Friday, November 27, 2020

Tomorrow, voters in the Australian electoral district of Groom are scheduled to go to the polls in a by-election following the resignation of Liberal National MP John McVeigh for family reasons. Groom is located in the state of Queensland, and is centred around the city of Toowoomba. At the last federal election, the Liberal National Party, Queensland’s dominant conservative party, won this seat by over 70% of the two-party-preferred vote, and since the seat’s creation in 1984, it has been held by conservative political parties.

Some political analysts considered this a foregone conclusion, with analyst Kevin Bonham having declared it on his blog as “Australia’s most boring by-election”, however Bonham noted the size of the swing may have been indicative of the dominant centre left Labor Party’s general performance in Queensland. There was a 4.2% swing against the Labor Party in the state of Queensland at the previous federal election.

Wikinews spoke to one of the four candidates running in the by-election, Craig Farquharson, who is running for the Liberal Democrats. Liberal Democrats describes itself as standing for “individual liberty, free markets and small government”. The party has two elected officials, who sit in the Victorian Legislative Council. Farquharson is a former military contractor and owns the King Vapealot vape store in Toowoomba.

Saturday, February 11, 2012

Three nations in three continents have seen attention focused on high suicide rates this week. A study found Scotland’s suicide rate to be increasing away from neighbouring England, Russian press and politicians are examining the world’s third-highest teen suicide rate, and new figures showed increasing Aboriginal children’s suicides in Australia’s Northern Territory.

“Until the highest authorities see suicide as a problem, our joint efforts will be unlikely to yield any results,” Boris Polozhy of Moscow’s Serbsky psychiatric center said yesterday. Only fellow ex-USSR nations Belarus and Kazakhstan have higher teen suicide rates than Russia, which is at around 20 per 100,000 nationally. Tuva, Siberia and nearby Buryatiya have rates of 120 and 77 per 100,000 respectively. Thursday saw national children’s ombudsman Pavel Astakhov say 4,000 youths kill themselves each year.

Top Health Ministry psychologist Zurab Kekelidze yesterday responded to expert calls for action, promising to “very soon… start implementing” a plan of action to tackle the issue. He said Russian schools, which are criticised for understaffing and perceived inattention to bullying, should teach psychology.

Kekelidze asked the Russian Orthodox Church to help the suicidal, and severely criticised popular online forums dedicated to suicide, where methods are compared. “I have seen websites that offer a thousand ways of killing oneself,” he claimed. Astakhov wanted schools to offer assistance via a social networking presence and tackle online bullying.

The overall national suicide rate is decreasing — down from 42 per 100,000 in 1995 to 23.5 two years ago. The high rate amongst teens is attributed to both school problems and violence at home. Recent high-profile cases include yesterday’s death of a twelve-year-old who hung himself at home in Krasnoyarsk, Siberia, and two fourteen-year-olds who jumped hand-in-hand to their ends from a building in Lobnya, Moscow.

Researchers from the Scottish cities of Edinburgh and Glasgow, and Manchester in England, have been looking at data from 1960 to 2008. Although Scotland had the lower rate until 1968, England and Wales has had the lower rate since. Both areas had increasing rates until the southern side started to fall in the ’90s, and in recent years the gap has significantly increased.

Data was sorted by age, gender, and method; marked increases were seen among Scotsmen aged from 25 to 54 with hanging increasing in popularity. The female rate has remained largely static.

“This study adds to our understanding about patterns of suicide in Great Britain by producing sound evidence on divergences in long-term trends in Scotland compared to England and Wales,” said Professor Stephen Platt, a lead researcher from Edinburgh University’s Centre for Population Health Sciences. “In a future companion paper we will suggest explanations for the persisting higher rate of suicide in Scotland.”

Fellow joint lead researcher Roger Webb of the Centre for Suicide Prevention of Manchester University said the high Scottish hanging rate was “of particular concern as hanging has high case-fatality and is difficult to prevent, except within institutional settings.” He noted “a public information campaign about hanging” could be one way of reducing the rate. Paid for by the Scottish taxpayer, the results appeared in the British Journal of Psychiatry.

