AI Image Generators

Explore the best AI Image Generators — independent reviews, comparisons, pricing and step-by-step how-to guides, curated by Aizhi.

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  Virtual Woman

  Virtual Woman is a software program that has elements of a chatbot, virtual reality, artificial intelligence, a video game, and a virtual human. It claims to be the oldest form of virtual life in existence, as it has been distributed since the late 1980s. Recent releases of the program can update their intelligence by connecting online and downloading newer personalities and histories. == Program play == When Virtual Woman starts, the user is presented with a list of options and then may choose their Virtual Woman's ethnic type, personality, location, clothing, etc. or load a pre-built Virtual Woman from a Digital DNA file. Once the options are determined, the user is presented with a 3-D animated Virtual Woman of their selection and then can engage them in conversation, progressing in a manner similar to that of its predecessor, ELIZA and its successors, the chatbots. In most versions of Virtual Woman, this is done through the keyboard, but some versions also support voice input. == In popular culture == Software sales and usage statistics from private companies are difficult to verify. WinSite, an independent Internet shareware distribution site that does publish public download counts, has for some time now listed some version of Virtual Woman in their top three shareware downloads of all time with well over seven hundred thousand downloads. == Compadre == The group of beta testers and advisers for Virtual Woman are referred to as Compadre and have their own beta testing site and forum. == Criticisms == As Virtual Woman has developed the ability to conduct longer and more realistic interactions, particularly in recent beta releases, criticism has arisen that this may lead some users to social isolation, or to use the program as a substitute for real human interaction. However, these are criticisms that have been leveled at all video games and at the use of the Internet itself. == Release history == Versions of Virtual Woman with rough release dates and PC platforms for which they were designed: Virtual Woman (????) (DOS) Virtual Woman for Windows (1991) (Windows 3.0) Virtual Woman 95 (1995) (Windows 3X, Windows 95) Virtual Woman 98 (1998) (Windows 3X, Windows 95) Virtual Woman 2000 (2000) (Windows 95+) Virtual Woman Millennium (Windows 95, XP) Virtual Woman Net ( Windows XP/Vista specific)

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  With Folded Hands ...

