The 2010 FIFA World Cup™ Final promises to be quite an occasion, with the Netherlands pitting their wits against reigning European champions Spain. Both sides have produced some good football during their campaigns and have been rewarded with the chance to add their nation's names to the select list of former winners: Uruguay, Italy, Germany, Brazil, England, Argentina and France.
The match
As a glance at the head-to-head record between the two nations shows, tipping a winner is no easy task. Both sides have won four of their nine meetings, with the other game ending in a draw. The Oranje have been here before, reaching the Finals at Germany 1974, with Johan Cruyff, and Argentina 1978, without him, and losing to the hosts on both occasions. For Spain, however, this is new territory, although their confidence at rising to the occasion will be high after ending a 44-year trophy drought at UEFA EURO 2008.
The Netherlands' record at South Africa 2010 could hardly be more impressive: six wins in six games with 12 goals scored and five conceded. For their part Vicente del Bosque's men have strung together five wins in a row after kicking off with a surprise defeat. But while the Spaniards have found goals hard to come by, scoring just seven in total, they have been far more miserly in defence, letting in just two so far. The winners will also end an old hoodoo, with no European side having ever won the biggest prize in world football outside the old continent.
duminică, 11 iulie 2010
Nokia n8
The Nokia N8 will be a real multimedia monster, because it's part of the N-line of Nokia.
Mobile phones within the N-line are capable of handling multimedia, like photos, videos, social networks and more. The N8 (formerly known as the Nokia N98) will contain a high-quality Carl-Zeiss/Tessar camera, with 12 megapixels. This camera can record in High Definition.
It will also contain a full QWERTY keyboard and 480*800 pixels screen, which is identical to the screen of the N900. This screen measures 2.5 inch and is multitouch.
The Nokia N8 runs on the brand new Symbian 3 platform, which will automatically synchronize with your online social networks. You'll be able to edit all menu's of the Nokia N8 yourself. More content for the Nokia N8 is available at the Ovi Store of Nokia.
sâmbătă, 10 iulie 2010
Car of the Year 2010: VW Polo wins the match
The Volkswagen Polo is the Car of the Year 2010. It won a close contest with the Toyota iQ. Just ten points,347 to 337, separated the two leading contenders, while the Opel/Vauxhall Astra took third place, with 221 points.
The Polo, a car which in the eyes of many jurors looks and feels like a scaled-down Golf, has been even more appreciated than its bigger stable-mate, which took third place last year. In fact, it is the first Volkswagen CotY winner in 18 years, following the win in 1992... by a Golf. All the 59 Jury members from 23 European countries gave points to the winner, and 25 of them chose it as their favourite. The iQ received points from 58 jurors, with 20 top marks. The Opel/Vauxhall Astra was voted by 55 Jury members, with five of them giving top points.
Even if the VW model is shorter than a number of competitors in the B segment, this generation of Polo is fully capable of accommodating at least four adult people in comfort. Room, performance, refinement and a reasonable cargo space endorse that affirmation. As well as practical reasons, the small VW appeals for its fine exterior design and the impeccable execution of the cabin, which has a level of perceived quality unprecedented in this category.
Energy efficiency is also an important point for potential customers, with the current trend for downsizing. The Polo offers an interesting line of engines, and also the pleasant-to-use DSG automatic/sequential transmission, with two clutches. The new 1.6 litre TDi diesel engine perfectly suits the size of the car, while among the petrol engines is a lively 1.2 litre TSI with turbo which also balances performance and fuel economy. The Polo is offered in two kinds of Blue Motion derivatives, both with diesel engines. The 1.2 litre three-cylinder engine with 75 HP is homologated for an average fuel consumption of 3.3 litre/100 km, equivalent to an emission of 87 g/km of CO2.
The Polo, a car which in the eyes of many jurors looks and feels like a scaled-down Golf, has been even more appreciated than its bigger stable-mate, which took third place last year. In fact, it is the first Volkswagen CotY winner in 18 years, following the win in 1992... by a Golf. All the 59 Jury members from 23 European countries gave points to the winner, and 25 of them chose it as their favourite. The iQ received points from 58 jurors, with 20 top marks. The Opel/Vauxhall Astra was voted by 55 Jury members, with five of them giving top points.