In an incident with parallels to the recent Moscow deaths, in 2009 Scottish and British media publicised a high-profile case in which two teenagers leap together from the Erskine Bridge, a famed suicide spot over the River Clyde where an estimated fifteen people kill themselves each year.

This week also saw Howard Bath, Children’s Commissioner for Australia’s Northern Territory, suggest the area had the highest proportion of Aborignal girl suicides in the West. There has been a significant increase since an emergency intervention five years ago in response to a report titled Little Children are Sacred which documented widespread sexual abuse of Northern Territory children and failures by authorities to adequately respond.

A national government-backed Northern Territory suicide inquiry is ongoing and due to report next month. The inquiry has heard clusters of deaths occurred around East and West Arnhem, Katherine, and the vicinity of Alice Springs. The Tiwi Islands had a very high rate from 2000 to 2005, but has now not had a suicide for a year.

Female suicide rates have greatly increased to account for 40% of Northern Territory suicides amongst those aged less than eighteen. “We now have a situation in the territory where there are almost as many female as male suicides,” said Bath. Lack of information is a problem; the all-party inquiry has heard evidence of much under-reporting and poor data collection. The Menzies School of Health’s Gary Robinson called for a Queensland-style register of suicides.

Robinson suggests cannabis-induced psychosis to be a contributing factor but laments “The big problem is nobody keeps any data. Everything is based on impressions.” He also suggested bullying, as in Russia, is a problem while Bath notes violence against women may also take a role. “Aboriginal women are being hospitalised for assault at 80 times the rate of other women… Exposure to violence greatly increases the risk of a person taking their life.” He also notes “I am concerned, as the commissioner, about children who are frequently exposed to violence in the home or in the immediate family.”

As with Scotland, hanging is a popular choice. “The method chosen is usually hanging and it is a particularly lethal method, far more than an overdose,” said Bath. New South Wales, with the nation’s largest indigenous population, has a suicide rate of one per 100,000 but the Northern Territory rate is over 30 per 100,000.

Wednesday, December 16, 2009

A report published last week in the Toronto Star by Professor Michael Geist of Canada’s University of Ottawa claims a copyright case under the Class Proceedings Act of 1992 may see the country’s largest players in the music industry facing upwards of C$6 billion in penalties.

The case is being led by the family and estate of the late jazz musician Chet Baker; moving to take legal action against four major labels in the country, and their parent companies. The dispute centres around unpaid royalties and licensing fees for use of Baker’s music, and hundreds of thousands of other works. The suit was initially filed in August last year, but amended and reissued on October 6, two months later. At that point both the Canadian Musical Reproduction Rights Agency (CMRRA) and Society for Reproduction Rights of Authors (SODRAC) were also named defendants.

January this year SODRAC and CMRRA switch sides, joining Baker et al. as plaintiffs against Sony BMG Music, EMI Music Canada, Universal Music Canada and Warner Music Canada. David A. Basskin, President and CEO of CMRRA, with a professional law background, stated in a sworn affidavit that his organisation made numerous attempts over the last 20 years to reduce what is known as the “pending list”, a list of works not correctly licensed for reproduction; a list of copyright infringements in the eyes of the Baker legal team.

The theoretical principle of the list is to allow timely commercial release while rights and apportionment of monies due are resolved. Basskin complains that it is “economically infeasible to implement the systems that would be needed to resolve the issues internally”. And, “[…] for their part, the record labels have generally been unwilling to take the steps that, in the view of CMRRA, would help to resolve the problem.”

The Baker action demands that the four named major labels pay for and submit to an independent audit of their books, “including the contents of the ‘Pending Lists'”. Seeking an assessment of gains made by the record companies in “failure or refusal to compensate the class members for their musical works”, additional demands are for either damages and profits per the law applicable in a class action, or statutory damages per the Copyright Act for copyright infringement.

This forms the basis for Professor Geist’s six billion dollar calculation along with Basskin’s sworn testimony that the pending lists cover over 300,000 items; with each item counted as an infringement, the minimum statutory damages per case are CA$500, the maximum $20,000.

