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Strategy Game Collaboration

Name: =+=*=F=R=O=Z=E=N==V=O=I=D=*=+= !frozEn/KIg 2009-07-19 0:46

Experimental RTS/Space sim Collaborative Coding Project.
The goal is to design a game with structure/settings/balance of Starcraft and scale of Eve Online(i.e. huge space battles, space empires,etc).
Though this wouldn't stop anyone from contributing code/feedback/criticism, i'll be coordinating the project.
All code/ideas should be posted in this and subsequent threads which i'll start as needed.
step #1: We will collaboratively create a name for our project.
Each suggestion must explain why this name fits the project and why its better then any other generic name.

Name: =+=*=F=R=O=Z=E=N==V=O=I=D=*=+= !frozEn/KIg 2009-07-22 16:02

Clear distinction:
You can unpack UPX packed .exe files and run them.
You can't "unpack" any .exe from the VM bundle.


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http://xs135.xs.to/xs135/09042/av922.jpg
Compiler: A program which produces executables.
Runtime:A program which loads another program as top execution layer
Virtual machine:A program which executes bytecode
Interpreter:A Virtual Machine which runs scripts
JIT:A program which runs scripts and temporary compiles them into memory
The crucial and monumental development in the art music of our century has been the qualitative change in the foundational premises of our musical language--the change from a highly chromaticized tonality whose principle functions and operations are still based on a limited selection, the seven notes of the diatonic scale, from the universal set of twelve pitch classes to a scale that comprehends the total pitch-class content of that universal set. We can point to the moment of that change with some precision. It occurs most obviously in the music of Scriabin and the Vienna circle, Schoenberg, Webern, and Berg, in 1909-1910, and very soon afterwards, though less obviously, in the music of Bartok and Stravinsky. I think it is safe to say that nothing of comparable signifigance for music has ever occurred, because the closing of the circle of fifths gives us a symmetrical collection of all twelve pitch classes that eliminates the special structural function of the perfect fifth itself, which has been the basis of every real musical system that we have hitherto known.

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