for the next decade, HUAC responded to Kazan with the following statement:

"We appreciate your cooperation with our committee. It is only through the assistance of people such as you that we have been able to make the progress that has been made in bringing the attention of the American people to the machinations of this Communist conspiracy for world domination" - Frances Walter, 1953

Kazan probably was in a better position than perhaps anyone to criticise the Communist regime; having spent time in the party himself he had first-hand experience of it which helped to vindicate his decision for wanting to take a stand against it. However, Kazan's actions in this instance placed an ineradicable black mark against him, he evidently felt the repercussions immediately following this testimony, for two days later he published an article in the New York times entitled 'Elia Kazan: A Statement' in which he explained the reasons for testifying. The article itself stated how his own experience in the party left him with 'an abiding hatred of the Communist philosophy,'the only way to combat such a 'dangerous and alien conspiracy' he stated was to present authorities with 'hard and exact facts.' 

His regard for his reputation, his genuine disdain for communism and desire for others to speak out to conquer it led him to write such an article. It can be fair to argue that his decision to reverse his political sentiments did not stem out of 'cowardice', which is what many believed characterised friendly witnesses. His political thinking at the time was already firmly established when he made the film Viva Zapata! (Kazan, 1952), a film about a Mexican rebellion which had already been completed before Kazan's testimony. Promoted by Kazan himself as yet another (metaphorical) anti-communist picture that used the concept of a Mexican revolutionary to represent the 'apotheosis of the communist party commissar - a man who could use and betray the peoples demands to achieve power.' (Quart 2002, 45). Eldridge, similar to Kazan, states that the Korean war prompted a reconsideration of what was at stake and thus a film such as this was 'not just a case of self-censorship but instead reflected a genuine change in attitudes' (2006: 99). Kazan's turn from unfriendly to friendly informer helps to legitimise the threat of communism, or at the very least demonstrate how people feared it a great deal.

Despite doing his best to justify his decision, Kazan's testimony cast a shadow over his career that was to continue until his death; as Freedman notes, 'the mere mention of the name Elia Kazan provokes little short of hatred in the dwindling blacklist community' (2009: 221). While Kazan evidentially gained the admiration of HUAC, he faced opposition from not just the left but also those on the right who worked in Hollywood, because of his previous affiliations: "As far as they were concerned I had been a communist and I was therefore tainted". While he was unable to adequately justify his actions in his newspaper article, he would attempt to reconcile this with his film On the Waterfront.

Terry Malloy (Marlon Brando) plays a dockworker employed by mob-connected corrupt union bosses led by Johnny Friendly (Lee J Cobb) who unwittingly leads another worker, Joey Doyle (Ben Wagner) into the fatal ambush of Friendly. Doyle was about to testify to the waterfront Crime Commission but was killed to prevent this. Malloy is soon pressured into informing against the bosses himself by priest Berry (Karl Malden), who also convinces dockworker Tim Dugan (Pat Henning) to testify, but Friendly has him killed before he can do so in an 'accidental' staged crushing. Although initially torn between the idea of losing his steady job, being labeled as a 'snitch' and on the other hand wanting to punish corruption, Malloy eventually testifies and after receiving a severe beating in a fistfight between Friendly and his thugs; returns to the docks with the support of his fellow workers.

Biskind states that On the Waterfront 'bears the marks of its historical context and cannot be fully understood outside the passionate political controversies of which it was a part of' (1974: 26). When looking at the journey that Terry Malloy undergoes, it is overwhelmingly evident that the film speaks out eloquently in favour of testifying, Malloy is essentially intended to represent Kazan and the film represents the bravery it took to undertake what he did. Hey argues that 'the stages of Kazan's testimony became the major steps of Terry Malloy's conversion' (1983: 169). Malloy's transformation from a man willing to help Friendly into deploring what he stands for to the extent that he is willing to testify against him shadows Kazan's shift from a supporter to an opponent of communism.

After the staged murder of Dugan, father Berry berates the workers for not opening their mouths and standing up to Friendly, standing over Dugan's body he speaks to the workers and says "anyone who keeps silent about something he knows is happening shares the guilt of it (Dugan's murder)". While the father is stating that silence is just empowering the union bosses, Kazan claimed in his article that "Secrecy only serves the communists". As argued with Invasion of the Body Snatchers, silence was a concept that was characteristic of much of society in the McCarthy period, from those who were scared of incriminating themselves or others. Schrecker notes that this concern contributed to the 1950s being a period 'not of fear but of silence' (1998: xi). This not only is Kazan justifying his actions, he is sending a message to Americans about the dangers of not speaking out; by keeping quiet they are merely helping the enemy, to say nothing is to be as dangerous as the communists, or dock bosses themselves.