Basskin’s affidavit on behalf of CMRRA goes into detail on the history leading up to the current situation and class action lawsuit; a previous compulsory license scheme, with poor recordkeeping requirements, and which, had a decline in real terms to one of the lowest fees in the world, was eventually abolished and the mechanical license system introduced. The CMRRA went on to become a significant representative of music publishers and copyright holders, and the pending list an instrument to deal with situations where mechanical rights were as-yet not completely negotiated. Basskin’s affidavit claiming the list grew and circumstances worsened as time progressed.

The Mechanical Licensing Agreement (MLA) between the “majors'” industry body, an attached exhibit to the affidavit, is set to expire December 31, 2012; this is between CMRRA and the Canadian Recording Industry Association (CRIA). With the original MLA expiring at end September 1990, CMRRA negotiated more detailed terms and a “code of conduct”. Subsequent agreements were drawn up in 1998, 2004, 2006, and 2008.

Basskin asserts that the named record company defendants are the “major” labels in Canada and states they “are also responsible for creating, maintaining and administering the so-called “Pending Lists” that are the subject of the current litigation”; that, specific to publishing, divisions of the four represent the “‘major’ music publishers active in Canada”. Yet the number of music publishers they represent has decreased over time due to consolidation and defection from the CRIA.

Geist summarizes the record company strategy as “exploit now, pay later if at all”. This despite the CMRRA and SODRAC being required to give lists of all collections they represented to record labels, and for record labels to supply copies of material being released to permit assessment of content that either group may represent interested parties for. Where actual Mechanical License Agreements are in place, Basskin implies their terms are particularly broad and preclude any party exercising their legal right to decline to license.

Specific to the current Mechanical Licensing Agreement (MLA) between the CMRRA and the CRIA; a “label is required to provide an updated cumulative Pending List to CMRRA with each quarterly payment of royalties under the MLA.” The CMRRA is required to review the list and collect where appropriate royalties and interest due. Basskin describes his first encounter with pending lists, having never heard of them before 1989, thus:

Alain Lauzon, General Manager of Canada’s Society for Reproduction Rights of Authors, Composers and Publishers (SODRAC) submitted his followup affidavit January 28, 2009 to be attached to the case and identify the society as a plaintiff. As such, he up-front states “I have knowledge of the matters set out herein.” Lauzon, a qualified Chartered Accountant with an IT specialisation, joined SODRAC in 2002 with “over 20 years of business experience.” He is responsible for “negotiation and administration of industry-wide agreements for the licensing of music reproduction and distribution”; licensing of radio and online music services use is within his remit.

Lauzon makes it clear that Baker’s estate, other rightsholders enjoined to the case, SODRAC, and CMRRA, have reached an agreed settlement; they wish to move forward with a class proceeding against the four main members of the CRIA. He requests that the court recognise this in relation to the initially accepted case from August 2008.

The preamble of the affidavit continues to express strong agreement with that of David Basskin from CMRRA. Lauzon concurs regarding growing use of “pending lists” and that “[…] record labels have generally been unwilling to take the steps that would help to resolve the Pending List problem.”

With his background as an authority, Lauzon states with confidence that SODRAC represents “approximately 10 to 15% of all musical works that are reproduced on sound recordings sold in Canada.” For Quebec the figure is more than 50%.

Lauzon agrees that the four named record company defendants are the “major” labels in Canada, and that smaller independent labels will usually work with them or an independent distribution company; and Basskin’s statement that “[t]he responsibility to obtain mechanical licenses for recordings manufactured and/or released in Canada falls with the Canadian labels by law, by industry custom, and by contractual agreement.”

Wikinews attempted to contact people at the four named defendant CRIA-member record labels. The recipient of an email that Wikinews sent to Warner Brothers Canada forwarded our initial correspondence to Hogarth PR; the other three majors failed to respond in a timely fashion. Don Hogarth responded to Wikinewsie Brian McNeil, and, without addressing any of the submitted questions, recommended a blog entry by Barry Sookman as, what he claimed is, a more accurate representation of the facts of the case.

Sookman is a lobbyist at the Canadian Parliament who works in the employ of the the Canadian Recording Industry Association (CRIA). Hogarth gave no indication or disclosure of this; his direction to the blog is to a posting with numerous factual inaccuracies, misdirecting statements, or possibly even lies; if not lies, Sookman is undoubtedly not careful or “very qualified” in the way he speaks on the issue.