Even if the VW model is shorter than a number of competitors in the B segment, this generation of Polo is fully capable of accommodating at least four adult people in comfort. Room, performance, refinement and a reasonable cargo space endorse that affirmation. As well as practical reasons, the small VW appeals for its fine exterior design and the impeccable execution of the cabin, which has a level of perceived quality unprecedented in this category.
Energy efficiency is also an important point for potential customers, with the current trend for downsizing. The Polo offers an interesting line of engines, and also the pleasant-to-use DSG automatic/sequential transmission, with two clutches. The new 1.6 litre TDi diesel engine perfectly suits the size of the car, while among the petrol engines is a lively 1.2 litre TSI with turbo which also balances performance and fuel economy. The Polo is offered in two kinds of Blue Motion derivatives, both with diesel engines. The 1.2 litre three-cylinder engine with 75 HP is homologated for an average fuel consumption of 3.3 litre/100 km, equivalent to an emission of 87 g/km of CO2.
Oracle octopus chooses Spain and Germany
Oracle octopus Paul from Germany has predicted on Friday that Spain will win the World Cup final, due to take place on Sunday, July 11.
So far, Paul has correctly predicted every German result in the competition, but this time his skills were used to work out the winner of the competition.
Seemingly without any hesitation, the mollusk opted for the box with the Spanish flag, sending Dutch fans into a spin.
German fans, for whom poor Paul became an enemy overnight, also had reason to smile as the octopus picked Germany to secure a third place win over Uruguay.
Meanwhile, bookies are astounded by Paul’s prediction power.
vineri, 9 iulie 2010
Shutter Island
Martin Scorsese knows something about surprise endings which twist meisters like M. Night Shyamalan seem to have forgotten. The twist doesn’t matter if you haven’t already told a good story. By the time Shutter Island gets to its twist, it has already told such a tale. You’re invested in these characters and no matter how it turns out you’re going to walk away happy. The twist, when it happens, only serves to make a deeper connection. It makes sense of the madness, brings order to the chaos, and then rips your heart out right through your chest. The movie exists not in service of the twist, rather the twist exists in service of the movie. And when I rewatch Shutter Island, as I plan to do almost immediately, it’ll be like watching an entirely new movie. The story I was watching was not the one I thought it was, but in the end either story is equally compelling.
For now I can only tell you about the story I thought I was watching and let you discover that other story for yourself in theaters. Leonardo DiCaprio plays US Marshal Teddy Daniels, sent to investigate an escape at a remote island mental facility. Ashecliffe is a maximum security insane asylum where the nation’s most violent, dangerous, and often hopeless cases are sent. He arrives on the ferry with his new partner Chuck (Mark Ruffalo) and, though still suffering the ill-effects of seasickness, immediately gets to work looking for the lost prisoner. Daniels may, however, be interested in more than just a lost prisoner and haunted by the memories of a past tragedy he stalks Ashecliffe’s grounds, fighting his way through an uncooperative staff, looking for answers.
But is the staff really uncooperative? Ben Kingsley is sympathetic and kind as Ashecliffe’s head Dr. Cawley. The man we see in front of us seems genuinely driven to help the people he’s been charged with. He smiles and comforts even as Teddy’s investigation starts to point to something darker and more mysterious. Kingsley is just one of Shutter Island’s captivating contradictions in a world where everything seems lost in shades of foggy gray.
Maybe it’s not a man who’s the real danger. At times it seems as though nature itself is against Teddy. The island is almost permanently shrouded in an ominous, concealing mist. The hospital itself is a contradiction: at times dark and creepy place full of leaks and the screams of the damned, at others a clean, professional facility full of people who want to help. Scorsese uses his mastery of visual style to full effect, playing with even the most mundane trappings of a scene in creating an atmosphere that hints at something else beneath the surface. Cigarette smoke wafts through the air, obscuring a face and then clearing away as the individual reveals something important. Rain pounds against the windows while lightning flashes electrify a room as if Teddy is being fried from the inside out. Shutter Island is full of masterful, subtle touches which all point to something else, but which you’ll easily dismiss until later when it all makes sense. Those easy to miss subtleties linger in your subconscious and hang around until you need them. Eventually it all fits together into one, unexpected, whole.
DiCaprio’s performance is a critical part of that whole and like so much in the movie, it doesn’t all pay off until the credits roll and Scorsese closes the book on his story. In doing so he leaves us with all the answers we need, but without answering all of our questions. You’ll know what those questions are, they aren’t the ones you expect, but you’ll be asking them long after you’ve walked out of the theater.