Upon his return to work, surrounded by all of those employed in the docks, Malloy responds to the cries of Friendly shouting "you ratted on us Tony", by shouting to everyone: "I'm glad of what I done to you, you hear that? I'm glad of what I done." If there is one moment that encapsulates Elia Kazan's opinions, it is the moment in which he declares his pride in testifying to the commission, Kazan himself, like Malloy did not regret what he did. In his autobiography he stated that 'the truth is that within a year I stopped feeling embarrassed about what I had done,' (1988: 465) the film's message was crystal clear: 'it's not only okay to inform but those who do are the real heroes' (Belton, 1994: 251).

If On the Waterfront exists to document the alienating process of being a friendly witness; High Noon exists for the opposite reasons, to critique those in Hollywood that did not stand up to the committee. Krutnik argues that like science fiction, the western genre seemed 'particularly suited to efforts to make contemporary political allusions' (2007: 7). In 1951, Carl Foreman was called to inform to the committee after a screenwriter, Martin Berkeley, gave several names, including that of Foreman. Foreman invoked the first amendment and refused to comment, he pointed out that: "My Americanism is reflected in my work", referring to the picture The Men (Zinnemann, 1950) which he wrote about war veterans and culminated in him becoming an honorary member of the Paralysed War Veterans of America. However, in opposition to the praise that Kazan received, HUAC responded to Foreman with the following statement: "In deference to the paraplegic men so honoured by you, I am afraid they are disappointed by your testimony today". Foreman was labeled an unfriendly witness, was promptly given his summons and fled to England before the premier of High Noon. These events occurred during the filming of the picture, about a sheriff Will Kane (Gary Cooper) who asks the townspeople whom he has protected for years to help him fend off several criminals who are returning to town with the intention to murder him. However, no one is prepared to stand by the sheriff and he is forced to face the outlaws alone. Murphy states that the 'fear, anger, desperation and grim determination of Foreman's experience is embodied in Will Kane' (1999: 254), High Noon therefore acts as a 'western film about Hollywood' (Girgus, 1998: 139).

The picture demonstrated the alienating experience that characterised the process of defying the committee. Once it is established that the threatening criminals represent HUAC, the townspeople who refuse to fight the outlaws can be equated to Hollywood's friendly witnesses, who chose not to join a conflict, thus saving themselves. Drummond argues that 'a strong projection of individual moral integrity appears to be favoured' (1997:82) Within the film, Kane is a loner who believes that to die fighting the outlaws is more admirable than fleeing from them and surviving with his life. In the case of Foreman and indeed many who opposed HUAC, this can be read as a metaphor, that facing the blacklist or losing a job is better that turning on colleagues and naming names. The townspeople are presented as backstabbers with no loyalty. Monaco agrees that the main theme of the film is that it presents 'how it feels to be deserted by friends and left alone to fight enemies' (2010: 130) a process that characterised, for example the relationship between Elia Kazan and playwright and unfriendly witness Arthur Miller both of whom fell out with each other after Kazan named names.

Buhl says that with these two pictures, 'the filmmakers were essentially creating a narrative alibi for their own roles as informers' (2003: 166), this is an incredibly valid statement; HUAC had influenced these two individuals, who went through two completely different experiences and created pictures that shadowed their experiences. It also justifies the view that the McCarthy period resulted in the creation of films that would not have existed outside the historical context of which they were a part.

References

Belton, John, American Cinema/American Culture (New York, 1994)

Biskind, Peter, 'The Politics of Power in On the Waterfront', Film Quarterly, 29 (1974), pp. 25-38.