Sookman’s blog post opens with a blast at Professor Geist: “his attacks use exaggeration, misleading information and half truths to achieve his obvious ends”. Sookman attempts to dismiss any newsworthiness in Geist’s article;

As the extracted [see right] stamp, date, and signature, shows, the court accepted amendments to the case and its submission, as Professor Geist asserts, on October 6. The previously mentioned submissions by the heads of CMRRA and SODRAC were indeed actions within the past year; that of SODRAC’s Alain Louzon being January 28 this year.

Sookman continues his attack on Professor Geist, omitting that the reverse appears the case; analysis of his blog’s sitemap reveals he wrote a 44-page attack on Professor Geist in February 2008, accusing him of manipulating the media and using influence on Facebook to oppose copyright reform favourable to the CRIA. In the more current post he states:

This characterisation of the pending list only matches court records in that it “has been around for decades”. CMRRA’s Basskin, a lawyer and industry insider, goes into great detail on the major labels resisting twenty years of collective societies fighting, and failing, to negotiate a situation where the labels take adequate measures to mechanically license works and pay due fees, royalties, and accrued interest.

What Sookman clearly overlooks is that, without factoring in any interest amounts, the dollar value of the pending list is increasing, as shown with the following two tables for mid-2008.

As is clear, there is an increase of C$1,101,987.83 in a three-month period. Should this rate of increase in the value of the pending list continue and Sony’s unvalued pending list be factored in, the CRIA’s four major labels will have an outstanding debt of at least C$73 million by end-2012 when the association’s Mechanical Licensing Agreement runs out.

Thursday, June 1, 2006

If you’ve always wanted to live in a world populated by elves, dwarves and wizards, you don’t need to pay for a World of Warcraft subscription or buy the Special Extended DVD Trilogy Edition of The Lord of the Rings just yet. You could instead give Battle for Wesnoth a try — an open source turn-based strategy game in a fantasy setting. For the practically minded, “open-source” means that the code which the game is made of is available to anyone who wishes to use, redistribute or change it. It was created by volunteers and can be freely shared. Even the multiplayer online part of the game is free (no ads or spyware either).

But Wesnoth, as it is often abbreviated, is notable not only because it is free. While its graphics are simple by modern standards, the sheer number of units and scenarios that are available for the game is staggering. This is where the “open source” philosophy comes truly into play: anyone can contribute art or new campaigns. As of May 2006, the forum where users can share and discuss their own art contained over 25,000 messages. Most of this art is made available under the same open source terms as the game itself.

Battle for Wesnoth lets you command armies of units such as archers, swordmen, mages and gryphons during the course of a campaign consisting of multiple missions. Typically, your mission is to defeat an enemy leader, but some scenarios let you liberate a prisoner, find a lost artifact, traverse dangerous territories, and so on. Your best units can be taken from one mission to the next, “levelling up” in the process. Even units of the same type vary in their abilities, making the tactical use of the right unit at the right time very important.

The game is reminiscent of turn-based strategy classics such as Heroes of Might and Magic or Warlords. Throughout each campaign, the player is informed of the progress of the story. For instance, in the “Heir to the Throne” campaign, the player follows the story of Prince Konrad, who must reclaim the throne of Wesnoth from an evil queen.

The game was originally designed by David White, who is still the project’s lead developer. We exchanged e-mails with David about the state of open source gaming, the future of Wesnoth, and the collaborative aspects of game development.

David, thanks for taking our questions. Open source games suffer from the problem that very few people have all the abilities needed to make a good game: programming, graphics, story development, sound effects, music, and so on. When you started Battle for Wesnoth, how did you deal with this?

Not very well.  🙂

Version 0.1 of Wesnoth was developed entirely by me, and it was ugly. It had awful graphics, and no sound or music at all.

I think the best way to deal with the problem is to make an early version of the game which showcases the desired gameplay. Then, people with the appropriate skills who like the game will contribute. This worked out well with Wesnoth, anyhow, as I soon attracted a fine artist, Francisco Munoz, and once the graphics were decent, more people started wanting to help.

I noticed that the forum allows anyone to submit art for the game. How important have contributions from ordinary players been for development?

