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    1. Looking for an Android keyboard app

      Hello friends, and thank you in advance for any help on this topic. I am looking for an android keyboard that does not have emoji, stickers or gifs, but also has long press options for special...

      Hello friends, and thank you in advance for any help on this topic.

      I am looking for an android keyboard that does not have emoji, stickers or gifs, but also has long press options for special characters like dashes, slashes and colons etc.

      Searching online for variants of "no emoji keyboard," only floods my results with the opposite and it's beyond frustrating!

      I realize that the answer is likely right under my nose and I'm just missing it for whatever reason.

      I would glady pay money for such an option if only I could find one.

      I'm sorry if this question is silly or posted in the wrong thread, but I'm at my wits end.

      Again, thank you for any help or redirection to my query!

      Cheers!

      28 votes
    2. How to make this a fun djinn fight for relatively new players? (Bryan: Stay out, I know you're out there)

      I'm working on a new boss fight for a 5-person level 8 party of fairly new people. I wanted to give them something completely different, so I figured a fight on a small 20x20 circular rooftop with...

      I'm working on a new boss fight for a 5-person level 8 party of fairly new people. I wanted to give them something completely different, so I figured a fight on a small 20x20 circular rooftop with a stealthy djinn might be fun. I'd love to hear thoughts on how to make this a good time. My main idea is to force the party to figure out creative ways to find the djinn, since they don't have any way to see invisible creatures in their normal set of abilities. Things like throwing sand in the air, or holding ropes between each other to detect the silent wind motion as he moves around. Stuff that is more flavorful than a normal straight fight.

      I'll also be throwing players off the roof, forcing them to make agility saves to grab hold of ropes that are on the edge of the building, then strength checks to pull themselves back up. Have some moderate injuries occur if they roll badly. What suggestions would you have for me to make this a fun fight?



      Izel, Guardian Djinn

      Large Elemental (Air), Lawful Neutral


      • Armor Class 17 (natural armor)
      • Hit Points 152 (16d10 + 64)
      • Speed 30 ft., fly 60 ft.

      STR DEX CON INT WIS CHA
      18 (+4) 22 (+6) 18 (+4) 16 (+3) 20 (+5) 18 (+4)

      • Saving Throws Dex +10, Con +8, Wis +9, Cha +8
      • Skills Insight +9, Perception +9, Stealth +10
      • Damage Resistances lightning, thunder; bludgeoning, piercing, and slashing from nonmagical attacks
      • Condition Immunities charmed, exhaustion
      • Senses truesight 60 ft., passive Perception 19
      • Languages Auran, Common
      • Challenge 12 (8,400 XP)

      Elemental Demise. If the djinni dies, its body disintegrates into a warm breeze, leaving behind only equipment the djinni was wearing or carrying.

      Innate Spellcasting. The djinni's innate spellcasting ability is Charisma (spell save DC 16, +8 to hit with spell attacks). It can innately cast the following spells, requiring no material components:



      At will:

      Mage Armor: You touch a willing creature who isn’t wearing armor, and a protective magical force surrounds it until the spell ends. The target’s base AC becomes 13 + its Dexterity modifier. The spell ends if the target dons armor or if you dismiss the spell as an action.

      Greater Invisibility: (Concentration) You or a creature you touch becomes invisible until the spell ends. Anything the target is wearing or carrying is invisible as long as it is on the target’s person. The target can attack or cast spells without becoming visible.


      3/day each:
      > Wind Wall: Requires concentration. You create a wall of strong wind on the ground at a point you can see within range. The wall is up to 50 feet long, 15 feet high, and 1 foot thick, or a ringed wall up to 20 feet in diameter, 15 feet high, and 1 foot thick. It lasts for the duration, blocking arrows, smaller creatures, gases, and fog.
      > Lightning Bolt: You release a bolt of lightning that arcs toward a target you can see within range. A line of electricity 100 feet long and 5 feet wide blasts out from you in a direction you choose. Each creature in the line must make a Dexterity saving throw, taking 8d6 lightning damage on a failed save, or half as much damage on a successful one.

      Actions

      Multiattack. The djinni makes two scimitar attacks.

      Wind Blade. Melee Weapon Attack: +10 to hit, reach 10 ft., one target. Hit: 15 (2d8 + 6) slashing damage plus 5 (1d10) lightning damage.

      Windforce Blade (Enhanced Multiattack). If Izel hits a target with both attacks during his Multiattack, the target is pushed 10 feet away from him.

      Whirlwind (1/Day). As an action, Izel transforms into a whirlwind for one turn, moving in a straight line up to 60 feet. Any creature in the path of the whirlwind must make a DC 16 Dexterity saving throw. On a failed save, the creature takes 18 (3d12) bludgeoning damage and is thrown 15 feet in a random direction and knocked prone. On a successful save, the creature takes half damage and is not thrown or knocked prone.

      Legendary Actions

      Izel can take legendary actions, choosing from the options below.

      Wind Push. After every enemy's turn, Izel rolls a D20; on a 13 or higher, he uses the wind to move that enemy if they are within 60 feet of him. The target must succeed on a DC 16 Strength saving throw or be pushed 15 feet away from Izel and knocked prone.

      Wind Buffet. Izel creates a small burst of intense wind around himself. Each creature within 10 feet of Izel must succeed on a DC 16 Dexterity saving throw or take 17 (3d10) bludgeoning damage and be pushed 10 feet away from him. Using Wind Buffet breaks Izel’s concentration and ends his turn.

      Lair Actions

      • At the start of each turn, roll a D20. On a 10 or higher, all creatures on the battlefield are pushed 5 feet in a random direction determined by a d8 roll. This unpredictable movement simulates the chaotic nature of the winds that Izel commands.
      23 votes
    3. Feedback on boss monster for tonight's DnD session

      Hello tabletop peeps! I have completed a monster design for my first ever boss creature, and I wanted to get some quick feedback. This is all based on a previous post where I got ideas from y'all,...

      Hello tabletop peeps! I have completed a monster design for my first ever boss creature, and I wanted to get some quick feedback. This is all based on a previous post where I got ideas from y'all, here: https://tildes.net/~games.tabletop/1cjn/designing_my_first_dnd_boss_fight_with_a_giant_mimic_5x_lvl_5_characters

      Players are a group of 5 lvl 5 characters, fairly magic heavy and lower hp overall.

      The boss creature is a mimic that appears to be a large stone fountain with blood in it. If a PC touches it or stabs it, then they (or their weapon) will be grappled for the start of combat. At that point, the mimic will sprout 6 tentacles that each can travel up to 40ft from the main body and wield a weapon. All tentacles will operate on the same turn as the main body.

      Healing Pool in the boss room

      The boss room is a large room with a pool in it where blood is mixed with water that has flowed over a magic crystal to produce a healing solution. The idea is that the PCs will figure out that they can either heal themselves by dipping into the pool, prevent the boss from getting close to the pool, or that they can break the magic crystal to prevent the boss from healing. Several of the boss abilities reference this pool.

      Mimic main body:

      STR 16 (+3)
      DEX 10 (+0)
      CON 20 (+5)
      INT 16 (+3)
      WIS 12 (+1)
      CHA 8 (-1)

      HP 200
      Main body loses 20hp if a tentacle dies

      Armor Class: 13
      Speed: 15 ft
      Proficiency Bonus: 2
      Damage Resistances: None
      Immunities: Poison, Acid, Sleep, Charm

      Abilities

      Harden: Cannot take other actions, harden body to stone and increase AC to 18, as well as resistance to bludgeoning, piercing, slashing, cold, fire
      Spew Blood: Begin charging up blood, PCs can see mouth direction. At the beginning of next turn, spew acidic blood in a 180 degree arc for 30 ft. Deals 3d6 acid damage, half damage on DEX 14 save. Mimic main body cannot do anything on its next turn as it recovers.
      Chomp: +5 to hit. 1d12+3 piercing damage
      Charge: If no arms are left, it will spew blood from the back and charge at a target. Increase speed to 45ft, and deal (+5 to hit) 4d6+3 bludgeoning damage to a target. Dex15 save for half damage.