Biskind, Peter, Seeing is Believing: How Hollywood Taught Us to Stop Worrying and Love the Fifties, (New york, 1983)

Casty, Alan, Communism in Hollywood: The Moral Paradoxes of Testimony, Silence, and Betrayal (Plymouth, 2007)

Drummond, Phillip, High Noon: BFI Film Classics (London, 1997)

Eldridge, David, Hollywood's History Films (London, 2006)

Freedland, Michael, Witch Hunt in Hollywood: McCarthyism s War on Tinseltown (London, 2009)

Gladchuck, John, Hollywood and Anticommunism: HUAC and the Evolution of the Red Menace, 1935-1950 (New York, 2009)

Girgus, Sam, Hollywood Renaissance: The Cinema of Democracy in the Era of Ford, Capra and Kazan (New York, 1998)

Hey, Kenneth, 'Ambivalence as a Theme in On the Waterfront: An Interdisciplinary Approach to Film study in Peter Rollins' (ed) Hollywood as Historian: American Film in a Cultural Context (Lexington, 1983), pp. 159-190

Humphries, Reynolds, Hollywoods Blacklists: A Political and Cultural History (Edinburgh, 2010)

Kazan, Elia, Elia Kazan: A Life (Cambridge, 1988)

Kazan, Elia, A Statement, New York Times, 12 April 1952

Krutnik, Frank., Neale, Steve., Neve., Brian and Stanfield, Peter (eds), Un American Hollywood: Politics and Film in the Blacklist Era (Jersey, 2007).

Maland, Charles, 'On the Waterfront: Film and the Dilemmas of American Liberalism in the McCarthy Era', Studies in Scandinavia, 14 (1982) pp. 107-127

Monaco, Paul, A History of American Movies: A Film-by-Film Look at the Art, Craft, and Business of Cinema (Plymouth, 2010)

Murphy, Brenda, Congressional Theatre: Dramatising McCarthyism on Stage, Film, and Television (New York, 1999)

Neve, Brian, Elia Kazan: The Cinema of an American Outsider (New York, 2009)

Schrecker, Ellen, Many are the Crimes (New York, 1998)

Young, Jeff, Kazan on Film: The Master Director Discusses His Films (New York, 2001)

Quart, Leonard and Auster, Albert, American Film and Society Since 1945 (Westport, 2002).

What Is A Canted Sight In PUBG?

Ever tried to use two attachment in one weapon at the same time. "It's impossible" you might be saying. But it's possible now because PUBG has launched a new feature recently called Canted Sight which is a secondary attachment. Read more to know more about it, how to use it, what precautions to take etc.

About it :
 
                 Canted(meaning tilted) Sight is basically a new attachment that allows a player to quickly switch between the 1x Canted Sight and the other scope or attachments used. It is a secondary attachment. For now, it is only available on PUBG PC but PUBG might bring it on other platforms too.

How to use it :
 
                       The Canted Sight is actually the tilting of the gun at an angle. This can be done by pressing ALT+Right Click or one can change this to his own comfortability in the Settings menu.

In which weapons can Canted Sight be used:

        Canted Sight can be used in the following weapons :

Precautions : 

1. Following points about primary sight should be remembered:

         I. If you equip Canted Sight only, your primary attachment will be the Canted  Sight.
           
        II. If you equip Canted Sight before any scope, your primary attachment will be the canted sight.
          
         III. If you Canted Sight after any scope, your primary attachment will be the  Canted Sight.

 2. Attaching the Canted Sight might change the weapon's position and view of angle for the user but there will no changes in the gunplay.

3. It can affect the peeking towards left or right. 

Obscure And Intelligent Science Fiction Films And Television

History and drama fetishize only slight variations of the one possible world that we already know. There are infinite worlds that could be. I want to explore those and enjoy doing so through science fiction.

Entertainment is its own justification, and I'm the first in line for many films that are "merely" entertaining. But as for any genre or setting, a sliver of science fiction goes far beyond popular art. The works that do this are worth simultaneous contemplation for their themes, admiration of their production techniques, and satisfaction of the emotional ride.



Science fiction can move us outside our biases through analogy. For example, the Star Trek family of television shows dissected contemporary politics and ethics through corresponding alien civilizations. The Alien films explored gender and power inside horror and action frameworks.

Science fiction can explore the implications of technological advances by following a thread forward to its logical conclusion. A single discovery in the right environment is the flapping of a butterfly's wings that changes everything—gunpowder, antibiotics, relativity, the transistor—science fiction posits the impact of the next flap, perhaps anti-gravity, efficient fusion, faster-than light travel, or artificial intelligence.

Science fiction can also explore complex interactions in real science or technology by disrupting them. It can make us feel fragile or invincible by revealing possibilities.

There are many lists of great science fiction films and many debates about them. Instead of contributing another comprehensive list, this article summarizes some gems that stand out for their respect for the material and audience, but are less well known than the big hits due to twists of fate and marketing.