Well, as with almost any free software project, contributions from users have been very important. In the area of art, this is definitely so, though making a substantial contribution of art generally requires a reasonable amount of skill, so the number of people who can contribute art is somewhat limited.

This has meant that the number of people who contribute art is much smaller than, say, the number of people who contribute bug reports or feature requests. Still, there are plenty of good pixel artists out there, and we have had many good contributions from our community.

Also, within the game itself, it’s possible to directly download new campaigns from the Internet, many of which have been created by players. Do you think that, in essence, we are seeing the beginnings of applying “wiki” principles to game development?

On one hand, I see the ability to directly download new campaigns as a mild convenience — it wouldn’t be much more difficult for the user to, for instance, go to a web page and download campaigns.

On the other hand, it does blur the line between ‘developer created content’ and ‘user created content’ and so, like a Wiki, makes it much easier for any user to contribute to the game.

I think that for an Open Source game, making it as easy as possible for users to contribute content is a key way to help make the game succeed. We have tried hard to do this in Wesnoth. I don’t think that with something dynamic like a game, it’s quite as easy to make absolutely anyone be able to edit it or contribute as easily as they can in a Wiki, but we have tried to make it as easy as possible.

How do you moderate user-submitted content? Are there scenarios or graphics you have rejected because they crossed a line — sexual content, excessive violence, etc.?

Well, there are basically three levels of content acceptance:

1. ‘Official’: content can be accepted into the game itself — the content will reside in our SVN repository, and will be in the tarballs released by developers.
2. ‘Campaign Server’: Content can be allowed on the campaign server (the server which users can connect to in-game to download more content).
3. ‘Disallowed’: Finally, content can be disallowed on the campaign server, which means that the creator could only distribute it using their own channels (for instance, having a web site people could download it from).

Content only makes it to (1) if the developers happen to like it very much. We don’t have any firm rules as to what is allowed and disallowed, and a campaign that has short-comings from the developer’s point of view might still be allowed if it is exceptional in other areas. As an example of this, the campaign ‘Under the Burning Suns’ contained explicit references to religion. To avoid controversy, we wanted to avoid references to religion in Wesnoth. However, recognizing the exceptional quality of the campaign, we decided to accept it into the official version of Wesnoth in spite of this one aspect we didn’t like.

Artwork containing nudity has also been a controversial point in the past, as has violence (particularly explicit depiction of blood). We generally take the point of view that we will review each item as it comes, rather than making blanket rules.

With regard to whether we allow things onto the campaign server, (2), our general policy is that to be allowed onto the campaign server, the content need only be licensed under the GPL. However, we reserve the right to remove content that we consider to be distasteful in any way. Fortunately, our content submitters are generally very reasonable, and we haven’t had to exercise this right.

Our aim is to keep Wesnoth appropriate for users of any age and background — of course, it contains some level of violence, but this is not depicted very explicitly, and only parents who do not want to expose their children to animated violence of any level need be concerned. For this reason, we also do not allow expletives on our forums or IRC channels.

How do you feel about games like “Second Life”, where players trade user-generated content for money?

I’ve never understood the appeal of games like that. I don’t enjoy cheating in games, and to me buying items with real money seems like cheating — except worse, since it actually costs money.

What changes to the game or gameplay do you anticipate in the coming months and years?

Well, we’ve avoided making many gameplay changes at all, since very early on in Wesnoth’s development. Wesnoth is meant to be a simple game, with simple gameplay, and ‘changing’ gameplay will probably lead to it being more complex. We want to keep it simple.

Changes will probably focus on improving existing features, and making the engine a little more customizable. Enhancing the multiplayer component is big on the list — we’ve progressively added more and more features on the server. We also want to add more graphical enhancement. For instance, a particle system to allow various combat effects.

If you had unlimited resources at your disposal to improve the game, what would you change about it?

Wesnoth was always designed to be a simple game, with simple goals. It has exceeded all the expectations I originally had for it. There is still some ‘polishing’ work going on, but really I don’t think there is too much I would dramatically change.

Probably the largest thing I can name is a much better AI than we currently have. I’m pretty happy with the AI developed for Wesnoth — I think it’s much better than AIs for most commercial games — but it could be better. That’s the only area of Wesnoth that I think could really be very dramatically improved.