      Sword Tentacle (x3)

      HP 20
      Armor Class 13
      Speed 30 ft
      Damage Resistances: None
      Damage Immunities: Poison, Acid

      Abilities

      Harden: Cannot take other actions, harden body to stone and increase AC to 18, as well as resistance to bludgeoning, piercing, slashing, cold, fire
      Heal: If the healing pool is nearby, soak arm in the pool to heal it fully, and heal the main body for 15hp. Alternatively, resurrect a different defeated tentacle instead of healing self or the main body.
      Slice: +5 to hit. 1d8+3 slashing damage

      Shield Tentacle (x1)

      HP 20
      Armor Class 13
      Speed 30 ft
      Damage Resistances: None
      Damage Immunities: Poison, Acid

      Abilities

      Harden: Cannot take other actions, harden body to stone and increase AC to 18, as well as resistance to bludgeoning, piercing, slashing, cold, fire
      Heal: If the healing pool is nearby, soak arm in the pool to heal it fully, and heal the main body for 15hp. Alternatively, resurrect a different defeated tentacle instead of healing self or the main body.
      Shield Bash: +5 to hit. 1d4 + 3 bludgeoning damage
      Defend: As a reaction, give disadvantage to an attack when an ally 5ft away is attacked

      Crossbow Tentacle (x1)

      HP 20
      Armor Class 13
      Speed 30 ft
      Damage Resistances: None
      Damage Immunities: Poison, Acid

      Abilities

      Harden: Cannot take other actions, harden body to stone and increase AC to 18, as well as resistance to bludgeoning, piercing, slashing, cold, fire
      Heal: If the healing pool is nearby, soak arm in the pool to heal it fully, and heal the main body for 15hp. Alternatively, resurrect a different defeated tentacle instead of healing self or the main body.
      Heavy Crossbow shot: +2 to hit. 1d10 piercing damage

      Handy Tentacle (x1)

      HP 20
      Armor Class 13
      Speed 30 ft
      Damage Resistances: None
      Damage Immunities: Poison, Acid

      Abilities

      Harden: Cannot take other actions, harden body to stone and increase AC to 18, as well as resistance to bludgeoning, piercing, slashing, cold, fire. Cannot harden when grappling a PC.
      Heal: If the healing pool is nearby, soak arm in the pool to heal it fully, and heal the main body for 15hp. Alternatively, resurrect a different defeated tentacle instead of healing self or the main body.
      Grapple: +5 to hit. Grab a target, they can avoid it with a DC16 strength saving throw. If the target is successfully grappled, they can escape with a DC14 strength save at the start of their turn.
      Squeeze: If a target is grappled, squeeze them for 1d6+3 bludgeoning damage.
      Throw juice: If the healing pool is within range, scoop up a handful of purple juice and throw it at a skeleton to resurrect it.

      Potential Adds

      There are two skeletons in the room that can be resurrected by the Handy Tentacle with it's "throw juice" ability, should the fight is too easy for the PCs or they are hanging back too far. These adds are Boneknights from page 6 on this link: https://www.gmbinder.com/share/-Mv5UKsPhrHkBqSf9vo1

      Conclusion and Questions

      Is this a fun boss? I aim to have the tentacles each fighting a different person, so I don't think I'll wipe the party out too quickly, but I know of the mystical "action economy" and I might be overdoing things.

      Also, how do I rate the CR of such a creature? And how much gold should a party earn for such a fight? Thanks for helping out a new DM!

      20 votes
    4. Your year in games

      it's the end of 2023, and I figured it would be fun to put together a list of the games which made the best impressions on me throughout. Post yours! It's cool if it wasn't a game made in 2023; if...

      it's the end of 2023, and I figured it would be fun to put together a list of the games which made the best impressions on me throughout. Post yours! It's cool if it wasn't a game made in 2023; if you found it this year, that's good enough. It's your year, not this year lol.

      I've written about most/all of these in longer form here on Tildes. I might end up repeating myself a bit, but if you want a more thorough description they'll be easy to find in my history. Goes without saying I'd recommend any of them. The order here doesn't mean anything.

      Armored Core VI: Fires of Rubicon - this was my personal game of the year, and one I'll cherish long after. Armored Core has you building, customizing, and then piloting a mech. AC VI took ideas and mechanics from across its series, blended them together into a new framework, and the result is a fast, explosive experience. As it was in the past, the game takes you through first learning the ropes and exploring new parts, then pushes you to get as good as you can with whatever is fun to you. In the best way, it feels like a game from an earlier time in history - its straightforward mission structure makes for a game you can quickly jump into, make a lot of progress, and jump back out of without having to worry about missing much or forgetting what you were doing. Everything about it has been polished, honed to be about as nice as you could reasonably expect. It looks good, plays great, and tells a story that does with mecha what Fromsoft did with AC's mechanics - it's a little bit of everything, elegantly smashed together.

      Exanima - This game is perhaps one of the most unique experiences I've yet to see, despite looking like a lot I have already seen. Exanima takes a very detailed, simulation kind of approach to the objective of dungeon crawling. What makes it unique is its physics system. Controlling a character is more like moving a marionette, where you tug the character along to build momentum and aim your swings. Weapons feel significantly different to each other, and heavy armor changes how well you can move. Once you get used to it, the result of working with this system is a dynamic, visceral kind of combat where you may feel confident, but never certain. An errant slash or clumsy step can mean taking a heavy blow, and recovery is not easy. When the game was younger, folks played and loved the combat so much that it inspired an arena mode. The arena is a separate, distinct mode in which you are tasked with building a roster of characters and participating in tournaments. It is a game unto itself. If you're a fan of games with a very high skill ceiling, Exanima is providing you a system that can go really, really far. The game is a project being worked on by a small group of people, already has a lot of content available, and seems poised to continue development practically forever. Don't let "Early Access" put you off, this one is in a state where it's just good to get more of it. What's there is more than worth its price.

      Kenshi - I just got into this one and have been blown the hell away by how much there is to it. In Kenshi you take the role of a person dropped into an alien world, and are tasked simply with surviving. How you do that is up to you, and the world is built to notice and react. There is no story, no main quest or objective. Rather, you can learn more about the world by engaging with it, and determine your own goals within it. As you do things like visit new places, eliminate important people, build your own town, etc., the state of the world will change. This can go in many directions, and there are hours upon hours of videos out there of folks pulling off all sorts of wild shit. Truly, it's a game where your playthrough will become a story the further you go. Mechanically, it's like someone combined Morrowind, The Sims, and Neverwinter Nights, with a big coat of Mad Max paint all over it.

      Cyberpunk 2077 - I had played this before, when it first released, and though I did like some of what it was trying to do, the gameplay was busted to the point I didn't care to come back. Now that it's had its expansion and a lot of bugfixing, this game stands pretty tall and I was really impressed with it this second time through. Definitely a case of "they fixed it"; they really, actually did. It's not a No Man's Sky-scale redemption arc but a redemption arc nonetheless, I guess. The big ball of stories and systems rolls along and you roll right up in it, with missions playing out similar to an episode of a higher end tv show. They weave and wrap up satisfyingly, and by the end I feel I had a pretty complete experience of having been a Night City mercenary.

      Tactics Ogre: Reborn - Tactics Ogre was always one of my favorite tactics games and this remake both ups its presentation and provides a different kind of challenge. Specifically, it eliminates the ability to power-level anyone; your level is capped as you make your way through the story, forcing you to engage with the game's other systems in order to work out an advantage. The best way I can think to put it, is that it goes in a more Chess-like direction, where you need to be carefully considering how your individual pieces work and planning out a sound approach, because you can no longer action-rpg your way out of it by grinding. At least for me, it felt like a fresh take on something I've enjoyed for a long time, and so became the version I most enjoy playing. If you like Final Fantasy Tactics, TO is its precursor. Give it a go and see what you think - at least for me, it won.

      Lunacid - Lunacid is a simplistic game that does what it does exceptionally well. Borrowing primarily from King's Field, it's a first person dungeon crawler in which you piece together the weird place you're in by finding stuff and opening up new paths. It's playing the King's Field influence pretty straight; it lives off being spooky and weird, and spruces up combat to suit a more modern sensibility. What impressed me was just how good of an iteration it is; King's Field is a tough series to get into these days and this game feels like a successful effort to bring it back.