Tastes vary. I focus on those works that I personally enjoyed and expect my students to as well, at the expense of some other critically-recognized films like Alphaville and Forbidden Planet that may be less exciting for a modern viewer. Of course, there are some films that others consider science fiction masterpieces that I don't see the objective value of, such as Stalker and Primer. That's the nature of art and criticism. Moreover, you've probably seen some obscure films that I've missed, so I welcome suggestions of what is missing from this list. My definition of "obscure" is of course local. These are films and television shows that weren't well-known in my circle of friends and colleagues, but you may travel in different circles.

Things to Come

(1936 film, director: William Cameron Menzies, writer: H. G. Wells)

Wells wrote "The Story of the Days to Come" in 1897, extended it in 1933 as "The Shape of Things to Come", and then wrote the definitive version Things to Come as a film. He accurately predicts the outbreak of WWII due to megalomaniac dictators, the rise and significance of air power and chemical weapons, and then shows a preview of a quasi-utopian future society arising from the ashes.

This is a sprawling epic that moves through several genres, settings, and themes. It would have felt fresh and of its time if produced in 1960—that it was actually made in 1936 is mind-blowing.

District 9

(2009, director: Niell Blomkamp, written by Niell Blomkamp and Terri Tatchell)

This movie careens between generic ideas like political-media satire and apartheid analogy in a structure that is dangerously close to that of the offensive white savior epics such as Dances with Wolves, Avatar, Last of the Mohicans, Tarzan, Mississippi Burning, The Last Samurai. It seems like a recipe for low-budget, derivative disaster.

However, District 9 is simultaneously funny, uncomfortable, and satisfying as an action film. The humor and criticism are sharp. The plot and characters often contradict expectations, and the mixture of well-executed special effects beside laughably bad ones is clearly intentional: Blomkamp knows when to mock his own production and when to awe the audience.

Blomkamp's films since have unfortunately failed to live up to this spectacular debut.

Ghost in the Shell

(1995, director: Mamoru Oshii, written by Kazunori Ito)

The original cut of Ghost in the Shell revolutionized computer animation by combining 2D and 3D techniques in a cool, cyber-noir setting with big ideas about identity, bodies, and minds...all working as an analogy for Japan grappling with its new technology-heavy identity on the international stage. Admittedly, it is only obscure outside of Japan.

The 2.0 version remasters the 3D shots and some special effects. Yet the original remains the best version of a film that set the tone and look for much of the early 2000's science fiction including The Matrix. It presents a heady mix of detective fiction, action scenes, and deeper themes of sex, gender, identity, and the body. If you're new to the art style, consider that Ghost in the Shell and Akira are often considered the two front-runners for the best anime ever produced and start with both of them.

Torchwood: Children of Earth

(2009 television series, directed by  Euros Lyn, written by Russell T Davies, John Fay, and James Moran, originally broadcast on BBC One)

Torchwood began as a campy, smutty spinoff of Doctor Who with a monster-of-the-week setup. It was X-files meets Barbarella and not something one publicly admitted watching.

In season 3, Torchwood transcended its fun-but-lightweight roots. Children of Earth comprised five 60-minute episodes telling a single story. In it, extra terrestrials give the British government assistance with an epidemic in exchange for 10% of the world's children at a future date; now they've come to collect. The show explores human potential and legacy, parenthood, mortality, notions of greater good, government overreach, and notably lets a bisexual lead character be simply a character, and an unapologetic one at that.

Torchwood: Miracle Day

(2011 television series, various directors and writers, head writer Russell T Davies, originally broadcast on BBC One and Starz)

Many great science fiction novels, such as those of Ursula K. LeGuin, make one small change from reality and then use how that changes the universe that to look back at ourselves with new eyes in diverse topics. Miracle Day is in this tradition. It asks, "What if no-one died anymore?" but until the last episode, wisely ignores addressing the MacGuffin of what caused this change.

Instead, it makes a hard science-fiction exploration of what we mean by "death" and all of the issues around population, politics, health care, and death. The biology and medicine facts are carefully researched, reminiscent of Michael Crichton's work. Even the computer science elements of hacking and tracing hold up. This realism sets the stage for an authentic exploration of state abuse of authority, dehumanization, public health, healthcare economics, ethics, medicine, death, grief, and triage. It also addresses major issues such as accountability and response to whistleblowers.

Except for the strangely terrible fifth episode, this "season" of the series is consistently good, although it is obvious that there are different directors and writers for each episode. The fifth episode makes a tone-deaf analogy to the Nazi holocaust and jerks the characters around in illogical and out-of-character ways. Fortunately, it is skippable; the plot points are re-covered later. A properly nuanced version of the same theme is presented in the ninth episode. There, we see the "good guys" struggling with ethics in the face of pragmatism and state-sanctioned murder.