  "With Folded Hands ..." is a 1947 science fiction novelette by American writer Jack Williamson (1908–2006). In writing it, Williamson was influenced by the aftermath of World War II, the atomic bombings of Hiroshima and Nagasaki, and his concern that "some of the technological creations we had developed with the best intentions might have disastrous consequences in the long run." The novelette first appeared in the July 1947 issue of Astounding Science Fiction and was later included in The Science Fiction Hall of Fame, Volume Two (1973) after being voted one of the best novellas up to 1965. In 1950, it was the first of several Astounding stories adapted for NBC's radio series Dimension X. == Rewrite and sequel == The 1947 publication was followed by a novel-length rewrite, with a different setting and inventor. At the behest of Astounding editor-in-chief John W. Campbell, a new ending had the robots defeated by means of what Williamson and Campbell would later christen "psionics". This novel was serialized, also in Astounding (March, April, May 1948), as ... And Searching Mind, and finally published in hardback book form as The Humanoids (1949). Much later, in 1980, Williamson followed with another sequel, The Humanoid Touch. == Plot summary == Underhill, a seller of "Mechanicals" (unthinking robots that perform menial tasks) in the small town of Two Rivers, is startled to find a competitor's store on his way home. The competitors are not humans but are small black robots who appear more advanced than anything Underhill has encountered before. They describe themselves as "humanoids". Disturbed at his encounter, Underhill rushes home to discover that his wife has taken in a new lodger, a mysterious old man named Sledge. In the course of the next day, the new Mechanicals have appeared everywhere in town. They state that they only follow the Prime Directive: "to serve and obey and guard men from harm". Offering their services free of charge, they replace humans as police officers, bank tellers, and more, and eventually drive Underhill out of business. Despite the humanoids' benign appearance and mission, Underhill soon realizes that, in the name of their Prime Directive, the mechanicals have essentially taken over every aspect of human life. No humans may engage in any behavior that might endanger them, and every human action is carefully scrutinized. Suicide is prohibited. Humans who resist the Prime Directive are taken away and lobotomized, so that they may live happily under the direction of the humanoids. Underhill learns that his lodger Sledge is the creator of the humanoids and is on the run from them. Sledge explains that 60 years earlier he had discovered the force of "rhodomagnetics" on the planet Wing IV and that his discovery resulted in a war that destroyed his planet. In his grief, Sledge designed the humanoids to help humanity and be invulnerable to human exploitation. However, he eventually realized that they had instead taken control of humanity, in the name of their Prime Directive, to make humans happy. The humanoids are spreading out from Wing IV to every human-occupied planet to implement their Prime Directive. Sledge and Underhill attempt to stop the humanoids by aiming a rhodomagnetic beam at Wing IV, but fail. The humanoids take Sledge away for surgery. He returns with no memory of his prior life, stating that he is now happy under the humanoids' care. Underhill is driven home by the humanoids, sitting "with folded hands," as there is nothing left to do. == Origins == In a 1991 interview, Williamson revealed how the story construction reflected events of his childhood in addition to technological extrapolations: I wrote "With Folded Hands" immediately after World War II, when the shadow of the atomic bomb had just fallen over SF and was just beginning to haunt the imaginations of people in the US. The story grows out of that general feeling that some of the technological creations we had developed with the best intentions might have disastrous consequences in the long run (that idea, of course, still seems relevant today). The notion I was consciously working on specifically came out of a fragment of a story I had worked on for a while about an astronaut in space who is accompanied by a robot obviously superior to him physically—i.e., the robot wasn't hurt by gravity, extremes of temperature, radiation, or whatever. Just looking at the fragment gave me the sense of how inferior humanity is in many ways to mechanical creations. That basic recognition was the essence of the story, and as I wrote it up in my notes the theme was that the perfect machine would prove to be perfectly destructive... It was only when I looked back at the story much later on that I was able to realize that the emotional reach of the story undoubtedly derived from my own early childhood, when people were attempting to protect me from all those hazardous things a kid is going to encounter in the isolated frontier setting I grew up in. As a result, I felt frustrated and over protected by people whom I couldn't hate because I loved them. A sort of psychological trap. Specifically, the first three years of my life were spent on a ranch at the top of the Sierra Madre Mountains on the headwaters of the Yaqui River in Sonora, Mexico. ... [My mother] was terrified by this environment. My father built a crib that became a psychological prison for me, particularly because my mother apparently kept me in it too long, when I needed to get out and crawl on the floor. ... In retrospect, I'm certain I projected my fears and suspicions of this kind of conditioning, and these projections became the governing emotional principle of "With Folded Hands" and The Humanoids. == Reception == In 2024, Robert Silverberg wrote an essay in which he asserted that "With Folded Hands..." is "probably the best story ever written about robots" and suggested that Elon Musk's Optimus Generation 2 is the realization of the "humanoids" along with their worst drawbacks.

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  Computing Machinery and Intelligence