      Honorable Mention - Mechwarrior 5: Mercenaries - this one gets an honorable mention because just to be frank, the base game is kinda mediocre. It's through mods that I had a fantastically good time with it. I was never into Battletech, but did play the old Mechwarrior games, and while I did miss some of the more simulation-ish aspects of the older games, MW5 + the mods I used gave me enough to do and experiment with that it just didn't matter in the end. In particular, Coyote's Mission Pack, vonBiomes, and Yet Another Mechlab added just a ton of stuff, and of course you can go much much further with it if you want. The base game is not bad on its own, it's just easy to see all it has to offer really quickly. The mods primarily add variety, to tasks and options, and it's in that swirl of ideas and systems where I found a lot of the fun I had.

      Post your picks! Just about all of this is on sale right now, so hopefully too we'll all find some neat stuff to check out.

      11 votes
    5. Is it me or are "news" articles on the web getting more and more irritating to read

      I've recently experienced something multiple times and wanted to see if others are seeing this. I'm seeing various news articles where the first few paragraphs basically say the exact some...

      I've recently experienced something multiple times and wanted to see if others are seeing this. I'm seeing various news articles where the first few paragraphs basically say the exact some information over and over again 3 or 4 times in slightly different ways. My most recent experience was this article about some hackers selling information on billions of Facebook users.

      The article starts off with the title "Personal Information of More Than 1.5 Billion Facebook Users Sold on Hacker Forum". Straightforward and to the point. Next we get this paragraph in bold:

      The private and personal information of over 1.5 billion Facebook users is being sold on a popular hacking-related forum, potentially enabling cybercriminals and unscrupulous advertisers to target Internet users globally.

      Next is a bullet list of the highlights of the incident:

      Highlights:

      • Data scrapers are selling sensitive personal data on 1.5 billion Facebook users.
      • Data contains users’: name, email, phone number, location, gender, and user ID.
      • Data appears to be authentic.
      • Personal data obtained through web scraping.
      • Data can be utilized for phishing and account takeover attacks.
      • Sold data claimed to be new from 2021.

      This rehashes the number (1.5 billion) and place (Facebook), but does contain new information like what was leaked, and some unsubstantiated claims about whether it's authentic and how it was obtained.

      The next paragraph repeats the 1.5 billion number a fourth time, and repeats that the data is available on a hacker forum. Two paragraphs later, we get another list of bullet points which are identical to the 2nd bullet point above; namely that the info contains:

      According to the forum poster, the data provided contains the following personal information of Facebook users:

      • Name
      • Email
      • Location
      • Gender
      • Phone number
      • User ID

      At this point I stop reading because I mistakenly think that I'm re-reading the same paragraph over and over again. It's an incredibly unpleasant experience.

      Is anyone else seeing this? I've been seeing this not just on smaller sites like the one linked here, but on major news sites like CNBC and CNN, too. I know that news sites are having their budgets slashed, etc., but I literally can't read articles like this. I mean my brain just won't let me complete them because it thinks it's caught in a loop or something. It's hard to describe.

      18 votes
    6. A few easy linux commands, and a real-world example on how to use them in a pinch

      This below is a summary of some real-world performance investigation I recently went through. The tools I used are installed on all linux systems, but I know some people don't know them and would...

      This below is a summary of some real-world performance investigation I recently went through. The tools I used are installed on all linux systems, but I know some people don't know them and would straight up jump to heavyweight log analysis services and what not, or writing their own solution.

      Let's say you have request log sampling in a bunch of log files that contain lines like these:

      127.0.0.1 [2021-05-27 23:28:34.460] "GET /static/images/flags/2/54@3x.webp HTTP/2" 200 1806 TLSv1.3 HIT-CLUSTER SessionID:(null) Cache:max-age=31536000
      127.0.0.1 [2021-05-27 23:51:22.019] "GET /pl/player/123456/changelog/ HTTP/1.1" 200 16524 TLSv1.2 MISS-CLUSTER SessionID:(null) Cache:

      You might recognize Fastly logs there (IP anonymized). Now, there's a lot you might care about in this log file, but in my case, I wanted to get a breakdown of hits vs misses by URL.

      So, first step, let's concatenate all the log files with cat *.log > all.txt, so we can work off a single file.

      Then, let's split the file in two: hits and misses. There are a few different values for them, the majority are covered by either HIT-CLUSTER or MISS-CLUSTER. We can do this by just grepping for them like so:

      grep HIT-CLUSTER all.txt > hits.txt; grep MISS-CLUSTER all.txt > misses.txt
      

      However, we only care about url and whether it's a hit or a miss. So let's clean up those hits and misses with cut. The way cut works, it takes a delimiter (-d) and cuts the input based on that; you then give it a range of "fields" (-f) that you want.

      In our case, if we cut based on spaces, we end up with for example: 127.0.0.1 [2021-05-27 23:28:34.460] "GET /static/images/flags/2/54@3x.webp HTTP/2" 200 1806 TLSv1.3 HIT-CLUSTER SessionID:(null) Cache:max-age=31536000.

      We care about the 5th value only. So let's do: cut -d" " -f5 to get that. We will also sort the result, because future operations will require us to work on a sorted list of values.

      cut -d" " -f5 hits.txt | sort > hits-sorted.txt; cut -d" " -f5 misses.txt | sort > misses-sorted.txt
      

      Now we can start doing some neat stuff. wc (wordcount) is an awesome utility, it lets you count characters, words or lines very easily. wc -l counts lines in an input, since we're operating with one value per line we can easily count our hits and misses already:

      $ wc -l hits-sorted.txt misses-sorted.txt
        132523 hits-sorted.txt
        220779 misses-sorted.txt
        353302 total
      

      220779 / 132523 is a 1:1.66 ratio of hits to misses. That's not great…

      Alright, now I'm also interested in how many unique URLs are hit versus missed. uniq tool deduplicates immediate sequences, so the input has to be sorted in order to deduplicate our entire file. We already did that. We can now count our urls with uniq < hits-sorted.txt | wc -l; uniq < misses-sorted.txt | wc -l. We get 49778 and 201178, respectively. It's to be expected that most of our cache misses would be in "rarer" urls; this gives us a 1:4 ratio of cached to uncached URL.

      Let's say we want to dig down further into which URLs are most often hitting the cache, specifically. We can add -c to uniq in order to get a duplicate count in front of our URLs. To get the top ones at the top, we can then use sort, in reverse sort mode (-r), and it also needs to be numeric sort, not alphabetic (-n). head lets us get the top 10.

      $ uniq -c < hits-sorted.txt | sort -nr | head
          815 /static/app/webfonts/fa-solid-900.woff2?d720146f1999
          793 /static/app/images/1.png
          786 /static/app/fonts/nunito-v9-latin-ext_latin-regular.woff2?d720146f1999
          760 /static/CACHE/js/output.cee5c4089626.js
          758 /static/images/crest/3/light/notfound.png
          757 /static/CACHE/css/output.4f2b59394c83.css
          756 /static/app/webfonts/fa-regular-400.woff2?d720146f1999
          754 /static/app/css/images/loading.gif?d720146f1999
          750 /static/app/css/images/prev.png?d720146f1999
          745 /static/app/css/images/next.png?d720146f1999
      

      And same for misses:

      $ uniq -c < misses-sorted.txt | sort -nr | head
           56 /
           14 /player/237678/
           13 /players/
           12 /teams/
           11 /players/top/
      <snip>
      

      So far this tells us static files are most often hit, and for misses it also tells us… something, but we can't quite track it down yet (and we won't, not in this post). We're not adjusting for how often the page is hit as a whole, this is still just high-level analysis.

      One last thing I want to show you! Let's take everything we learned and analyze those URLs by prefix instead. We can cut our URLs again by slash with cut -d"/". If we want the first prefix, we can do -f1-2, or -f1-3 for the first two prefixes. Let's look!

      cut -d'/' -f1-2 < hits-sorted.txt | uniq -c | sort -nr | head
       100189 /static
         5948 /es
         3069 /player
         2480 /fr
         2476 /es-mx
         2295 /pt-br
         2094 /tr
         1939 /it
         1692 /ru
         1626 /de
      
      cut -d'/' -f1-2 < misses-sorted.txt | uniq -c | sort -nr | head
        66132 /static
        18578 /es
        17448 /player
        17064 /tr
        11379 /fr
         9624 /pt-br
         8730 /es-mx
         7993 /ru
         7689 /zh-hant
         7441 /it
      

      This gives us hit-miss ratios by prefix. Neat, huh?