Shutter Island is a fiercely twisted, complex film built on a foundation of character-driven emotion. Those who think of Scorsese only as that guy who makes gangster movies will undoubtedly be disappointed, but if you’re interested in more than seeing how many guns can fit inside a violin case, then Shutter Island delivers. For me it’s my favorite Scorsese, the Scorsese of Bringing out the Dead, returned from a long hiatus. Shutter Island puts all of the director’s considerable talents to use in one film, harkening back to old school suspense thrillers like the work of Hitchcock while incorporating the new ideas of modern movie magic. Thought-provoking and surprising at every turn, Shutter Island isn’t to be missed.
For now I can only tell you about the story I thought I was watching and let you discover that other story for yourself in theaters. Leonardo DiCaprio plays US Marshal Teddy Daniels, sent to investigate an escape at a remote island mental facility. Ashecliffe is a maximum security insane asylum where the nation’s most violent, dangerous, and often hopeless cases are sent. He arrives on the ferry with his new partner Chuck (Mark Ruffalo) and, though still suffering the ill-effects of seasickness, immediately gets to work looking for the lost prisoner. Daniels may, however, be interested in more than just a lost prisoner and haunted by the memories of a past tragedy he stalks Ashecliffe’s grounds, fighting his way through an uncooperative staff, looking for answers.
But is the staff really uncooperative? Ben Kingsley is sympathetic and kind as Ashecliffe’s head Dr. Cawley. The man we see in front of us seems genuinely driven to help the people he’s been charged with. He smiles and comforts even as Teddy’s investigation starts to point to something darker and more mysterious. Kingsley is just one of Shutter Island’s captivating contradictions in a world where everything seems lost in shades of foggy gray.
Maybe it’s not a man who’s the real danger. At times it seems as though nature itself is against Teddy. The island is almost permanently shrouded in an ominous, concealing mist. The hospital itself is a contradiction: at times dark and creepy place full of leaks and the screams of the damned, at others a clean, professional facility full of people who want to help. Scorsese uses his mastery of visual style to full effect, playing with even the most mundane trappings of a scene in creating an atmosphere that hints at something else beneath the surface. Cigarette smoke wafts through the air, obscuring a face and then clearing away as the individual reveals something important. Rain pounds against the windows while lightning flashes electrify a room as if Teddy is being fried from the inside out. Shutter Island is full of masterful, subtle touches which all point to something else, but which you’ll easily dismiss until later when it all makes sense. Those easy to miss subtleties linger in your subconscious and hang around until you need them. Eventually it all fits together into one, unexpected, whole.
DiCaprio’s performance is a critical part of that whole and like so much in the movie, it doesn’t all pay off until the credits roll and Scorsese closes the book on his story. In doing so he leaves us with all the answers we need, but without answering all of our questions. You’ll know what those questions are, they aren’t the ones you expect, but you’ll be asking them long after you’ve walked out of the theater.
Shutter Island is a fiercely twisted, complex film built on a foundation of character-driven emotion. Those who think of Scorsese only as that guy who makes gangster movies will undoubtedly be disappointed, but if you’re interested in more than seeing how many guns can fit inside a violin case, then Shutter Island delivers. For me it’s my favorite Scorsese, the Scorsese of Bringing out the Dead, returned from a long hiatus. Shutter Island puts all of the director’s considerable talents to use in one film, harkening back to old school suspense thrillers like the work of Hitchcock while incorporating the new ideas of modern movie magic. Thought-provoking and surprising at every turn, Shutter Island isn’t to be missed.
Age of Empires III
With more interesting takes than a Stanley Kubrick movie, last year's RTS crop was the most exciting thing in PC gaming. This year, publishers are capitalizing on those innovations with Barbarian Invasions and Winter Assaults, making it the perfect time for a really amazing, unique RTS to swoop in and wipe everyone else's expansion pieces off the game board.
We were hoping that would be Ensemble's Age of Empires III; after all, it's got pretty much the best cred in the business. But aside from a new card-based system that allows players to really deck out their forces, not much is new. You can still spend hours battling through three single-player campaigns, engaging the computer in skirmishes, or waging war online, but most of this is the same as it was in Age of Empires II.
The plot actually got worse. Age of Empires III goes to the trouble of setting itself in actual time and space - colonial America - but avoids all the interesting and prickly issues like genocide, epidemics and slavery, instead subbing in a wimpy tale of a family destined to protect the Holy Grail from a Satanic Cult.