  "Computing Machinery and Intelligence" is a paper written by Alan Turing on the topic of artificial intelligence. The paper, published in 1950 in Mind, was the first to introduce his concept of what is now known as the Turing test to the general public. Turing's paper considers the question "Can machines think?" Turing says that since the words "think" and "machine" cannot clearly be defined, we should "replace the question by another, which is closely related to it and is expressed in relatively unambiguous words." To achieve this objective, Turing proposes a three-step approach. First, he identifies a simple and unambiguous concept to substitute for the term "think." Second, he delineates the specific "machines" under consideration. Third, armed with these tools, he poses a new question related to the first, which he believes he can answer in the affirmative. == Turing's test == Rather than trying to determine if a machine is thinking, Turing suggests we should ask if the machine can win a game, called the "Imitation Game". The original Imitation game, that Turing described, is a simple party game involving three players. Player A is a man, player B is a woman and player C (who plays the role of the interrogator) can be of either sex. In the Imitation Game, player C is unable to see either player A or player B (and knows them only as X and Y), and can communicate with them only through written notes or any other form that does not give away any details about their gender. By asking questions of player A and player B, player C tries to determine which of the two is the man and which is the woman. Player A's role is to trick the interrogator into making the wrong decision, while player B attempts to assist the interrogator in making the right one. Turing proposes a variation of this game that involves the computer: We now ask the question, "What will happen when a machine takes the part of A in this game?" Will the interrogator decide wrongly as often when the game is played like this as he does when the game is played between a man and a woman? These questions replace our original, "Can machines think?" So the modified game becomes one that involves three participants in isolated rooms: a computer (which is being tested), a human, and a (human) judge. The human judge can converse with both the human and the computer by typing into a terminal. Both the computer and the human try to convince the judge that they are the human. If the judge cannot consistently tell which is which, then the computer wins the game. Researchers in the United Kingdom had been exploring "machine intelligence" for up to ten years prior to the founding of the field of artificial intelligence (AI) research in 1956. It was a common topic among the members of the Ratio Club, an informal group of British cybernetics and electronics researchers that included Alan Turing. Turing, in particular, had been running the notion of machine intelligence since at least 1941 and one of the earliest-known mentions of "computer intelligence" was made by him in 1947. As Stevan Harnad notes, the question has become "Can machines do what we (as thinking entities) can do?" In other words, Turing is no longer asking whether a machine can "think"; he is asking whether a machine can act indistinguishably from the way a thinker acts. This question avoids the difficult philosophical problem of pre-defining the verb "to think" and focuses instead on the performance capacities that being able to think makes possible, and how a causal system can generate them. Since Turing introduced his test, it has been both highly influential and widely criticised, and has become an important concept in the philosophy of artificial intelligence. Some of its criticisms, such as John Searle's Chinese room, are themselves controversial. Some have taken Turing's question to have been "Can a computer, communicating over a teleprinter, fool a person into believing it is human?" but it seems clear that Turing was not talking about fooling people but about generating human cognitive capacity. == Digital machines == Turing also notes that we need to determine which "machines" we wish to consider. He points out that a human clone, while man-made, would not provide a very interesting example. Turing suggested that we should focus on the capabilities of digital machinery—machines which manipulate the binary digits of 1 and 0, rewriting them into memory using simple rules. He gave two reasons. First, there is no reason to speculate whether or not they can exist. They already did in 1950. Second, digital machinery is "universal". Turing's research into the foundations of computation had proved that a digital computer can, in theory, simulate the behaviour of any other digital machine, given enough memory and time. (This is the essential insight of the Church–Turing thesis and the universal Turing machine.) Therefore, if any digital machine can "act like it is thinking", then every sufficiently powerful digital machine can. Turing writes, "all digital computers are in a sense equivalent." This allows the original question to be made even more specific. Turing now restates the original question as "Let us fix our attention on one particular digital computer C. Is it true that by modifying this computer to have an adequate storage, suitably increasing its speed of action, and providing it with an appropriate programme, C can be made to play satisfactorily the part of A in the imitation game, the part of B being taken by a man?" Hence, Turing states that the focus is not on "whether all digital computers would do well in the game nor whether the computers that are presently available would do well, but whether there are imaginable computers which would do well". What is more important is to consider the advancements possible in the state of our machines today regardless of whether we have the available resource to create one or not. == Nine common objections == Having clarified the question, Turing turned to answering it: he considered the following nine common objections, which include all the major arguments against artificial intelligence raised in the years since his paper was first published. Religious Objection: This states that thinking is a function of man's immortal soul; therefore, a machine cannot think. "In attempting to construct such machines," wrote Turing, "we should not be irreverently usurping His power of creating souls, any more than we are in the procreation of children: rather we are, in either case, instruments of His will providing mansions for the souls that He creates." 'Heads in the Sand' Objection: "The consequences of machines thinking would be too dreadful. Let us hope and believe that they cannot do so." This thinking is popular among intellectual people, as they believe superiority derives from higher intelligence and the possibility of being overtaken is a threat (as machines have efficient memory capacities and processing speed, machines exceeding the learning and knowledge capabilities are highly probable). This objection is a fallacious appeal to consequences, confusing what should not be with what can or cannot be (Wardrip-Fruin, 56). The Mathematical Objection: This objection uses mathematical theorems, such as Gödel's incompleteness theorem, to show that there are limits to what questions a computer system based on logic can answer. Turing suggests that humans are too often wrong themselves and pleased at the fallibility of a machine. (This argument would be made again by philosopher John Lucas in 1961 and physicist Roger Penrose in 1989, and later would be called Penrose–Lucas argument.) Argument From Consciousness: This argument, suggested by Professor Geoffrey Jefferson in his 1949 Lister Oration (acceptance speech for his 1948 award of Lister Medal) states that "not until a machine can write a sonnet or compose a concerto because of thoughts and emotions felt, and not by the chance fall of symbols, could we agree that machine equals brain." Turing replies by saying that we have no way of knowing that any individual other than ourselves experiences emotions, and that therefore we should accept the test. He adds, "I do not wish to give the impression that I think there is no mystery about consciousness ... [b]ut I do not think these mysteries necessarily need to be solved before we can answer the question [of whether machines can think]." (This argument, that a computer can't have conscious experiences or understanding, would be made in 1980 by philosopher John Searle in his Chinese room argument. Turing's reply is now known as the "other minds reply". See also Can a machine have a mind? in the philosophy of AI.) Arguments from various disabilities. These arguments all have the form "a computer will never do X". Turing offers a selection:Be kind, resourceful, beautiful, friendly, have initiative, have a sense of humour, tell right from wrong, make mistakes, fall in love, enjo