Many of the characters are dynamic and change their ethos and actions over the course of the series. One of the most complex is Oswald Danes, who is played by Bill Pullman. Danes is a confessed pedophile, rapist, and murderer who is first presented as completely reprehensible. Throughout the series, we're constantly forced to face that he is intelligent and capable of compassion and ethical action, and asked whether he is ever deserving of compassion as well.

Edge of Tomorrow / Die Another Day

(2014, directed by Doug Liman, written by Christopher McQuarrie, Jez Butterworth, and John-Henry Butterworth)

You may be surprised to find a Tom Cruise vehicle labeled "obscure and intelligent." Yet, this movie is a clever Starship Troopers meets Groundhog Day mashup in setting and plot that also brings new ideas to the mix.

There is some great acting all around and really clever direction. The ending is weak, but the opening is brilliant. A completely botched marketing campaign, which included renaming the film half-way through its release, means that a surprising number of people are unaware of this film despite its brand-name star.

I suspect that marketers simply don't know how to handle Cruise in science fiction: Oblivion and Vanilla Sky were marketed as space opera and romantic drama respectively, but are also (relatively) intelligent science fiction.

New Rose Hotel

(1998, director: Abel Ferrara, based on a story by William Gibson)

Christopher Walken, Willem Dafoe, and a script by William Gibson: of course the movie is sexy, violent, and plays like a perpetual hallucination. Although the cinematography is very much of its time (the 1990's) and the script is inscrutable, the acting and atmosphere are sharp.

New Rose Hotel invokes both the good and the bad of 1990's film aesthetics: reverberating synthesizers on soundtrack; minute-long shots; mid-range, moving cameras; lots of black vs. red, green, or blue composition; and low-fidelity video intercuts. Imagine The Conversation meets To Live and Die in LA. You can decide which of those elements are worth keeping indefinitely in movies and which have become a joke.

Although she lacks the name recognition of the male leads, Asia Argento carries the film's most intense physical scenes (often, half naked but still empowered). She's cast as a sexual attractant for Dafoe's character, but the real sexual chemistry is between nominally-straight characters played by Walken and Dafoe. Their half-improvised conversations are more tensely erotic than the numerous heterosexual soft-core sex scenes.

One caveat on this recommendation is that you could either stop or start watching at the one-hour mark without missing anything. The entire film repeats in flashbacks after that point, with a few tiny new scenes interjected. I'd be satisfied with either treatment but find both together unnecessary.

Total Recall 2070

(1999 television series, various directors and writers for twenty-one 44-minute episodes, plus a pilot which doesn't have plot continuity.)

This is effectively an extension of the Blade Runner film, with little relation to the 1990 or 2012 Total Recall films or the Philip K. Dick stories behind all of these. That's for the best, because Total Recall 2070 sets a consistent tone from Blade Runner using themes and plots from Asimov's Robot novels (especially Caves of Steel)...and then runs with it at top speed for its one glorious season.

The series is brooding, dark, and philosophical. The leads are strong. The cinematography is dutiful to its noir inspirations, if not particularly inspired itself. The series completes its story arc with a satisfying ending. I wish there had been more seasons, but am grateful this was self-contained instead of left unfinished in the manner of Firefly. 

Galaxy Quest

(1999, director: Dean Parisot, writers: David Howard and Robert Gordon)

This parody is actually the best Star Trek movie--and I say that as a convention-attending fan of Star Trek. Galaxy Quest embraces and excels at the Roddenberry's utopianism and fantastic, relatively hard-science future. It also satirizes Roddenberry's bizarre and often sexist designs, the mixed quality of Star Trek writing, and the now-classic tales of how Star Trek has affected its actors. 

Since the series and movies never allowed themselves this self-reflection (in the way that, say, Doctor Who has), the parody excels: as enjoyable film criticism and as an enjoyable film in its own right. Guardians of the Galaxy nearly (and I think, accidentally) pulls off the same for Star Wars, but the writing isn't as sharp and it lacks the explicit jabs at its implicit source material. 

Terminator: The Sarah Connor Chronicles

(2008-2009 television series, various directors and writers for 31 episodes, including James Cameron credited on all episodes)

Like Alien and Aliens, Terminator and Terminator 2 were both great films in different genres that were followed by a series of hit-or-miss lesser films. The Sarah Connor Chronicles follows Terminator 2 in the chronology and canon, and wisely ignores all of the other films in the series. Given more space to work than a single film, this series explores the core themes of the films with considered depth.