I am pretty happy with our in-game graphics. Some people compare our graphics to modern commercial games, and think our graphics are laughably poor. We often get comments that our graphics are around the same quality as those seen in SNES or Genesis games, or PC games from a decade ago. (These people should try playing a strategy game on the SNES/Genesis/PC from this long ago; Wesnoth’s graphics are much better).

I am very happy with our graphics overall. I think our artists have done an excellent job of making the game look attractive without detracting from functionality. Adding 3D graphics, or changing the style of the 2D graphics would only be wasted effort in my mind — I think we’ve achieved a great balance of making the game easy and clear, while making it look good.

With unlimited resources, I would like some more storyline/cutscene images, and a nice new title screen, but these are relatively small concerns I think.

There are some enhancements to multiplayer I would like added — multiplayer campaigns is a long-time feature request. As are more options and features on the multiplayer server.

Overall though, if I had ‘unlimited resources’, I’d much rather develop an entirely new game. We don’t have enough good Open Source games — it’s a waste to pour all the resources we have into one. 🙂

Wesnoth has dwarves with guns, World of Warcraft has gnomes and goblins with explosives and flying machines — where do you, personally, define the limits of the fantasy genre? Are there scenarios playing in a steampunk world, or ones with modern technology? Would you allow those?

Actually we have Dwarves with ‘Thundersticks’ 🙂 — mysterious weapons that make a loud sound and do lots of damage, but are clumsy and unreliable. The developers do not comment on whether or not these ‘thundersticks’ are or are not like ‘guns’ on earth. We like to keep Wesnoth slightly mysterious, and leave some things up to the player’s interpretation, rather than spell it out.

We once used to have dragoons with pistols, and other weapons like that, but we made a very intentional decision to remove them.

I don’t like categorizing things into ‘genres’. Many people debate whether Wesnoth is an ‘RPG’, or ‘strategy game’, etc. I think the debate of what genre something is in is largely irrelevant.

We do have a vision for what the world of Wesnoth is like though — and Wesnoth is a world of ancient-era weaponry, with a little magic. Of Elves and Dwarves and Orcs. Very much inspired by Tolkien. I actually originally chose this setting because my focus was on technical excellence — writing a good, solid engine — not on creating a new fantasy world. I decided to stick with a very well-known, proven theme, figuring I couldn’t go wrong with it.

We probably wouldn’t allow anything that departs dramatically from the world we’ve made into the official version of the game, but we’d be happy to have it on our campaign server. The main attempt at a ‘total modification’ of Wesnoth is a project known as Spacenoth, which has a sci-fi/futuristic theme.

At this time though, there is no release of this project. I hope they do well though.

How do you feel about turn-based games like “Heroes of Might and Magic” with their massive army-building and resource management? Do you think there’s going to be an open source equivalent of this type of game soon?

I haven’t played Heroes of Might and Magic very much. The few times I have played it, I thought it was boring to be honest. I don’t like the type of game where one marches armies around a ‘large map’ and then must ‘zoom in’ to a different ‘battle field’ every time a battle takes place. I find games like that to take far too long, and tend to become tedious.

I would prefer a civilization or perhaps colonization type game. FreeCiv is nice, though it’s close to being a clone of Civilization II. I’d like an original game that had the same sort of theme as civilization, but with new and innovative rules.

Every online game and community is also a social space. Have you met interesting people through Wesnoth whom you would not have met otherwise? Are there other stories you can tell from the community — have there been real world meetups, chat rooms, etc.?

I’ve come into contact with lots of very interesting people through Wesnoth, and have learned a great deal from them. The Wesnoth developers — many of whom are from Europe — used the LSM conference in France in 2004 as an opportunity to meet each other. Nekeme, an organization dedicated to developing and promotion Free games was kind enough to sponsor two developers to go. Unfortunately, I was not able to attend, but the developers who did had a very nice time.

We have several IRC channels on irc.freenode.net, and the most popular ones — #wesnoth and #wesnoth-dev are usually fairly busy with both discussion about Wesnoth, and friendly discussion of other topics.