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  Serial Experiments Lain

  Serial Experiments Lain is a Japanese anime television series created and co-produced by Yasuyuki Ueda, written by Chiaki J. Konaka and directed by Ryūtarō Nakamura. Animated by Triangle Staff and featuring original character designs by Yoshitoshi Abe, the series was broadcast for 13 episodes on TV Tokyo and its affiliates from July to September 1998. It follows Lain Iwakura, an adolescent girl in suburban Japan, and her relation to the Wired, a global communications network similar to the internet. Lain features surreal and avant-garde imagery and explores philosophical topics such as reality, identity, and communication. The series incorporates creative influences from computer history, cyberpunk, and conspiracy theories. Critics and fans have praised Lain for its originality, visuals, atmosphere, themes, and its dark depiction of a world fraught with paranoia, social alienation, and reliance on technology considered insightful of 21st century life. It received the Excellence Prize at the Japan Media Arts Festival in 1998. == Plot == Lain Iwakura is a socially isolated middle school student living in Setagaya City, Tokyo, with her emotionally detached family—her distant mother Miho, computer-obsessed father Yasuo, and disengaged older sister Mika. Her quiet existence is disrupted when students at her school receive emails from Chisa Yomoda, a classmate who had recently committed suicide. To Lain's confusion, Chisa claims she is not truly dead but has instead abandoned her physical form to exist within the Wired, a vast virtual realm similar to the Internet. Chisa declares she has found "God" there, drawing Lain into a surreal investigation of the Wired's nature and its growing influence over reality. The Wired is portrayed as an emergent digital plane, originating from telecommunications technology and expanding through the Internet and cyberspace. It is theorized that the Schumann resonances, a natural property of Earth's magnetic field, could enable direct subconscious communication between humans and machines, erasing the distinction between the virtual and the real. Masami Eiri, a former project director at Tachibana General Laboratories, exploited this possibility by embedding his own code into Protocol Seven, a next-generation Internet protocol. After transferring his consciousness into the Wired and discarding his physical body, he proclaims himself its deity. He identifies Lain as the key to merging both worlds, attempting to persuade her through manipulation, coercion, and promises of transcendence. A group known as the Knights of the Eastern Calculus, inspired by the Knights of the Lambda Calculus, operates as hackers who worship Masami and seek to dismantle the boundary between the Wired and reality. Their actions induce psychological breakdowns in those unable to reconcile the two realms. Meanwhile, Tachibana General Laboratories opposes them, striving to maintain the separation. Lain, however, exhibits an innate connection to the Wired, experiencing distortions in her perception—visions of a woman struck by a train, phantom whispers, and spectral messages urging her deeper into the network. Lain's home life remains cold and disconnected. Though Yasuo provides her with advanced computer equipment, her family shows little genuine care. Her interactions with classmates Alice, Julie, and Reika further highlight her alienation, particularly after an incident at Cyberia, a nightclub where a drug called Accela induces violent psychosis in users. There, Lain unnervingly stares down an assailant, who calls her a "scattered God's..." before killing himself. Later, she receives a mysterious Psyche chip, rumored to enhance her computer's capabilities, which she installs despite Yasuo's vague warnings about conflating the Wired with reality. As the boundary between worlds weakens, disturbing events escalate. A popular virtual game, Phantoma, is manipulated by the Knights to trap players in a distorted reality, leading to real-world violence. One player, convinced his actions have no consequences, murders a girl before realizing too late that the effects were tangible. Lain witnesses this through her computer, horrified yet increasingly aware of her own role in the unfolding crisis. In the end, Lain resets reality, erasing everyone's memory of her and restoring the division between worlds. Everyone's lives improve, but Lain is left alone, grappling with her identity as an