Saturday, April 25, 2015

Flood (Bullfrog 1990)

Flood (video game)

From Wikipedia, the free encyclopedia
Cover art for Flood
Developer(s)Bullfrog Productions
Publisher(s)Electronic Arts
Platform(s)AmigaAtari ST
Release date(s)1990
Mode(s)Single player
Flood is a 1990 platform game developed by Bullfrog Productions. It was published for the Amiga and Atari ST by Electronic Arts. The objective is to collect all the litter and find the exit to the level. The game was not a huge commercial success and contained rather experimental styles of gameplay for its time, as well as a quirky sense of humour.


The player controls a character named 'Quiffy', who is the last of his race of small green creatures. He lives underground in a series of sewers and tunnels. His mission is to reach the surface by navigating all the sewers, whilst they are slowly flooding. Quiffy can walk on walls and ceilings.


Quiffy must collect all of the various pieces of litter on the level and then find the exit to complete each level. In general the litter is not particularly hidden, it is just distributed around the level. Quiffy can climb on most walls and ceilings, and swim through water. He has energy which depletes upon touching dangerous objects, but can also die instantly when touching any of the few lethal objects. Although he can swim and has the appearance of an amphibious life-form, he can only breathe above water and will start to drown if he runs out of air.
In each level, you are followed by the ghost of your Aunt Matilda. She copies your movements exactly and starts off about 15 seconds behind you. However, she is very slightly faster than you and will eventually catch up with you. Touching the ghost will hurt Quiffy.
Most of the levels have taps in them, which pour water in to the level. The modelling of the water was quite advanced for a home computer game of its time; the water will flow to the lowest point that it can and when multiple taps are pouring water in one place, it will fill up proportionally fast. A lot of levels feature taps in all areas so the entire level will eventually flood, leaving Quiffy with no available source of air. This aspect is how the game derives its title.


Quiffy starts each level with no weapon, and can pick up any of five available weapons. He can only hold one of these at any time and if he picks up another one, it will swap for the current one.
  • Boomerang: This spins in a curve back towards the player.
  • Dynamite: This sits for a second and then explodes with a large force. It is easy to injure yourself with this weapon.
  • Flamethrower: A horizontal wall of fire shoots out, and extends to unlimited range, and remains until the player lets go of the fire button. This is the most powerful weapon. However at random times a rubber chicken will appear instead of the weapon.
  • Grenades: A grenade drops and explodes with a smaller force than the dynamite. It is similarly possible to injure yourself with this weapon.
  • Shuriken: A throwing star shoots out diagonally and bounces off walls for a while. This weapon is extremely good at spreading damage over a wide area.


There are various enemies on each level, some of which have special properties. In general the enemies move around in a specific pattern, and when killed will throw a heart up which will return health to Quiffy.
  • One enemy resembles a teddy bear, but has a large mouth with a set of teeth in its stomach. It can eat the litter so Quiffy doesn't have to pick it up. They will kill Quiffy with a single touch, though. They are called "Psycho Teddy"
  • One enemy looks like a walking squid and will create litter wherever it walks. This makes it slightly harder for the player. They are called "Bulbous-headed Vongs"
  • The enemies had curious names such as 'Plonkin Donkin'.
  • "Aunt Matilda" is the name of the ghost that follows you around

Obstacles and traps[edit]

  • Lasers: These appear like a beam of light stretching between two metal gaskets. The light extends from each side to the middle and retracts again at periodic intervals. Unlike a real laser, the light moves very slowly, and Quiffy can walk on top of the beam or stick to the underside. If the extending light hits Quiffy, it will hurt him a small amount and then start to retract.
  • Missile launchers: These fire out a barrage of dangerous missiles.
  • Lava: This is fatal to Quiffy. The lava does not react to the flood water in any way.
  • Warps: These look like exits or other doors, and move you between another similar door elsewhere in the level.
  • Land mines: These explode like a grenade and throw up a heart as well as catapulting Quiffy up in the air.
  • Switches: You can change parts of the levels with switches, and sometimes the changes can be quite drastic, such as suddenly creating a large group of enemies out of nowhere, or restructuring large parts of the level.
  • Crystal: There is also a small crystal which will kill Quiffy instantly, it only appears in two levels of the game.