Also, the developers have tried to make a habit of playing “co-operative multiplayer” games against the AI. During these games, we use the in-game chat facility to get to know each other better, and discuss improvements to the game.

Are there other open source games that have personally impressed you, or that you enjoy playing?

I’m afraid I haven’t played many. I like RPGs, and I know lots of people love NetHack and similar games, but I much prefer party-based and generally more storyline-oriented RPGs.

FreeCiv is pretty well-done, though I am happy to play commercial games, and so I think Civilization 3 and Civilization 4 are both technically superior in virtually every regard. I think that’s an inevitable problem when you make an Open Source game a straight clone of a commercial game.

Probably the most promising Open Source game I’ve seen is GalaxyMage, but it still has a long way to go.

Honestly, I don’t play that many games. I like playing commercial RPGs, usually console-based, with my wife, and I occasionally like playing the commercial Civilization series. To play an Open Source game, it’d have to be very good, and appeal to my tastes, and I haven’t found any Open Source games like that, sadly.

Saturday, September 3, 2005

Blizzard Entertainment has won a federal ruling in the U.S. Court of Appeals against the programmers of bnetd, a software package that emulates Blizzard’s Battle.net service. The court reaffirmed the original judgement, given in October, that the Digital Millennium Copyright Act and click-through EULA’s prohibited the reverse engineering of Blizzard’s software in order to improve their playability. This was the first real test of the DMCA’s applicability.

Bnetd, released under the GNU General Public License, was created to enable users to play multiplayer games, bypassing Blizzard’s freely accessible Battle.net servers, which have sometimes been unreliable or slow for gamers. The software also disabled the CD-Key check which is present in Battle.net to prevent users of pirated copies from being able to connect to Blizzard’s servers. Offers by bnetd developers to incorporate Blizzard’s CD-Check system were declined.

The CD-Check system itself has faced controversy, with some users complaining it borders on breaching privacy in the same way as adware and other malevolent software. This is not confined to Blizzard: controversy occurred when Sony Online Entertainment’s EverQuest had a similar system which was later disabled due to complaints. Other games designed for network play are also known to have similar systems in place, the most prominent perhaps being Valve Software’s Steam system developed for Half-Life 2.

Blizzard has produced many popular titles such as Starcraft, World of Warcraft and the Diablo series.

A compilation of brief news reports for Thursday, November 13, 2008.

A new study has found that people storing extra fat around their waist have a strongly increased chance of early death, even if their overall weight is average. The study, published in the New England Journal of Medicine today, found that for each addition 5 cm on the waist, the chance of early death is increased by between 13% and 17%.

In the study, 360,000 people from across nine countries in Europe were surveyed.

One of the study’s authors, Professor Elio Riboli of Imperial College London, commented on the findings. “We were surprised to see the waist size having such a powerful effect on people’s health and premature death,” he stated.

Sources

• “‘Love handles’ raise death risk” — BBC News Online, November 13, 2008
• Ian Sample. “Waist, not just weight, shows risk of premature death, study says” — The Guardian, November 13, 2008
• Tobias Pischon et al. “Abstract: General and Abdominal Adiposity and Risk of Death in Europe” — New England Journal of Medicine, November 13, 2008

The European Commission, the executive branch of the European Union, has today lifted its ban on unusually shaped fruits and vegetables, in what the EU’s agriculture commissioner has called “a new dawn for the curvy cucumber and the knobbly carrot”.

The regulation has previously been criticized as an example of the EU’s bureaucracy by critics of the organisation.

The products affected by the deregulation are apricots, artichokes, asparagus, aubergines, avocadoes, beans, Brussels sprouts, carrots, cauliflowers, cherries, courgettes, cucumbers, cultivated mushrooms, garlic, hazelnuts in shell, headed cabbage, leeks, melons, onions, peas, plums, ribbed celery, spinach, walnuts in shell, water melons and witloof/chicory.

Sources

• “EU slices up ‘ugly fruit’ rules” — BBC News Online, November 13, 2008
• “Europe Relaxes Rules on Sale of Ugly Fruits and Vegetables” — New York Times, November 13, 2008

A vase purchased at a car boot sale for £1 has sold for £32,450, following advice from experts on the BBC‘s Antiques Roadshow television program. The vase was sold in an auction at Christie’s.