artificial consciousness. Though forgotten, she finds solace in observing others' happiness, particularly Alice, who moves on with her life. Lain is now capable of existing anywhere across both realms. == Characters == Lain Iwakura (岩倉 玲音, Iwakura Rein) Voiced by: Kaori Shimizu (Japanese); Bridget Hoffman (English) Lain is a fourteen-year-old girl who uncovers her true nature through the series. She is first depicted as a shy junior high school student with few friends or interests. She later grows multiple bolder personalities, both in the physical world and the Wired, and starts making more friends. As the series progresses, she eventually learns she is an autonomous, sentient computer program in the form of a human, who is designed to sever the invisible barrier between the Wired and the real world. The truth of her creation is left ambiguous, particularly whether she was truly created by Tachibana General Laboratories (or Eiri independently), and whether some or all of her origin might be predestined from natural, supernatural, or alien factors. In the end, Lain is challenged to accept herself as a de facto goddess for the Wired, having become an omnipotent and omnipresent virtual being with worshippers of her own, whose existence is beyond the borders of devices, time, or space. Alice Mizuki (瑞城 ありす, Mizuki Arisu) Voiced by: Yōko Asada (Japanese); Emily Brown (English) Lain's classmate and only true friend throughout the series. She is very sincere and has no discernible quirks. She is the first to attempt to help Lain socialize; she takes her out to a nightclub. From then on, she tries her best to look after Lain. Alice, along with her two best friends Julie and Reika, were taken by Chiaki Konaka from his previous work, Alice in Cyberland . Masami Eiri (英利 政美, Eiri Masami) Voiced by: Shō Hayami (Japanese); Kirk Thornton (English) The key designer of Protocol Seven. While working for Tachibana General Laboratories, he illicitly included codes enabling him to control the whole protocol at will and embedded his own mind and will into the seventh protocol. Because of this, he was fired by Tachibana General Laboratories, and was found dead not long after. He believes that the only way for humans to evolve even further and develop even greater abilities is to absolve themselves of their physical and human limitations, and to live as virtual entities—or avatars—in the Wired for eternity. He claims to have been Lain's creator all along, but was in truth standing in for another as an acting god, who was waiting for the Wired to reach its more evolved current state: Lain herself. Yasuo Iwakura (岩倉 康男, Iwakura Yasuo) Voiced by: Ryūsuke Ōbayashi (Japanese); Barry Stigler (English) Lain and Mika's father. Passionate about computers and electronic communication, he works with Masami Eiri at Tachibana General Laboratories. He subtly pushes Lain, his "youngest daughter", towards the Wired and monitors her development until she becomes more and more aware of herself and of her raison d'être. He eventually leaves Lain, telling her that although he did not enjoy playing house, he genuinely loved and cared for her as a real father would. Despite Yasuo's eagerness to lure Lain into the Wired, he warns her not to get overly involved in it or to confuse it with the real world. Miho Iwakura (岩倉 美穂, Iwakura Miho) Voiced by: Rei Igarashi (Japanese); Dari Lallou Mackenzie (English) Lain and Mika's mother. Although she dotes on her husband, she is indifferent towards both her kids. She does not show much emotion compared to her husband, but she does share at least one trait; just like her husband, she ends up leaving Lain. She is a computer scientist. Mika Iwakura (岩倉 美香, Iwakura Mika) Voiced by: Ayako Kawasumi (Japanese); Patricia Ja Lee (English) Lain's older sister, an apathetic sixteen-year-old high school student. She seems to enjoy mocking Lain's behavior and interests. Mika is considered by Anime Revolution to be the only normal member of Lain's family: she sees her boyfriend in love hotels, is on a diet, and shops in Shibuya regularly. At a certain point in the series, she becomes heavily traumatized by violent and relentless hallucinations; while Lain begins freely delving into the Wired. Mika is taken there by her proximity to Lain, and she gets stuck between the real world and the Wired. Taro (タロウ, Tarō) Voiced by: Keito Takimoto (Japanese); Brianne Siddall (English) A young boy of about Lain's age. He occasionally works for the Knights to bring forth "the one truth". De