      13 votes
    7. What makes different hack’n’slash action games distinct and special?

      I’ve been playing Bayonetta on and off for a bit of time, and now that I’m near the end of it (just started Requiem), the genre kinda grew on me, which surprised me quite a bit. I see loads of...

      I’ve been playing Bayonetta on and off for a bit of time, and now that I’m near the end of it (just started Requiem), the genre kinda grew on me, which surprised me quite a bit.

      I see loads of games being thrown in the same bag:

      • Bayonetta
      • Devil May Cry
      • Darksiders
      • Ninja Gaiden
      • No More Heroes
      • God of War
      • several Warriors/Musou games
      • etc. etc.

      So I was wondering what makes any specific game in the general genre distinct and special, and wanted to discuss in this thread.

      My experience with this genre is limited as the Switch is my first ever console, but I will share what little experience I have in a comment.

      P.S. I hope this thread will be a bit more lively than my previous try with the Different types of 3D platformers thread.

      6 votes
    8. What games have you enjoyed for the "wrong" reasons?

      So, I just finished playing Sleeping Dogs. It's a kung fu action game with a heavy emphasis on the hand to hand combat. It feels like it's the Arkham games roided up with some hack and slash...

      So, I just finished playing Sleeping Dogs. It's a kung fu action game with a heavy emphasis on the hand to hand combat. It feels like it's the Arkham games roided up with some hack and slash juice. Almost all the upgrades are hand combat based, the vast majority of combat encounters are hand to hand. It's how the game was advertised, it's what all the reviews talk about, it's why I was interested in it, and why it was recommended to me. And you know what? I was way more into the shooting than the hand to hand combat.
      The game does not seem all that proud of its gunplay, there's not a place to buy or customize guns, you just have to pick them up when a firefight starts and drop them after, and there's only like 3 guns total in the game. But it's some of the most fun gunplay I've played in years in a third person shooter. It heavily utilizes slow motion when you jump over cover or kick an enemy and leap into the air, incentivizing you to not just stay in cover the whole game. It really reminds me of Vanquish, which is one of my favorites in the third person shooter genre of all time.
      So this got me curious, what are some games that others have enjoyed for "wrong" reasons? Wrong is in quotes, because, well, it is still something meant to be enjoyed if it's in the game, but it clearly wasn't the focus of either dev time, or marketing, or general hype around the game, or all of the above. Although if you want to share something that wasn't something meant to be enjoyed at all, like something left in totally unintentionally by the developers, feel free to share that too.

      21 votes
    9. fuck you.

      God put me at ease deliver me to peace. if you're above deliver me to love. there's not a sign you're months without a call. i begin to think you never cared at all. in winter breezes hang me from...

      God

      put me at ease

      deliver me to peace.

      if you're above

      deliver me to love.

      there's not a sign

      you're months without a call.

      i begin to think

      you never cared at all.

      in winter breezes

      hang me from the trees.

      god i'm sick of

      never feeling enough.

      make me crease and

      break me at my knees.

      tarot prophet guide me

      with your crystal ball.

      .

      read the names i've

      written in my skin.

      banish me to walk

      alone in cold.

      hit my face and tell me

      this is it.

      kill me, say you

      never cared at all

      .

      screaming in your car

      you said you'd call the cops

      if i don't take my seatbelt off

      on our way home and walk.

      .

      screaming in our home

      you'd always slam the doors

      and leave the silence ringing

      in the halls

      .

      alone in dark i wailed

      you didn't care.

      as you sat there on your phone

      and talked and talked.

      .

      always acting like

      i wasn't there.

      even asked me to pretend

      that we were not.

      .

      remember back in college

      when you made some friends

      and tried to make me hide,

      not show me off?

      .

      tried to tell them

      i was just a friend.

      and when i protested

      god you told me off.

      .

      but when i made you mad

      how mad you went.

      and appeared inside my room

      without consent.

      .

      i walked in and found you there

      sat at my desk.

      it should've ended there

      but i regressed.

      .

      i said we would grow past it

      never did.

      always made me second guess

      the life i live.

      .

      it's not my fault

      that you stayed home alone.

      why do i slash and cry and pray

      that you'll pick up the phone.

      .

      tell me why i love you

      when it's wrong.

      .

      .

      .

      tell me why i want you

      when you're gone.

      .

      .

      .

      i want you to ignore me,

      miss my calls.

      .

      .

      .

      if at least you'll speak

      to me at all.

      fuck you.

      i'm sorry.

      i love you.

      fuck you.

      fuck you too.

      12 votes
    10. What are some of your favorite albums that have less than a 3.00 on rateyourmusic?

      I don't put a ton of stock in rateyourmusic's numbers, but I do think it's fun to check in every once in a while to see how my tastes line up with the votes from the userbase. Occasionally I'll...

      I don't put a ton of stock in rateyourmusic's numbers, but I do think it's fun to check in every once in a while to see how my tastes line up with the votes from the userbase. Occasionally I'll find an album I love that, for whatever reason, has a particularly low score.

      For example, I was listening to Something to Die For by The Sounds and was surprised to see that it has a 2.88 rating. I love pretty much all of The Sounds' output, and everything else of theirs was well-received by the site. This album, however, was not.

      The same goes for Glasvegas's Euphoric Heartbreak which sits at 2.93. Granted, the title is terrible (it has unnecessary slashes that I couldn't figure out how to format right), and it strays from their debut, but I still thoroughly enjoy it.

      What are some of your low-rated favorites?

      EDIT: If you've never used rym, you can search for any artist in the search field on the top right. That will pull up a list of all artists with that name (or a similar name). Select your desired artist from the list and you'll be taken to their discography page which will show the average rating for each release, as well as the number of ratings and reviews.

      11 votes
    11. The Belgian Antarctic Expedition (1897--9)

      This was the first expedition of the Heroic Age, organized by Adrian de Gerlache, and funded by King Leopold's image problems. de Gerlache was a restless man of thirty, his life oscillating...

      This was the first expedition of the Heroic Age, organized by Adrian de Gerlache, and funded by King Leopold's image problems. de Gerlache was a restless man of thirty, his life oscillating between breathtaking daring and breathtaking mundanity --- a man of the Belgian Navy, working on the fishery protection detail, then a seaman on an English vessel, failing to round Cape Horn and ending up on a scrapyard in Montevideo; an officer on a ferry between the prosaic Ostend and the boring Dover; then writing a flurry of letters, petitioning for a chance to go to Africa with Stanley, to the Arctic with Nordenskiöld, to anywhere with the Royal Geographic Society of Britain. Finally, a plea to the Geographic Society of his native land drew flame, a ship was purchased (MV Belgica), and funding was secured from the king. de Gerlache's crew included more than just Belgians; among others, the Norwegian 25-year-old first mate Roald Amundsen, destined for later fame, and the 26-year-old Pole Henryk Arctowski, a later authority on meteorology, who was much teased for his overappropriate name.

      Belgica sailed south by the way of South America, where their reception was warm, the local scientists were enthused, all seemed well.

      In truth, they were sailing into a world they knew very little of, into an implacably hostile world, and they were ill equipped for it. They reached Graham Land --- the northern part of the Antarctic Peninsula --- in the January of 1898, skirting west between the peninsula and the islands flanking it --- not knowing if what they took for the farthest tip of the continent was just another archipelago, kitted together with glaciers and pack ice. The same month a sailor was washed overboard and lost.

      In February they crossed the Antarctic Circle --- they sailed down the western side of the Peninsula, mapping and observing the flora and the fauna and for the lack of them, the stars and the moon. They tried to find a peninsula-breaching passage to the east side, the Weddell Sea, for their return --- and on the 28th of February, 1898, towards the end of the Antarctic summer, they got stuck in ice.

      Some say this was an accident; some say this was on purpose: a ploy of de Gerlache or (say) the first mate Amundsen, to gain additional glory or experience.