  • Balloons: If Quiffy touches the balloon dispenser, he will get a set of three balloons and float upwards towards the top of the level. He will only fall if the balloons are popped, either by being hit by an enemy or by touching a wall.
  • Parachute: This is similar to the balloons, only working downwards instead of upwards.
  • Plunger: This stops all taps on the level for a short amount of time.
  • Drip: This speeds up all taps on the level, making it roughly the opposite of the plunger item.
  • Cocktail: This fills up Quiffy's health to maximum.
  • Pint of Guinness: This gives Quiffy an extra life.
  • Space hopper: Quiffy can ride this and bounce around the play area, able to reach much greater heights than with regular jumping.


  • The ending cutscene featured Quiffy being run over by a car after reaching the surface.
  • The flame thrower weapon randomly changes into a rubber chicken at infrequent intervals, with Quiffy responding with a surprised look. The player has to press fire again to use the flame thrower.
  • The levels are accessed using four letter passwords, which were all real words. Although passwords for most of the levels exist, the game infrequently gave them out. The final level has the password 'MEEK' which may be a reference to the meek inheriting the Earth.
  • Almost all the levels feature a secret bonus area which you can only access by getting Quiffy in to a specific, exact position. When he is in that position, he will instantly appear in the bonus area. Getting him out of the bonus area is similarly done by positioning Quiffy but usually easier because the exits are placed in logical or obvious ways. Finding these areas is notoriously difficult as there are no clues and many possibilities, and they are only likely to be found by chance.

Friday, April 24, 2015

Piero Piccioni - Colpo Rovente (1969)

Frank was removed from an investigation that led on MacBrown, owner of a pharmaceutical company, but suspected of drug trafficking and illegal experiments on teenagers. When MacBrown is killed in a crowd and daughter Monica offers a strong cuts for the capture of the murderer of his father, Frank was called to investigate the murder. The clues lead him to seek Fanny Talon and Acapulco to ascertain the motive of 'murder. Meanwhile, the deaths continue.
"Colpo rovente" - Con Carmelo Bene - Regia di Piero Zuffi (Italy, 1969). Collaborazione alla sceneggiatura di Ennio Flaiano.
Con Carmelo Bene, Michael Reardon, Barbara Bouchet, Isa Miranda.
Musiche di Piero Piccioni.

OOZE - You Belong To The City (30% mix)

Don - Soul Dracula (Thai Beat A-Go-Go Vol 3)

Various ‎– Thai Beat A Go-Go - Volume 3

Subliminal Sounds ‎– SUB-074-LP
Vinyl, LP, Compilation 


A1Petch Pintong*Soul Lum Piern
A2Jiraphand Ong-Ard*Siamese Boxing
A3Chailai* & Sawanee*Oye Jeb (Hurt)
A4Boobpa Saichol*Seng Rabird (So Weary)
A5Brothers, The (12)Jai Ying (Woman's Heart)
A6Benjamas* & Sawanee*Rak Mai Chai Len (Love's Not A Game)
A7Traces*Je T'Aime
B1Oriental Funk*Come Together
B2Don*Soul Dracula
B3Panatda*Let's Go!
B4Panatda*Flash Disco
B5Chantana*Changwah Disco
B6Law & The Sandy, TheParadise In Bangkok

Companies etc



Gatefold Sleeve

Groovy Sounds of the Land of Smile!

℗ & © 2010 Subliminal Sounds

Thursday, April 23, 2015

The Velocity of Now - APRIL 23, 2015 with Thomas Sheridan - War Magic

Dazzle camouflage

From Wikipedia, the free encyclopedia
"Dazzle Ships" redirects here. For the Orchestral Manoeuvres in the Dark album, see Dazzle Ships (album).