Most robot and cyborg films are thematically about being human. The Sarah Connor Chronicles evaluates ethics, love, responsibility, and identity. It is my favorite entry in the series, sitting somewhere between T1 and T2 in terms of tone. Most episodes are 30 minutes of philosophy and character development...cumulating with ten minutes of Summer Glau throwing killer robots through walls so that Lena Heady can machine gun them down.

It was so good that it obviously had to be cancelled...regrettably, before Amazon and Netflix were picking up intense shows that didn't work well on broadcast TV.

Metropolis

(1927, director: Fritz Lang, writer: Thea von Harbou)

Long before the cold war, this film predicts increased disparity under capitalism, communist revolution by workers, and violent turn of artificial intelligence. Reflects on the ultimate outcome of the past century that opened with the Industrial Revolution and French Revolution and embraces the ideas of Karl Marx, which were then rising.

The film was cut severely by the publisher to bring down the running time and satisfy Weimar censors in 1927. The most complete version available today was released in 2010 and based on a recently discovered print.

Lang is one of the earliest directors with a strong visual language and this film influenced nearly every science fiction film that followed. Yet even without that, it stands on its own today as a relevant and effective film.

Brazil

(1985, directed by Terry Gilliam, written by Terry Gilliam, Charles McKeown, and Tom Stoppard)

I think this is the best science fiction film ever made, and it is sadly unknown to most science fiction fans. Gilliam (with his frequent collaborator McKeown) and Stoppard can't help but produce sharp, dark comedy. The strength of the movie is in its contrasts: absurdist humor vs. deadly series themes, bright colors vs. horrifying sequences, overacting vs. Price's subtlety.

Part of what makes the movie powerful is its resonance with reality. While the sets and performances are over the top, the oppressive and dehumanizing future it depicts is unquestionably our present. 

La Jetée

(1962, written and directed by Chris Marker)

You need to watch the movie. Any description sounds so pretentious that it is hard to believe that this works, but it does. Plus, La Jetée it is short, so if even you disagree with me, then you haven't lost much time.

This is a photo essay plus poem as a film, consisting almost entirely of individual black and white shots coupled with indecipherable dialog and a voiceover. It was hugely influential on the genre, to the extent that nearly any time travel plot references La Jetée (sometimes unknowingly). Twelve Monkeys, The Time Traveller's Wife, several Doctor Who story arcs, and Primer are examples of ideas first presented so powerfully by Marker.

It helps a lot that Marker's style is not affectation but due to budget limitations. It also helps that the voiceover prose poem is really good, as are the individual photographs.

Twelve Monkeys

(1995, directed by Terry Gilliam, written by David and Janet Peoples)

Gilliam's take on the sci-fi classic La Jetée. He aims to reinterpret the ideas rather than directly adapt it, although the nature of the reinterpretation is inspired. Marker's natural history museum becomes safari animals wandering through the streets of New York, and these visuals in turn clearly inspired later Crysis and Last of Us video games.

Marker, Gilliam, Brad Pitt, and Bruce Willis is a very odd group, and for me at least, it works. The movie is dark, although less so than Brazil, and has something of the sense of the writers, director, and actors all competing to see who can act more insane. Gilliam keeps the whole together and the time paradoxes and questions of sanity make this a thinking-person's sci-fi romp.

Now that there is a television series, this movie may be less obscure than it once was.

eXistenZ

(1999, written and directed by David Cronenberg)

eXistenZ and The Matrix are both films heavily featuring virtual reality that were released in 1999. The Matrix deserves its success and fame—not since Star Wars (1977) has a film elevated visual effects and integrated cultural and genre cues so masterfully (and frankly, the plot and characters of The Matrix hew pretty close to those of Star Wars). The Matrix invented the modern science fiction and action blockbuster. 

So, what happened to eXistenZ? Well, Cronenberg doesn't make blockbusters. He makes mind-busters. eXistenZ probes deeply into our relationship with entertainment technology. The obligatory game-within-a-game setup is present, but handled more deftly than Avalon and Inception later would, but the film is about bodies and/vs. minds, seduction by entertainment, acting and roles, and human relationships mediated by technology.

The film is weird, disgusting, and sexy. It pushes emotional buttons but also wears its artifice visibly so that we're prompted to engage the ideas and not believe in the film. The biology-based technology is a refreshing spin, and the reliance on mostly practical effects was a wise choice for keeping the film tactile.