      If it was done on purpose, it nearly killed them all.

      They would be stuck for over ten months, including two months of total darkness --- when Belgium sees the middle of summer, the Antarctic sinks to polar night.

      They were unprepared: they piled on all their clothing, and it still wasn't enough to shelter them outside the ship. They had nothing to do: there was nothing but cold, darkness and death outside the ship; inside, the same hateful faces, the same ``three books and four issues of a magazine, a Bible and the mandolin that Amundsen tossed onto the ice by mid-March''. They did not have enough food: it was necessary to supplement it, but the choices were low. An officer by the name of Danco fell ill and died in June, raving that the others should promise to not eat him. A Belgian sailor went mad and walked out, shouting he was going to return to Belgium by foot --- he was not seen again, though several others claimed, for months, to hear him shouting outside, inviting them to join him. One more sailor did.

      There weren't breaks in the ice to allow fishing; the nearest open water was (they thought) tens of miles away.

      They had prepared, as best as they could, before all the horrors of the winter set in. In February, when the ship was still sailing, they had killed dozens of penguins, and harvested their meat for eating, storing it in the cold of the ship's open deck.

      The meat might have been better fresh, but de Gerlache tasted it, and ordered the cook to not serve a gram of the disgusting slop to anyone. He didn't know the superstitious cook had adulterated the meat with soap and sand, spurred to this deception by the dream he had had of the birds talking like men, no doubt disturbed by how they already walked like men.

      By midwinter, the men were ill of scurvy --- the lack of vitamin C, which first manifests as lassitude, weakness and soreness of limbs, and then goes to bleeding gums, falling teeth and other terrifyingly general symptoms. What's worse, at the time ``vitamin'' was an uninvented word; the two easy sources of it, vegetables and fresh meat, were not widely understood. de Gerlache was seriously ill by this point, writing his will, staring out his frost-encrusted window for hours at a time, willing the mountains of ice to move, at times twitching as if they did, and then shaking his head, knowing better.

      Georges Lecointe, the ship's captain, was similarly ill; on his orders, the penguin meat had been dumped off the ship, and only its encasement in ice had kept it from being thrown in the waters. Lecointe stalked the ship, asking the crew strange questions --- later accounts have said he suspected some had been substituted with treasonous penguins, intent on sabotage, but this is likely nothing but malign rumors.

      With de Gerlache and Lecointe so distracted, the first mate Roald Amundsen and the ship's doctor, Frederick Cook, acted. Cook had been with Peary in the Arctic,(footnote) and so knew fresh meat was the key against scurvy --- there weren't too many vegetables to be found in the Arctic --- so they walked round the ship, cracking piles of snow to find the piles and bundles of penguin meat.

      (footnote: Indeed, Cook had claimed to have reached the North Pole with Peary (1909) and by himself (1908); neither claim stood against the scrutiny of outsiders. To read Cook's account of the Belgian Expedition is to come away thinking Amundsen hardly did anything; this is a constant pattern in Cook's accounts of his life and supposed deeds.)

      This meat was of course no longer fresh --- it had been frozen for months. But it was good enough for a while.

      With the cook now abandoning superstition in the face of survival, the meat was cooked and proved if not tasty, then at least edible. When it was served to de Gerlache, he did not ask what it was; when it was served to Lecointe, he said ``Is this penguin?'', and on being said so, cried out, made the sign of the Cross, muttered a few confused words on the state of his soul, and ate.

      Thus empowered and restored, the crew organized a hunting party, with de Gerlache taking the lead. They marched thirty terrifying miles over the hills and valleys of creaking midwinter ice, in full darkness, the sun gone for weeks (and to be gone for still more weeks), until they found the edge of open water, and a small colony of penguins.

      They fell among the birds with rifles, pistols, swords, cudgels, nets, gloved fists. In a fury of survival and hunger they slaughtered the birds, clubbing and striking them one after another, their beards stiff with frozen drool. The snow acquired a crimson hue; their cries were as harsh, bestial and varied as those of the doomed birds.

      Adrien de Gerlache, the man of ups and downs, the noble-featured and mild-mannered Belgian officer, was the first among them, a demon with a saber and a pistol, his face and chest caked with diamonds of red frozen blood and penguin gore.

      After the massacre was done, they tied the dead birds together into lines, fifteen to each, and then dragged, through the moaning winds of the unceasing darkness, them back to the ship.

      de Gerlache himself fainted after the killing; the blood on his face and down it was from a copious nosebleed occasioned by the harsh environment and the monstrous occasion. Before falling down --- to be dragged back to the ship, just like his prey --- he raised his saber at the even deeper blackness of the open waters, and cried: ``Come, beast! We killed these --- we will kill you too! No matter how big --- we will kill mountains!''

      The expedition lived on penguin meat and their official provisions for the rest of the winter. Boredom and the stresses of the alien environment continued to haunt them, and many felt guilty for their slaughter of the penguins --- or rather, haunted by it. Many mention in their memoirs the odd noiselessness of the battle, the utter surrender of the enemy, the terrible frenzy that overcame the men, as they ran from bird to bird, striking them down, crippling, stopping, slashing and crushing, then finally eliciting the discordant caws and croaks and cries the birds made --- the way they killed so many, and the way the rest slipped, like shadows, into the waters without as much as a ripple. One memoir, no doubt inspired by de Gerlache's ravings, mentions seeing a vast shape out in the water, a black iceberg that slipped underwater as the last bird quorked its last. But most of the memoir-writers wrote nothing of this all, choosing to imply a much more sanitized narrative of fresh meat.

      Eventually spring came; the season of autumn in the northern world.

      By January 1899 the ship was still stuck.

      The ice was over two meters thick. There was open water, half a mile away, but it was not getting any closer --- and January was the height of Antarctic summer, meaning the halfway point!

      Desperate to escape another winter in the ice --- and another war in search of meat --- they took to the ship's tools, and laid dynamite on the ice with drills and axes. The first explosions but warped the ice, and nearly crushed the ship's hull. The men attacked the ice with mattocks and hammers; some of the tools broke, their frozen nature no match for the native ice. A hammer's head famously shattered on the first blow, and a flying iron shard cut a line in Amundsen's cheek.

      de Gerlache fell into a deep depression, and retreated to his cabin; around this time he covered its window with bootblack, and kept it so closed for the remainder of the expedition, referring to the view as ``the black mountain''.

      In the meanwhile, Amundsen took control of the crew, and laid explosives right in front of the ship's keel. The blast rocked the ship and had the incensed captain Lecointe nearly shoot the first mate; but it had made for open water at the front, and with the ship's weight and the endless application of manual tools, the crew was ever so slowly able to move the ship forward. After two weeks of nonstop day-and-night work, they were in open water, the ice closing after them as if nothing had ever been there, and nothing had passed through.

      It took them another month --- the last half of February and the first of March --- to navigate another six miles of the iceberg- and ice floe-choked water. By then the summer was over; the floes were knitting together into the impassable dead plateau of lengthy winter. But by the 14th of March, they were out of the ice, onto open water, and they immediately headed north, away.

      The Belgian Expedition reached 71 degrees 30 seconds south. One degree of longitude is approximately 69 miles, and as the Pole is full 90 degrees south, the Pole was still some 1280 miles away.

      Despite its name, the Belgian Expedition was the most multinational and, in a way, least greedy of the expeditions of the Heroic Age. Those that followed de Gerlache were much more conscious of the double glory they sought --- not just for themselves, but for their country.

      As for de Gerlache, he did not return to the Antarctic. He joined Charcot's 1903 expedition, but left before it reached the Antarctic; he cited quarrels within the expedition, and others let understand he had suffered a major breakdown at seeing something vast and dark out in the ocean.


      So lately I've been working on a chatty, digressive pseudo-non-fiction book that's 80% true facts about Antarctica, suggestively arranged, 15% amazingly truth-like lies about Antarctica, and couched in those two, 5% increasingly loopy lies about the sleeping penguin-faced menace that's waking up from beneath the Antarctic ice, any day now, because we made forbidden pacts with the quorking, cawing, tux-clad guardians of the Last Continent.

      Ahem yeah high-quality discussion. What's the strangest creative project you've stumbled into, or thought of?