USS West Mahomet in dazzle camouflage, 1918
Dazzle camouflage, also known as razzle dazzle or dazzle painting, was a family of ship camouflage used extensively in World War I and to a lesser extent in World War II and afterwards. Credited to artist Norman Wilkinson, though with a prior claim by the zoologist John Graham Kerr, it consisted of complex patterns of geometric shapes in contrasting colours, interrupting and intersecting each other.
Unlike some other forms of camouflage, dazzle works not by offering concealment but by making it difficult to estimate a target's range, speed and heading. Norman Wilkinson explained in 1919 that dazzle was intended more to mislead the enemy as to the correct position to take up than actually to miss his shot when firing.
Dazzle was adopted by the British Admiralty and the U.S. Navy with little evaluation. Each ship's dazzle pattern was unique to avoid making classes of ships instantly recognisable to the enemy. The result was that a profusion of dazzle schemes were tried, and the evidence for their success was at best mixed. So many factors were involved that it was impossible to determine which were important, and whether any of the colour schemes were effective.
Dazzle attracted the notice of artists, with Picasso notably claiming cubists had invented it. The vorticist artist Edward Wadsworth, who supervised the camouflaging of over 2,000 ships during the First World War, painted a series of canvases of dazzle ships after the war, based on his wartime work.


HMS Argus displaying a coat of dazzle camouflage in 1918

HMAS Yarra in dazzle camouflage while sailing in the Persian Gulf, August 1941
At first glance, dazzle seems an unlikely form of camouflage, drawing attention to the ship rather than hiding it, but this technique was developed after Allied navies were unable to develop effective means to hide ships in all weather conditions.
The British zoologist John Graham Kerr, who first applied dazzle camouflage to British warships in WWI, outlined the principle in a letter to Winston Churchill in 1914 explaining that disruptive camouflage sought to confuse, not to conceal, "It is essential to break up the regularity of outline and this can be easily effected by strongly contrasting shades ... a giraffe or zebra or jaguar looks extraordinarily conspicuous in a museum but in nature, especially when moving, is wonderfully difficult to pick up."[1]
While dazzle did not conceal a ship, it made it difficult for the enemy to estimate its type, size, speed, and heading. The idea was to disrupt the visual rangefindersused for naval artillery. Its purpose was confusion rather than concealment.[2] An observer would find it difficult to know exactly whether the stern or the bow was in view; and it would be equally difficult to estimate whether the observed vessel was moving towards or away from the observer's position.[3]
Rangefinders were based on the coincidence principle with an optical mechanism, operated by a human to compute the range. The operator adjusted the mechanism until two half-images of the target lined up in a complete picture. Dazzle was intended to make that hard because clashing patterns looked abnormal even when the two halves were aligned. This became more important when submarine periscopes included similar rangefinders. As an additional feature, the dazzle pattern usually included a false bow wave intended to make estimation of the ship's speed difficult.
Dazzle camouflage was accepted by the Admiralty, even without practical visual assessment protocols for improving performance by modifying designs and colours.[4] The dazzle camouflage strategy was adopted by other navies. This led to more scientific studies of colour options which might enhance camouflage effectiveness. Broken colour systems which present units so small as to be invisible as such at the distances considered are neither advantageous nor detrimental to the dazzle effect; the visibility of the camouflaged vessel at a given distance would depend entirely upon such scientifically measurable factors as the mean effective reflection factor, hue and saturation of the surface when considered at various distances.[5]