Moon

(2009, dir: Duncan Jones, screenwriter: Nathan Parker)

Moon is a hard-as-rocks sci-fi thriller that can't be described much without spoilers; it is in the vein of Arthur C. Clark or Robert Heinlein, but with the Niven-Pournell dark edge from A Mote in God's Eye.

I like that the cinematography is intentionally three decades out of style. If you enjoyed The Martian and 2001, then put this at the top of your list.

Cloud Atlas

(2012, Lana Wachowski, Tom Tykwer, and Andy Wachowski, 171 minutes)

Cloud Atlas is the Wachowskis' masterwork. It is inspired by a similar, great novel by David Mitchell, but Tykwer and the Watchowski siblings reworked it completely for the film, writing and directing as a collective.

This is every movie. It takes some great actors and great visual effects, and then proceeds to follow an emotional and thematic thread instead of a narrative one through several times, genres, and characters. There's a screwball comedy, a sea going epic, a darkly comic science-fiction film, and action film, a touching drama...all mixed up with characters who are immortal souls instead of people. Some of the cinematography and effects are gorgeous and some are intentionally goofy to break the fourth wall. I'm not a fan of self-consciously "intelligent" narratives and dialogue; this film is intelligent as a film and feels confident to largely throw the narrative and dialogue overboard to unencumber the experience.

Cloud Atlas is a production masterpiece with great performances, set pieces, and post-production work. It combines the literally sublime and profane. This is a film people love or hate, and mostly hate according to reviews. However, I think that if you genuinely love movies and are willing to surrender to one by filmmakers who love them too, then you're in for a terrific experience.

Honorable Mentions

In closing, I'll also mention a few episodes of television series that are well-known but have some individual episodes that are obscure, exceptionally intelligent compared to the series, and stand alone for viewers who are not invested in the whole series.

In the X-Files, some episodes of note are those that are outside of the main arcs and mix humor with dark, violent themes: Clyde Bruckman's Final Repose (1995, dir: Darin Nutter, writer: Darin Morgan), Jose Chung's From Outer Space (1996, dir: Rob Bowman, writer: Darin Morgan), and Small Potatoes (1997, dir: Cliff Bole, writer: Vince Gilligan).

In the new Doctor Who, several episodes in which the Doctor is largely absent lend enough freedom to explore concepts or characters more deeply. These include Blink (2007, Hettie MacDonald, writer: Steven Moffat), The Girl Who Waited (2011, dir: Nick Hurran, writer: Tom MacRae), Vincent and the Doctor (2010, dir: Jonny Campbell, writer: Richard Curtis), and Flatline (2014, dir: Douglas Mackinnon, writer: Jamie Mathieson). The last is a bit strange; what makes that episode intelligent is not the plot but the fact that it is used to critically reflect on the Doctor Who formula.

Various Star Trek series, Babylon 5, Battlestar Galactica, Stargate, and other long sci-fi series of course have some outstandingly intellectual individual episodes, but those are less accessible to the non-fan because of character continuity.

Orphan Black is an odd show. The plot isn't smart (although it isn't especially stupid, either) and the writing is usually passable but not brilliant. Yet the acting and direction are phenomenal, as Tatiana Maslany convincingly plays five radically different clones as main characters and many supporting clones. She's often portraying one character pretending to be another, and the layering is somehow clear. I recommend at least the first few episodes of this underrated show. It's one of the best science fiction performances ever filmed and earned her the Primetime Emmy in 2016 along with many other awards and nominations.

Finally, while they were well-known at the time, Paul Verhoeven's science fiction films seem to have fallen off the cultural radar and are unknown to younger moviegoers. I think they were ahead of their time and are due for reevaluation (although hopefully not more "reboots" and remakes). These are extremely violent, cynical, and dystopian films that are easy to dismiss as salacious entertainment. However, that cynical dystopian edge is increasingly prophetic. Check out Starship Troopers, RoboCop, and the original 1990 Total Recall.

---

Morgan McGuire (@morgan3d) is a professor at Williams College, a researcher at NVIDIA, and a professional game developer. He is the author of the Graphics Codex, an essential reference for computer graphics now available in iOS and Web Editions.

Dead Or Alive 6 (Ver. 1.02) Save Game

Dead or Alive 6 PC/Steam Save Game

Dead or Alive 6 is a 3D fighting game, produced by Koei Tecmo Games. The game currently has 27 playable fighters. There will also be two SNK guest characters, including Mai Shiranui returning from Dead or Alive 5 Last Round. 