      9 votes
    12. test - do not up -tilde

      ASCII table , ascii codes : American Standard Code for Information Interchange The complete table of ASCII characters, letters, codes, symbols and signs. [ Home ] [ español ] ASCII control...

      ASCII table , ascii codes :
      American Standard Code for Information Interchange
      The complete table of ASCII characters, letters, codes, symbols and signs.
      [ Home ]
      [ español ]

      ASCII control characters
      00NULL(Null character)01SOH(Start of Header)02STX(Start of Text)03ETX(End of Text)04EOT(End of Trans.)05ENQ(Enquiry)06ACK(Acknowledgement)07BEL(Bell)08BS(Backspace)09HT(Horizontal Tab)10LF(Line feed)11VT(Vertical Tab)12FF(Form feed)13CR(Carriage return)14SO(Shift Out)15SI(Shift In)16DLE(Data link escape)17DC1(Device control 1)18DC2(Device control 2)19DC3(Device control 3)20DC4(Device control 4)21NAK(Negative acknowl.)22SYN(Synchronous idle)23ETB(End of trans. block)24CAN(Cancel)25EM(End of medium)26SUB(Substitute)27ESC(Escape)28FS(File separator)29GS(Group separator)30RS(Record separator)31US(Unit separator)127DEL(Delete)
      ASCII printable
      characters
      32space33!34"35#36$37%38&39'40(41)42*43+44,45-46.47/48049150251352453554655756857958:59;60<61=62>63?64@65A66B67C68D69E70F71G72H73I74J75K76L77M78N79O80P81Q82R83S84T85U86V87W88X89Y90Z91[92\93]94^95_96`97a98b99c100d101e102f103g104h105i106j107k108l109m110n111o112p113q114r115s116t117u118v119w120x121y122z123{124|125}126~
      Extended ASCII
      characters
      128Ç129ü130é131â132ä133à134å135ç136ê137ë138è139ï140î141ì142Ä143Å144É145æ146Æ147ô148ö149ò150û151ù152ÿ153Ö154Ü155ø156£157Ø158×159ƒ160á161í162ó163ú164ñ165Ñ166ª167º168¿169®170¬171½172¼173¡174«175»176░177▒178▓179│180┤181Á182Â183À184©185╣186║187╗188╝189¢190¥191┐192└193┴194┬195├196─197┼198ã199Ã200╚201╔202╩203╦204╠205═206╬207¤208ð209Ð210Ê211Ë212È213ı214Í215Î216Ï217┘218┌219█220▄221¦222Ì223▀224Ó225ß226Ô227Ò228õ229Õ230µ231þ232Þ233Ú234Û235Ù236ý237Ý238¯239´240≡241±242‗243¾244¶245§246÷247¸248°249¨250·251¹252³253²254■255nbspThe complete table of ASCII characters, codes, symbols and signs most consulted ñénye, n with tilde(alt + 164)■black square(alt + 254)²superscript two, square(alt + 253)°degree symbol(alt + 248)'apostrophe, single quote(alt + 39)µletter Mu, micro, micron(alt + 230)©copyright symbol(alt + 184)®registered trademark(alt + 169)³superscript three, cube(alt + 252)áa with acute accent(alt + 160)
      frequently-used
      (spanish language)
      ñalt + 164Ñalt + 165@alt + 64¿alt + 168?alt + 63¡alt + 173!alt + 33:alt + 58/alt + 47\alt + 92
      vowels acute accent
      (spanish language)
      áalt + 160éalt + 130íalt + 161óalt + 162úalt + 163Áalt + 181Éalt + 144Íalt + 214Óalt + 224Úalt + 233
      vowels with
      diaresis
      äalt + 132ëalt + 137ïalt + 139öalt + 148üalt + 129Äalt + 142Ëalt + 211Ïalt + 216Öalt + 153Üalt + 154
      mathematical
      symbols
      ½alt + 171¼alt + 172¾alt + 243¹alt + 251³alt + 252²alt + 253ƒalt + 159±alt + 241×alt + 158÷alt + 246
      commercial / trade
      symbols
      $alt + 36£alt + 156¥alt + 190¢alt + 189¤alt + 207®alt + 169©alt + 184ªalt + 166ºalt + 167°alt + 248
      quotes and
      parenthesis
      "alt + 34'alt + 39(alt + 40)alt + 41[alt + 91]alt + 93{alt + 123}alt + 125«alt + 174»alt + 175Brief History of ASCII code:
      The American Standard Code for Information Interchange, or ASCII code, was created in 1963 by the "American Standards Association" Committee or "ASA", the agency changed its name in 1969 by "American National Standards Institute" or "ANSI" as it is known since.

      This code arises from reorder and expand the set of symbols and characters already used in telegraphy at that time by the Bell company.

      At first only included capital letters and numbers , but in 1967 was added the lowercase letters and some control characters, forming what is known as US-ASCII, ie the characters 0 through 127.
      So with this set of only 128 characters was published in 1967 as standard, containing all you need to write in English language.

      In 1981, IBM developed an extension of 8-bit ASCII code, called "code page 437", in this version were replaced some obsolete control characters for graphic characters. Also 128 characters were added , with new symbols, signs, graphics and latin letters, all punctuation signs and characters needed to write texts in other languages, ​​such as Spanish.
      In this way was added the ASCII characters ranging from 128 to 255.

      IBM includes support for this code page in the hardware of its model 5150, known as "IBM-PC", considered the first personal computer.
      The operating system of this model, the "MS-DOS" also used this extended ASCII code.
      Almost all computer systems today use the ASCII code to represent characters and texts. (151) .

      How to use the ASCII code:
      Without knowing it you use it all the time, every time you use a computer system, but if all you need is to get some of the characters not included in your keyboard should do the following, for example:

      How typing: Spanish letter enye, uppercase N with tilde, EÑE, enie ?
      WINDOWS: on computers with Windows operating system like Windows 8, Win 7, Vista, Windows XP, etc..
      To get the letter, character, sign or symbol "Ñ" : ( Spanish letter enye, uppercase N with tilde, EÑE, enie ) on computers with Windows operating system:

      1. Press the "Alt" key on your keyboard, and do not let go.
      2. While keep press "Alt", on your keyboard type the number "165", which is the number of the letter or symbol "Ñ" in ASCII table.
      3. Then stop pressing the "Alt" key, and ...you got it! (152)