Painting of Dazzle-ships in Drydock at Liverpool, byEdward Wadsworth, 1919
Further information: Camoufleurs
In 1914, Kerr persuaded the First Lord of the Admiralty, Winston Churchill, to adopt a form of military camouflage which he called "parti-colouring". He argued both forcountershading (following the American artist Abbott Thayer), and for disruptive patterning.[6] A general order to the British fleet issued on November 10, 1914 advocated use of Kerr's approach. It was applied in various ways to British warships such as HMS Implacable, where officers noted approvingly that the pattern "increased difficulty of accurate range finding". However, following Churchill's departure from the Admiralty, the Royal Navy reverted to plain grey paint schemes,[7] informing Kerr in July 1915 that "various trials had been undertaken and that the range of conditions of light and surroundings rendered it necessary to modify considerably any theory based upon the analogy of [the coloration of] animals".[8]

A painting by Norman Wilkinson of a convoy wearing his dazzle camouflage, 1918
The British Army inaugurated its Camouflage Section for land use at the end of 1916. At sea in 1917, heavy losses of merchant ships to Germany's unrestricted submarine warfare campaign led to new desire for camouflage. The marine painter Norman Wilkinson promoted a system of stripes and broken lines "to distort the external shape by violent colour contrasts" and confuse the enemy about the speed and dimensions of a ship.[9] Wilkinson, then a lieutenant commander on Royal Navy patrol duty, implemented the precursor of "dazzle" beginning with merchantman SSIndustry. Wilkinson was put in charge of a camouflage unit which used the technique on large groups of merchant ships. Over 4000 British merchant ships were painted in what came to be known as "dazzle camouflage", and dazzle was also applied to 400 naval vessels.[10] In August 1917, HMS Alsatian became the first Royal Navy vessel dazzle painted.
All British patterns were different, first tested on small wooden models viewed through a periscope in a studio. Most of the model designs were painted by women from London's Royal Academy of Arts. A foreman then scaled up their designs for the real thing. Painters, however, were not alone in the project. Creative people including sculptors, artists, and set designers designed camouflage.[11]

World War I[edit]

RMS Empress of Russia as a troopship, wearing dazzle camouflage
Dazzle's effectiveness was highly uncertain at the time of the First World War, but it was nonetheless adopted both in Britain and America. In 1918, the BritishAdmiralty analysed shipping losses, but was unable to draw clear conclusions;[12][13] with hindsight, too many factors (choice of colour scheme; size and speed of ships; tactics used) had been too varied for it to be possible to determine which factors were significant or which schemes worked best.[14] Thayer did carry out an experiment on dazzle camouflage, but it failed to show any reliable advantage of dazzle over plain paintwork.[15]
In a 1919 lecture, Norman Wilkinson explained:
The primary object of this scheme was not so much to cause the enemy to miss his shot when actually in firing position, but to mislead him, when the ship was first sighted, as to the correct position to take up. Dazzle was a method to produce an effect by paint in such a way that all accepted forms of a ship are broken up by masses of strongly contrasted colour, consequently making it a matter of difficulty for a submarine to decide on the exact course of the vessel to be attacked.[16]

World War II[edit]

An experimental scheme for merchant marine shipping
However effective dazzle camouflage may have been in World War I, it became less useful as rangefinders and especially aircraft became more advanced, and, by the time it was put to use again in World War IIradar further reduced its effectiveness. However, it may still have confounded enemy submarines. The US Navy implemented a camouflage painting program in World War II, and applied it to many ship classes, from patrol craft and auxiliaries to battleships and some Essex-class aircraft carriers. The designs (known as Measures, each identified with a number) were not arbitrary, but were standardised in a process which involved a planning stage, then a review, and then fleet-wide implementation.[17]
Not all USN measures involved dazzle patterns; some were simple or even totally unsophisticated, such as a false bow wave on traditional Haze Grey, or Deck Blue replacing grey over part or all of the ship (the latter being utilized to counter the kamikaze threat).[18] Dazzle measures were used until 1945; in February 1945 the USN Pacific Fleet decided to repaint its ships in non-dazzle measures against the kamikaze threat, while the Atlantic Fleet continued to use dazzle, ships being repainted if transferred to the Pacific.[19]
In the British Royal Navy, dazzle paint schemes reappeared in January 1940; these were unofficial and competitions were often held between ships for the best camouflage patterns. The RN Camouflage Department came up with a scheme devised by Peter Scott, a wildlife artist, which were developed into the Western Approaches Schemes. In 1942 the Admiralty Intermediate Disruptive Pattern came into use, followed in 1944 by the Admiralty Standard Schemes.[20]
Nazi Germany's Kriegsmarine first used camouflage in the 1940 Norwegian campaign. A wide range of patterns were authorised, but most commonly black and white diagonal stripes were used. Most patterns were designed to hide ships in harbour or near the coast; they were often painted over with plain grey when operating in the Atlantic.[21]