We understand that dealing with real issues plaguing colonial America, like slavery and genocide, doesn't make for a very, uh, marketable game, but this weird fantasy plot isn't a good alternative. Europeans weren't over there to protect a sacred relic from Satan - they were there to escape their oppressors and eradicate the indigenous folk. (Now that's the stuff good video games are made of.) In any case, the single-player campaign tells a wimpy story and doesn't let you do any of the awful things you might be yearning to do under the pretext of harmless entertainment.

But these modes aren't flawless, they just manage to avoid telling some Mickey Mouse tale of bravery and virtue. The problem with the skirmishes, online and off, is the fact that there is only one victory condition " kill "em all. There are no command points to control, no flags to capture, and no innocent populations to spare or slaughter. The two modes " Supremacy and Deathmatch " are only distinguishable by the resources you begin the match with. In Supremacy, everyone starts with nothing but a few peasants and must build their forces from the ground up. In Deathmatch, everyone starts with 20,000 of everything (Gold, Food, Timber), so players can build big cities and armies as fast as their fingers will let them.
Deathmatches are almost always preferable due to an Age of Empires III peculiarity " never-ending resources. You can build mills and one factory, and between the two receive an infinite stream of resources. This obviously makes turtling (building walls and heavy defenses while training tons of units) a choice strategy in Supremacy matches, where Zerg rushes aren't a large concern. However, once all the players on a map become nice and fortified, bringing them down is nigh impossible without leaving your city open to conquest. As a result, everyone just sits there soaking up resources in a stalemate.
While Supremacy matches can literally go on forever, Deathmatches see players build up the biggest armies they can in almost no time at all and clash immediately. These matches are usually good, quick fun, although we wish there were more ways to enjoy the game than just this one.
The core of AOE III is so surprisingly familiar, you'll start to wonder exactly what Ensemble has been up to in the past few years. The answer is the Home City, the best new feature in the game. Every nation has a Home City, from which players can periodically choose gifts to augment their war efforts. These gifts are basically cards that players can build into a deck of twenty, although they may have hundreds to choose from.
When you begin a new Home City, you'll have fifteen cards. As you gain experience in battle, your city will level up and you'll be allowed to choose a couple new ones, adding them to your deck. Ultimately, the idea is to build a deck that complements your nation's natural attributes, hopefully allowing you to build a big force faster than your opponents. This is an exciting addition to the strategy, because it means serious players will have their own custom nations, making battles far less predictable. But while a well-balanced card system can be a thing of beauty, it's not really the only thing you look for in a sequel that's been coming for six years.
We also wish it were more fun to look at. Age of Empires III is certainly prettier than Ages past with its new 3D models and nifty effects, not to mention its fancy new physics. Hurl a cannonball at some pesky natives and watch it literally roll over them. However, the game uses the same camera system as Age of Empires II. You can't rotate or angle it; you can only slightly zoom in and out. As a result, the game ends up looking a lot like Age of Empires II in spite of the significant graphical upgrade.
If the camera man needs to be fired, the fight choreographer needs to be fired twice. Age of Empires III is geared for huge, insane battles, but not very pretty ones ones. If you've played or seen a Rome: Total War game, you know what awesome battles look like, and given the state of Age of Empires III's ugly, static clusters, I'd say someone should mail Ensemble a copy.
At least they got the audio right. The ambient sounds, music and voice work all suit the colonial theme, and the sound effects are by far the most interesting elements of any battle.
But no one buys strategy games for the sound effects - they buy them to agonize over tactics and statistics and this is why Age of Empires III is still a recommendable RTS. The steps it has taken in the gameplay department since Age of Empires II are negligible, but at least the new card-based bonus system adds an element of customization and depth to the genre. This result is as detailed as a history book, and about as much fun.
joi, 8 iulie 2010
Octopus oracle predicts Netherlands over Spain at World Cup final
Octopus oracle Paul has predicted the Netherlands will defeat Spain at the World Cup final in Johannesburg on Sunday, the Dutch De Telegraaf says.
The famous octopus at Sea Life Aquarium in Oberhausen was used to make predictions only for Germany but now that the country’s team is out of the World Cup, it was asked to predict the results of the Sunday finals.
The famous octopus at Sea Life Aquarium in Oberhausen was used to make predictions only for Germany but now that the country’s team is out of the World Cup, it was asked to predict the results of the Sunday finals.
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