      Full list of ASCII characters, letters, symbols and signs with descriptions:
      ASCII control characters non printable :ASCII code 00 = NULL ( Null character )
      ASCII code 01 = SOH ( Start of Header )
      ASCII code 02 = STX ( Start of Text )
      ASCII code 03 = ETX ( End of Text, hearts card suit )
      ASCII code 04 = EOT ( End of Transmission, diamonds card suit )
      ASCII code 05 = ENQ ( Enquiry, clubs card suit )
      ASCII code 06 = ACK ( Acknowledgement, spade card suit )
      ASCII code 07 = BEL ( Bell )
      ASCII code 08 = BS ( Backspace )
      ASCII code 09 = HT ( Horizontal Tab )
      ASCII code 10 = LF ( Line feed )
      ASCII code 11 = VT ( Vertical Tab, male symbol, symbol for Mars )
      ASCII code 12 = FF ( Form feed, female symbol, symbol for Venus )
      ASCII code 13 = CR ( Carriage return )
      ASCII code 14 = SO ( Shift Out )
      ASCII code 15 = SI ( Shift In )
      ASCII code 16 = DLE ( Data link escape )
      ASCII code 17 = DC1 ( Device control 1 )
      ASCII code 18 = DC2 ( Device control 2 )
      ASCII code 19 = DC3 ( Device control 3 )
      ASCII code 20 = DC4 ( Device control 4 )
      ASCII code 21 = NAK ( NAK Negative-acknowledge )
      ASCII code 22 = SYN ( Synchronous idle )
      ASCII code 23 = ETB ( End of trans. block )
      ASCII code 24 = CAN ( Cancel )
      ASCII code 25 = EM ( End of medium )
      ASCII code 26 = SUB ( Substitute )
      ASCII code 27 = ESC ( Escape )
      ASCII code 28 = FS ( File separator )
      ASCII code 29 = GS ( Group separator )
      ASCII code 30 = RS ( Record separator )
      ASCII code 31 = US ( Unit separator )
      ASCII code 127 = DEL ( Delete )
      Printable ASCII characters :
      ( alphanumeric, symbols and signs )ASCII code 32 = space ( Space )
      ASCII code 33 = ! ( Exclamation mark )
      ASCII code 34 = " ( Double quotes ; Quotation mark ; speech marks )
      ASCII code 35 = # ( Number sign )
      ASCII code 36 = $ ( Dollar sign )
      ASCII code 37 = % ( Percent sign )
      ASCII code 38 = & ( Ampersand )
      ASCII code 39 = ' ( Single quote or Apostrophe )
      ASCII code 40 = ( ( round brackets or parentheses, opening round bracket )
      ASCII code 41 = ) ( parentheses or round brackets, closing parentheses )
      ASCII code 42 = * ( Asterisk )
      ASCII code 43 = + ( Plus sign )
      ASCII code 44 = , ( Comma )
      ASCII code 45 = - ( Hyphen , minus sign )
      ASCII code 46 = . ( Dot, full stop )
      ASCII code 47 = / ( Slash , forward slash , fraction bar , division slash )
      ASCII code 48 = 0 ( number zero )
      ASCII code 49 = 1 ( number one )
      ASCII code 50 = 2 ( number two )
      ASCII code 51 = 3 ( number three )
      ASCII code 52 = 4 ( number four )
      ASCII code 53 = 5 ( number five )
      ASCII code 54 = 6 ( number six )
      ASCII code 55 = 7 ( number seven )
      ASCII code 56 = 8 ( number eight )
      ASCII code 57 = 9 ( number nine )
      ASCII code 58 = : ( Colon )
      ASCII code 59 = ; ( Semicolon )
      ASCII code 60 = < ( Less-than sign )
      ASCII code 61 = = ( Equals sign )
      ASCII code 62 = > ( Greater-than sign ; Inequality )
      ASCII code 63 = ? ( Question mark )
      ASCII code 64 = @ ( At sign )
      ASCII code 65 = A ( Capital letter A )
      ASCII code 66 = B ( Capital letter B )
      ASCII code 67 = C ( Capital letter C )
      ASCII code 68 = D ( Capital letter D )
      ASCII code 69 = E ( Capital letter E )
      ASCII code 70 = F ( Capital letter F )
      ASCII code 71 = G ( Capital letter G )
      ASCII code 72 = H ( Capital letter H )
      ASCII code 73 = I ( Capital letter I )
      ASCII code 74 = J ( Capital letter J )
      ASCII code 75 = K ( Capital letter K )
      ASCII code 76 = L ( Capital letter L )
      ASCII code 77 = M ( Capital letter M )
      ASCII code 78 = N ( Capital letter N )
      ASCII code 79 = O ( Capital letter O )
      ASCII code 80 = P ( Capital letter P )
      ASCII code 81 = Q ( Capital letter Q )
      ASCII code 82 = R ( Capital letter R )
      ASCII code 83 = S ( Capital letter S )
      ASCII code 84 = T ( Capital letter T )
      ASCII code 85 = U ( Capital letter U )
      ASCII code 86 = V ( Capital letter V )
      ASCII code 87 = W ( Capital letter W )
      ASCII code 88 = X ( Capital letter X )
      ASCII code 89 = Y ( Capital letter Y )
      ASCII code 90 = Z ( Capital letter Z )
      ASCII code 91 = [ ( square brackets or box brackets, opening bracket )
      ASCII code 92 = \ ( Backslash , reverse slash )
      ASCII code 93 = ] ( box brackets or square brackets, closing bracket )
      ASCII code 94 = ^ ( Circumflex accent or Caret )
      ASCII code 95 = _ ( underscore , understrike , underbar or low line )
      ASCII code 96 = ` ( Grave accent )
      ASCII code 97 = a ( Lowercase letter a , minuscule a )
      ASCII code 98 = b ( Lowercase letter b , minuscule b )
      ASCII code 99 = c ( Lowercase letter c , minuscule c )
      ASCII code 100 = d ( Lowercase letter d , minuscule d )
      ASCII code 101 = e ( Lowercase letter e , minuscule e )
      ASCII code 102 = f ( Lowercase letter f , minuscule f )
      ASCII code 103 = g ( Lowercase letter g , minuscule g )
      ASCII code 104 = h ( Lowercase letter h , minuscule h )
      ASCII code 105 = i ( Lowercase letter i , minuscule i )
      ASCII code 106 = j ( Lowercase letter j , minuscule j )
      ASCII code 107 = k ( Lowercase letter k , minuscule k )
      ASCII code 108 = l ( Lowercase letter l , minuscule l )
      ASCII code 109 = m ( Lowercase letter m , minuscule m )
      ASCII code 110 = n ( Lowercase letter n , minuscule n )
      ASCII code 111 = o ( Lowercase letter o , minuscule o )
      ASCII code 112 = p ( Lowercase letter p , minuscule p )
      ASCII code 113 = q ( Lowercase letter q , minuscule q )
      ASCII code 114 = r ( Lowercase letter r , minuscule r )
      ASCII code 115 = s ( Lowercase letter s , minuscule s )
      ASCII code 116 = t ( Lowercase letter t , minuscule t )
      ASCII code 117 = u ( Lowercase letter u , minuscule u )
      ASCII code 118 = v ( Lowercase letter v , minuscule v )
      ASCII code 119 = w ( Lowercase letter w , minuscule w )
      ASCII code 120 = x ( Lowercase letter x , minuscule x )
      ASCII code 121 = y ( Lowercase letter y , minuscule y )
      ASCII code 122 = z ( Lowercase letter z , minuscule z )
      ASCII code 123 = { ( braces or curly brackets, opening braces )
      ASCII code 124 = | ( vertical-bar, vbar, vertical line or vertical slash )
      ASCII code 125 = } ( curly brackets or braces, closing curly brackets )
      ASCII code 126 = ~ ( Tilde ; swung dash )
      ASCII Extended Characters :ASCII code 128 = Ç ( Majuscule C-cedilla )
      ASCII code 129 = ü ( letter u with umlaut or diaeresis , u-umlaut )
      ASCII code 130 = é ( letter e with acute accent or e-acute )
      ASCII code 131 = â ( letter a with circumflex accent or a-circumflex )
      ASCII code 132 = ä ( letter a with umlaut or diaeresis , a-umlaut )
      ASCII code 133 = à ( letter a with grave accent )
      ASCII code 134 = å ( letter a with a ring )
      ASCII code 135 = ç ( Minuscule c-cedilla )
      ASCII code 136 = ê ( letter e with circumflex accent or e-circumflex )
      ASCII code 137 = ë ( letter e with umlaut or diaeresis ; e-umlauts )
      ASCII code 138 = è ( letter e with grave accent )
      ASCII code 139 = ï ( letter i with umlaut or diaeresis ; i-umlaut )
      ASCII code 140 = î ( letter i with circumflex accent or i-circumflex )
      ASCII code 141 = ì ( letter i with grave accent )
      ASCII code 142 = Ä ( letter A with umlaut or diaeresis ; A-umlaut )
      ASCII code 143 = Å ( Capital letter A with a ring )
      ASCII code 144 = É ( Capital letter E with acute accent or E-acute )
      ASCII code 145 = æ ( Latin diphthong ae in lowercase )
      ASCII code 146 = Æ ( Latin diphthong AE in uppercase )
      ASCII code 147 = ô ( letter o with circumflex accent or o-circumflex )