Dead or Alive 6 Save Game Info:

100% Story Completion
Unlock All Characters
Unlock All Costumes (Save Update)
Unlock All Hairstyles and Glasses (Save Update)
Unlock All Music (Save Update)
Unlock All DoA Encyclopedia and Trivia (Save Update)
100% DoA Quest Completion (Save Update)
Unlock All Titles (Ultra Save Update)
Complete the Legend Course of Arcade Mode (Ultra Save Update)
100% DoA Quest Ver. 1.02 Completion (Ultra Save Update)

Dead or Alive 6 Save Game Installation:

1. Back up your original save data, in case something wrong happen you can revert to your old data

2. Extract "Dead or Alive 6 Save Game.rar" using WinRar

3. Copy save folder to: "Documents\KoeiTecmo\DEADORALIVE6\"

Dead or Alive 6 Save Game Download Link:

[DOWNLOAD HERE ##download##]

password: mangacouncil

Dead or Alive 6 Save Update:

[DOWNLOAD HERE ##download##]

password: mangacouncil

Dead or Alive 6 Ultra Save Update:

[post_ads]

[DOWNLOAD HERE ##download##]

need update ver. 1.02 to be installed

Related Games:

[Dead or Alive 5 Last Round Save Game]

[Senran Kagura Peach Beach Splash Save Game]

[SNK Heroines Tag Team Frenzy Save Game]

[The King of Fighters XIV Save Game]

[Warriors All Stars Save Game]

See Also:

[Devil May Cry 5 Save Game]

[Fate/Extella Link Save Game]

[God Eater 3 Save Game]

[Jump Force Save Game]

[One Piece World Seeker Save Game]

So, Yeah, This Is Happening ...

I do everything I can on these pages to prevent just this kind of thing. I feel like I've failed you all. I'm so sorry.

Here's the whole story (after the jump), told in in PRSpeak, which is like 1337speak, only 38% more disingenuous:

USAOPOLY (under license by Hasbro, Inc.) announces a partnership with Blizzard Entertainment, Inc. to release fresh takes on two classic board games. MONOPOLY®: World of Warcraft® and RISK®: StarCraft® combine tried-and-true foundations with new designs and gameplay elements inspired by Blizzard's popular gaming universes. Those who dare to engage will discover a new chance to claim supremacy, both over their friends and over the battle-torn lands of Azeroth and the Koprulu Sector.

MONOPOLY®: World of Warcraft®
Descend into a world of myth, magic and legendary adventure to battle for control of World of Warcraft's iconic locations. Featuring custom graphics from Blizzard Entertainment's world-class artists and designers, the MONOPOLY game's land grab includes coveted real estate such as Twilight Highlands, Grizzly Hills and the Swamp of Sorrows. In the rush to rule over the faction capitals of Orgrimmar and Stormwind, players will feverishly buy, sell and trade in true MONOPOLY fashion, until one player controls the lands and vanquishes all comers.

This handsomely crafted MONOPOLY game formally debuts at the 109th annual Toy Fair, this February 12th in New York City. World of Warcraft players, however, will be treated to a sneak peek via the World of Warcraft Facebook page and have the opportunity to vote on the game's iconic tokens. Ten options, including Murky, Chen's Keg, Mechagnome, and a Spellbook, will be presented; the six most popular tokens will be represented in the game when it launches this May.

Other notable highlights of the Monopoly game include custom sculpted houses (Warcraft towns) and hotels (Warcraft cities) plus a red and blue die representing the Horde and Alliance factions. There has never been a better time to engage face-to-face in World of Warcraft's epic power struggle. The game retails for $39.95 and will be available in specialty stores across North America.

RISK®: StarCraft®
The forthcoming release of RISK®: StarCraft® should whet the appetites of StarCraft players who will once again find the StarCraft universe in jeopardy. Players will choose from the Terran, Protoss or Zerg factions and six unique heroes to ultimately bring order to the galaxy. The struggles portrayed in this real time strategy game series adapt perfectly to classic tabletop RISK gameplay, and the winner will be determined by astute deployment of military might and strategic field tactics.

RISK: StarCraft includes 3 play modes and sports over 290 custom playing pieces. More details about the game will be revealed as it moves toward release; it launches this summer and will be available in specialty stores throughout North America with a suggested retail price of $49.45.

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