Art history[edit]

RMS Olympic in dazzle at Halifax, Nova Scotia painted by Arthur Lismer, 1919
The abstract patterns in dazzle camouflage inspired many artists. Picasso is reported to have taken credit for the modern camouflage experiments which seemed to him a quintessentially Cubist technique.[22] He is reported to have drawn the connection in a conversation with Gertrude Stein shortly after he first saw a painted cannon trundling through the streets of Paris.[3] Edward Wadsworth, who supervised dazzle camouflage painting in the war, created a series of canvases after the war based on his dazzle work on ships. In Canada, artists from the Group of Seven, notably Arthur Lismer, used dazzle ships in many wartime compositions.

HMS President painted by Tobias Rehberger in 2014 to commemorate the use of dazzle camouflage in World War I. Although a design this elaborate would not have been used in practice, it still requires more than a casual glance to work out which end of the ship is which.
In 2007, the art of concealment, including the evolution of dazzle, was featured as the theme for a show at theImperial War Museum.[23] In 2009, the Fleet Library at the Rhode Island School of Design exhibited its rediscovered collection of lithographic printed plans for the camouflage of World War I US merchant ships, in an exhibition titled "Bedazzled.".[24]
In 2014, the 14-18 Now Centenary Art Commission backed two new dazzle camouflage installations in the UK.[25] In the first, the former HMS Saxifrage, anchored since 1922 at Blackfriars Bridge in London, was painted by the German artist Tobias Rehberger in the manner of dazzle camouflage. And in the second, Venezuelan kinetic artist Carlos Cruz-Diez was commissioned to cover the Edmund Gardner pilot ship, in Liverpool's Canning Dock, with bright multi-coloured dazzle artwork, as part of the city's 2014 Liverpool Biennial art festival.[26]

Other uses[edit]

Today, patterns reminiscent of dazzle camouflage are in use to mask test cars during trials to protect details of coming car models.[27] For example, inFormula 1 during the 2015 testing period, the Red Bull RB-11 car was painted in a scheme intended to confound rival teams' ability to analyse its aerodynamics.[28] Dazzle camouflage is also invoked in makeup and hairstyle patterns intended to confound facial-recognition software.[29]

Jasper Maskelyne

From Wikipedia, the free encyclopedia
Jasper Maskelyne
Jasper Maskelyne.jpg
OccupationStage magician
Known forStories of wartime exploits
Jasper Maskelyne (1902–1973) was a British stage magician in the 1930s and 1940s. He was one of an established family of stage magicians, the son ofNevil Maskelyne and a grandson of John Nevil Maskelyne. He is most remembered, however, for his entertaining accounts of his work for British military intelligence during the Second World War, in which he claims that he created large-scale ruses, deception, and camouflage.