      ASCII code 148 = ö ( letter o with umlaut or diaeresis ; o-umlaut )
      ASCII code 149 = ò ( letter o with grave accent )
      ASCII code 150 = û ( letter u with circumflex accent or u-circumflex )
      ASCII code 151 = ù ( letter u with grave accent )
      ASCII code 152 = ÿ ( Lowercase letter y with diaeresis )
      ASCII code 153 = Ö ( Letter O with umlaut or diaeresis ; O-umlaut )
      ASCII code 154 = Ü ( Letter U with umlaut or diaeresis ; U-umlaut )
      ASCII code 155 = ø ( Lowercase slashed zero or empty set )
      ASCII code 156 = £ ( Pound sign ; symbol for the pound sterling )
      ASCII code 157 = Ø ( Uppercase slashed zero or empty set )
      ASCII code 158 = × ( Multiplication sign )
      ASCII code 159 = ƒ ( Function sign ; f with hook sign ; florin sign )
      ASCII code 160 = á ( Lowercase letter a with acute accent or a-acute )
      ASCII code 161 = í ( Lowercase letter i with acute accent or i-acute )
      ASCII code 162 = ó ( Lowercase letter o with acute accent or o-acute )
      ASCII code 163 = ú ( Lowercase letter u with acute accent or u-acute )
      ASCII code 164 = ñ ( eñe, enie, spanish letter enye, lowercase n with tilde )
      ASCII code 165 = Ñ ( Spanish letter enye, uppercase N with tilde, EÑE, enie )
      ASCII code 166 = ª ( feminine ordinal indicator )
      ASCII code 167 = º ( masculine ordinal indicator )
      ASCII code 168 = ¿ ( Inverted question marks )
      ASCII code 169 = ® ( Registered trademark symbol )
      ASCII code 170 = ¬ ( Logical negation symbol )
      ASCII code 171 = ½ ( One half )
      ASCII code 172 = ¼ ( Quarter, one fourth )
      ASCII code 173 = ¡ ( Inverted exclamation marks )
      ASCII code 174 = « ( Angle quotes, guillemets, right-pointing quotation mark )
      ASCII code 175 = » ( Guillemets, angle quotes, left-pointing quotation marks )
      ASCII code 176 = ░ ( Graphic character, low density dotted )
      ASCII code 177 = ▒ ( Graphic character, medium density dotted )
      ASCII code 178 = ▓ ( Graphic character, high density dotted )
      ASCII code 179 = │ ( Box drawing character single vertical line )
      ASCII code 180 = ┤ ( Box drawing character single vertical and left line )
      ASCII code 181 = Á ( Capital letter A with acute accent or A-acute )
      ASCII code 182 = Â ( Letter A with circumflex accent or A-circumflex )
      ASCII code 183 = À ( Letter A with grave accent )
      ASCII code 184 = © ( Copyright symbol )
      ASCII code 185 = ╣ ( Box drawing character double line vertical and left )
      ASCII code 186 = ║ ( Box drawing character double vertical line )
      ASCII code 187 = ╗ ( Box drawing character double line upper right corner )
      ASCII code 188 = ╝ ( Box drawing character double line lower right corner )
      ASCII code 189 = ¢ ( Cent symbol )
      ASCII code 190 = ¥ ( YEN and YUAN sign )
      ASCII code 191 = ┐ ( Box drawing character single line upper right corner )
      ASCII code 192 = └ ( Box drawing character single line lower left corner )
      ASCII code 193 = ┴ ( Box drawing character single line horizontal and up )
      ASCII code 194 = ┬ ( Box drawing character single line horizontal down )
      ASCII code 195 = ├ ( Box drawing character single line vertical and right )
      ASCII code 196 = ─ ( Box drawing character single horizontal line )
      ASCII code 197 = ┼ ( Box drawing character single line horizontal vertical )
      ASCII code 198 = ã ( Lowercase letter a with tilde or a-tilde )
      ASCII code 199 = Ã ( Capital letter A with tilde or A-tilde )
      ASCII code 200 = ╚ ( Box drawing character double line lower left corner )
      ASCII code 201 = ╔ ( Box drawing character double line upper left corner )
      ASCII code 202 = ╩ ( Box drawing character double line horizontal and up )
      ASCII code 203 = ╦ ( Box drawing character double line horizontal down )
      ASCII code 204 = ╠ ( Box drawing character double line vertical and right )
      ASCII code 205 = ═ ( Box drawing character double horizontal line )
      ASCII code 206 = ╬ ( Box drawing character double line horizontal vertical )
      ASCII code 207 = ¤ ( Generic currency sign )
      ASCII code 208 = ð ( Lowercase letter eth )
      ASCII code 209 = Ð ( Capital letter Eth )
      ASCII code 210 = Ê ( Letter E with circumflex accent or E-circumflex )
      ASCII code 211 = Ë ( Letter E with umlaut or diaeresis, E-umlaut )
      ASCII code 212 = È ( Capital letter E with grave accent )
      ASCII code 213 = ı ( Lowercase dot less i )
      ASCII code 214 = Í ( Capital letter I with acute accent or I-acute )
      ASCII code 215 = Î ( Letter I with circumflex accent or I-circumflex )
      ASCII code 216 = Ï ( Letter I with umlaut or diaeresis ; I-umlaut )
      ASCII code 217 = ┘ ( Box drawing character single line lower right corner )
      ASCII code 218 = ┌ ( Box drawing character single line upper left corner )
      ASCII code 219 = █ ( Block, graphic character )
      ASCII code 220 = ▄ ( Bottom half block )
      ASCII code 221 = ¦ ( Vertical broken bar )
      ASCII code 222 = Ì ( Capital letter I with grave accent )
      ASCII code 223 = ▀ ( Top half block )
      ASCII code 224 = Ó ( Capital letter O with acute accent or O-acute )
      ASCII code 225 = ß ( Letter Eszett ; scharfes S or sharp S )
      ASCII code 226 = Ô ( Letter O with circumflex accent or O-circumflex )
      ASCII code 227 = Ò ( Capital letter O with grave accent )
      ASCII code 228 = õ ( Lowercase letter o with tilde or o-tilde )
      ASCII code 229 = Õ ( Capital letter O with tilde or O-tilde )
      ASCII code 230 = µ ( Lowercase letter Mu ; micro sign or micron )
      ASCII code 231 = þ ( Lowercase letter Thorn )
      ASCII code 232 = Þ ( Capital letter Thorn )
      ASCII code 233 = Ú ( Capital letter U with acute accent or U-acute )
      ASCII code 234 = Û ( Letter U with circumflex accent or U-circumflex )
      ASCII code 235 = Ù ( Capital letter U with grave accent )
      ASCII code 236 = ý ( Lowercase letter y with acute accent )
      ASCII code 237 = Ý ( Capital letter Y with acute accent )
      ASCII code 238 = ¯ ( Macron symbol )
      ASCII code 239 = ´ ( Acute accent )
      ASCII code 240 = ≡ ( Congruence relation symbol )
      ASCII code 241 = ± ( Plus-minus sign )
      ASCII code 242 = ‗ ( underline or underscore )
      ASCII code 243 = ¾ ( three quarters, three-fourths )
      ASCII code 244 = ¶ ( Paragraph sign or pilcrow ; end paragraph mark )
      ASCII code 245 = § ( Section sign )
      ASCII code 246 = ÷ ( The division sign ; Obelus )
      ASCII code 247 = ¸ ( cedilla )
      ASCII code 248 = ° ( Degree symbol )
      ASCII code 249 = ¨ ( Diaresis )
      ASCII code 250 = · ( Interpunct or space dot )
      ASCII code 251 = ¹ ( Superscript one, exponent 1, first power )
      ASCII code 252 = ³ ( Superscript three, exponent 3, cube, third power )
      ASCII code 253 = ² ( Superscript two, exponent 2, square, second power )
      ASCII code 254 = ■ ( black square )
      ASCII code 255 = nbsp ( Non-breaking space or no-break space )
      Links : [ Home ] - [ PDF format ] - [ plain text ] - [ Excel spreadsheet ] - [ Word document ] - [ image 1 ] - - [ en español ] Keywords for this page - The complete table of ASCII characters, codes, symbols and signs :
      How to type or write The complete table of ASCII characters, codes, symbols and signs ascii, ascii art, ascii table, code ascii, ascii character, ascii text, ascii chart, ascii characters, ascii codes, characters, codes, tables, symbols, list, alt, keys, keyboard, spelling, control, printable, extended, letters, epistles, handwriting, scripts, lettering, majuscules, capitals, minuscules, lower, case, small, acute, accent, sharp, engrave, diaresis, circumflex, tilde, cedilla, anillo, circlet, eñe, enie, arroba, pound, sterling, cent, type, write, spell, spanish, english, notebooks, laptops, ascii, asci, asccii, asqui, askii, aski, aschi, aschii, (153) .

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