The vase was found to be a 1929 work made by the French designer Rene Lalique.

Sources

• “Car boot sale vase nets £32,450” — BBC News Online, November 13, 2008
• “£32,449 profit for car boot sale vase by Lalique” — Times Online, November 13, 2008

Recent anonymous press briefings by US State Department officials indicated that its arms control division may punish Blackwater Worldwide for improper paperwork.

The Directorate of Defense Trade Controls has the power to fine or agree voluntary penalties with exporters of certain weapons, who do not follow correct procedures. Blackwater Worldwide, a private military company, exported automatic weapons to Iraq that became the subject of a federal investigation first disclosed in 2007.Concern was expressed by the unnamed officials that paperwork errors may make the weapons untraceable, and that some reached Iraq’s black market.

Sources

• “Blackwater Faces Millions in Fines for Weapons Shipments (radio show transcript)” — Democracy Now!, November 13, 2008
• Knight Ridder / McClatchy Newspapers. “Blackwater faces Fines over Arms Deal” — Military.com, November 13, 2008
• Dan Friedman, Congress Daily. “Blackwater could face sanctions for improper arms shipments” — Government Executive, November 7, 2008

Monday, May 21, 2012

Bruce, Canberra — This past week, an overstocked Australian Opals, the women’s national basketball team, prepared for the 2012 Olympic Games in London with a weeklong training camp at the Australian Institute of Sport (AIS) to be used to help narrow the nineteen member Opals squad down to the twelve that go to the Games, and provide players who rarely play together an extended period of time to play together in order to improve on court dynamics.

Camp started on Sunday, with players arriving from hometowns around Australia including Cairns, MacKay, Gladstone, Brisbane, Adelaide, and Melbourne.

The defending champions, the United States women’s national basketball team, are perceived as the Australian Opals’ main competitors. In the last three Olympic Games the Opals got silver medals. In each of these cases the United States got first place. Coach Carrie Graf said “thinking about the US too soon in inappropriate”, “Our focus is first and foremost, game by game winning our pool”. Amongst the Australian Opals’ competitors in the pool are Brazil, Russia, and Great Britain. Carrie Graf said Great Britain “will put up a fight on home turf” but there is a “world class [AIS] facility” and “world class medical support staff” supporting the team.

Australian Opal player Penny Taylor recently suffered injury from a torn anterior cruciate ligament, meaning she cannot play Olympics this year. In regards to the situation player Lauren Jackson, who is going into her fourth Olympics, said “you would never wish that upon anybody.” She says as a team they have to “move on, move through that” and “come together” to pick up their offence and defense. Despite the loss of one of their key players she says “we definitely have the talent there” and the team is all “on the same page.” She feels “pretty confident” and speaks of “very exciting” times ahead. Jenna O’Hea is going into her first Olympics with the team. She is still “pinching” herself and says she is taking it “day by day”.

A typical day at the camp might start with a 7.00am – 8.30am breakfast at the AIS Dining hall, before one and a half or two hours of court, gym, or swimming training. The middle of each day might consist of media meetings, medical checks, team meetings, and time to practise shooting. Around 12.00pm, the players meet to eat lunch and recover from the morning. The afternoon typically consists of more training, and some scrimmage games. Players usually finish around 7.00pm for dinner, and perhaps a massage.

The nineteen players in attendance this week at training camp were Suzy Batkovic, Abby Bishop, Elizabeth Cambage, Rohanee Cox, Cayla Francis, Kristi Harrower, Laura Hodges, Natalie Hurst, Lauren Jackson, Rachel Jarry, Kathleen MacLeod, Jenna O’Hea, Samantha Richards, Jennifer Screen, Belinda Snell, Marianna Tolo, Kristen Veal, Carly Wilson, and Hanna Zavecz. Basketball Australia has named fifteen players that are to attend the second phase of the camp: Suzy Batkovic, Abby Bishop, Elizabeth Cambage, Kristi Harrower, Laura Hodges, Lauren Jackson, Rachel Jarry, Kathleen MacLeod, Jenna O’Hea, Erin Phillips, Samantha Richards, Jennifer Screen, Belinda Snell, Marianna Tolo, and Hanna Zavecz.