Stage magician[edit]

Maskelyne was a successful stage magician. His 1936 Book of Magic describes a range of stage tricks, including sleight of hand, card and rope tricks, and illusions of "mind-reading".[1][2]
A 1937 Pathé film, The Famous Illusionist, was made of Maskelyne, looking dapper and apparently eating a boxful of razor blades, one at a time.[3]

Wartime trickery[edit]

An inflatable dummy Sherman tank, one of many deceptions that Maskelyne claimed to have created
Maskelyne joined the Royal Engineers when the Second World War broke out, thinking that his skills could be used in camouflage. A story runs that he convinced sceptical officers by creating the illusion of a German warship on the Thames using mirrors and a model.[4]
Maskelyne was trained at the Camouflage Development and Training Centre at Farnham Castle in 1940. He found the training boring, asserting in his book that "a lifetime of hiding things on the stage" had taught him more about camouflage "than rabbits and tigers will ever know".[5] The camoufleur Julian Trevelyancommented that he "entertained us with his tricks in the evenings" at Farnham, but that Maskelyne was "rather unsuccessful" at actually camouflaging "concretepill-boxes".[6]
Brigadier Dudley Clarke, the head of the 'A' Force deception department, recruited Maskelyne to work for MI9 in Cairo. He created small devices intended to assist soldiers to escape if captured and lectured on escape techniques.[7] These included tools hidden in cricket bats, saw blades inside combs, and small maps on objects such as playing cards.[7]
Maskelyne was then briefly a member of Geoffrey Barkas's camouflage unit at Helwan, near Cairo, which was set up in November 1941. He was made head of the subsidiary "Camouflage Experimental Section" at Abbassia. By February 1942 it became clear that this command was not successful, and so he was "transferred to welfare"—in other words, to entertaining soldiers with magic tricks.[6][8][9] Peter Forbes writes that the "flamboyant" magician's contribution was[9]
either absolutely central (if you believe his account and that of his biographer) or very marginal (if you believe the official records and more recent research).[9]
His nature was "to perpetuate the myth of his own inventive genius, and perhaps he even believed it himself".[9] However, Clarke had encouraged Maskelyne to take credit for two reasons: as cover for the true inventors of the dummy machinery and to encourage confidence in these techniques amongst Allied high command.[7]
Maskelyne's book about his exploits, Magic: Top Secret, ghost-written, was published in 1949. Forbes describes it as lurid, with "extravagant claims of cities disappearing, armies re-locating, dummies proliferating (even submarines)—all as a result of his knowledge of the magic arts". Further, Forbes notes, the biography of Maskelyne by David Fisher was "clearly under the wizard's spell".[9] In his book, Maskelyne claims his team produced[10]
dummy men, dummy steel helmets, dummy guns by the ten thousand, dummy tanks, dummy shell flashes by the million, dummy aircraft...[10]
Jasper Maskelyne and his magic troupe departing from Nairobi in 1950. Jasper Maskelyne is on the right, touching the arm of Yvonne Helliwell, his stage assistant.


A study by Richard Stokes argues that much of the story concerning the involvement of Maskelyne in counterintelligence operations as described in the book "Magic: Top Secret" was pure invention and that no unit called the "Magic Gang" ever existed. Maskelyne's role in the deception war was marginal.[11][12]
Christian House, reviewing Rick Stroud's book The Phantom Army of Alamein in The Independent, describes Maskelyne as "one of the more grandiose members" of the Second World War desert camouflage unit and "a chancer tasked with experimental developments, who fogged his own reputation as much as any desert convoy".[13][14]
David Hambling, writing on Wired,[15] critiques David Fisher's uncritical acceptance of Maskelyne's stories: "A very colorful account of Maskelyne’s role is given in the book The War Magician—reading it you might think he won the war single-handed". Hambling denies Maskelyne's supposed concealment of the Suez Canal: "[I]n spite of the book's claims, the dazzle light[s] were never actually built (although a prototype was once tested)".[15]
In 2002 The Guardian wrote: "Maskelyne received no official recognition. For a vain man this was intolerable and he died an embittered drunk. It gives his story a poignancy without which it would be mere chest-beating".[16]


  • Maskelyne, Jasper; Groom, Arthur (1936), Maskelyne's Book of Magic, Harrap
  • Maskelyne, Jasper; Stuart, Frank S. (1949), Magic: Top Secret, Stanley Paul