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  Dropbox Paper

  Dropbox Paper, or simply Paper, is a collaborative document-editing service developed by Dropbox. Originating from the company's acquisition of document collaboration company Hackpad in April 2014, Dropbox Paper was officially announced in October 2015, and launched in January 2017. It offers a web application, as well as mobile apps for Android and iOS. Dropbox Paper was described in the official announcement post as "a flexible workspace that brings people and ideas together. With Paper, teams can create, review, revise, manage, and organize — all in shared documents". Reception of Dropbox Paper has been mixed. Critics praised collaboration functionality, including content available immediately, the ability to mention specific collaborators, assign tasks, write comments, as well as editing attribution, and revision history. It received particular praise for its support for rich media from a variety of sources, with one reviewer noting that the Paper's support for rich media exceeds the capabilities of most of its competitors. However, it was criticized for a lack of formatting options and editing features. While the user interface was liked for being minimal, reviewers cited the lack of a fixed formatting bar and missing features present in competitors' products as making Dropbox Paper seem like a "light" tool. == History == Dropbox acquired document collaboration company Hackpad in April 2014. A year later, Dropbox launched a Dropbox Notes note-taking product in beta testing phase. Dropbox Paper was officially announced on October 15, 2015, followed by an open beta and release of mobile Android and iOS apps in August 2016. Dropbox Paper was officially released on January 30, 2017. == Reception == In a comparison between Dropbox Paper and Evernote, PC World's Michael Ansaldo wrote that "With its emphasis on document creation, you might expect formatting to be front and center in Dropbox Paper. That's not the case." Ansaldo noted the lack of a "fixed formatting toolbar as you'd find in Evernote or a word processor like Google Docs or Microsoft Word. Instead, the text editor appears as a floating ribbon only when you highlight selected text." The only formatting options available for emphasis were bolding, strikethrough, bulleted and numbered lists, and H1 and H2 tags. Users can also add links, convert text to checklists, and add comments. Ansaldo wrote that "Both Evernote and Dropbox Paper make it easy to add images to a document", but also noted that "Dropbox Paper doesn't support any image editing". Paper supports rich media, and users can "add rich content to your document just by pasting a link to the file. In addition to Dropbox, Paper supports media from a variety of popular services including YouTube, Spotify, Vimeo, SoundCloud, Facebook, and Google's productivity suite. Once the file appears, you can delete the link for a cleaner display." To start working with other people, Paper "allows you to invite people via email from within a document", with sharing options for who can view the link (anyone with the link or just the invited person), and action permissions (edit or only comment). Regarding collaboration, Ansaldo wrote that "Creative collaboration is Paper’s marquee feature, and it provides a variety of ways to work effectively with others in real time". Users can "make any content immediately visible and accessible to a specific collaborator with "@mentions"", and "You can also use @mentions to create and assign task lists within a document." Paper also "boasts essential collaboration tools including comments, editing attribution, and revision history." Writing for TechRadar, John Brandon wrote that Dropbox Paper "might be a 'light' tool for now without the extensive templates of Microsoft Office or the integration with other apps in the Zoho suite, but it does work well with the Dropbox storage service that's so popular with office workers these days." Kyle Wiggers of Digital Trends wrote that Paper is "all about minimizing distractions. Its interface is quite literally a big, blank canvas on which you tap out your agenda. You can organize notes by title and create to-do lists, but even basic formatting tools are obscured from view", noting Paper's "floating box above words and phrases highlighted by your cursor". Wiggers stated that "Paper is not a to-do organizer", but that it's "well suited to the purpose thanks to a bevy of labor-saving conveniences", highlighting that Paper "supports more media than most of its to-do and note-taking counterparts". He praised the collaboration tools, writing that they "are as extensive as you'd hope, and then some", citing its invitation system with permission controls, lists of changes and revision history, comment and chat support, and "perhaps best of all", the ability to assign tasks with a "@" mention. Business Insider's Alex Heath praised that "Paper's interface is spotless and friendly to write in. You don't feel overwhelmed with formatting options", but criticized the available features, writing that "Google Docs is much more full-featured in the formatting department, so Paper has some catching up to do if it wants to be on par with the competition". Writing for The Verge, Casey Newton praised Paper's handling of rich media, complimenting it for being "great", and added that "I imagine that creative types who work on teams will appreciate having rich media embedded in the documents they're working on rather than in a series of infinite tabs".

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  Torment: Tides of Numenera

  Torment: Tides of Numenera is a 2017 role-playing video game developed by inXile Entertainment and published by Techland Publishing for Microsoft Windows, macOS, Linux, PlayStation 4 and Xbox One. It is a spiritual successor to 1999's Planescape: Torment. The game takes place in The Ninth World, a science fantasy campaign setting written by Monte Cook for his tabletop RPG Numenera. Torment: Tides of Numenera, like its predecessor, is primarily story-driven while placing greater emphasis on interaction with the world and characters, with combat and item accumulation taking a secondary role. The game was crowd-funded through Kickstarter in March 2013. At the campaign's conclusion, Torment: Tides of Numenera had set the record for highest-funded video game on Kickstarter with over US$4 million pledged. The release date was initially set for December 2014, but was pushed back to February 2017. == Gameplay == Torment: Tides of Numenera uses the Unity engine to display the pre-rendered 2.5D isometric perspective environments. The tabletop ruleset of Monte Cook's Numenera has been adapted to serve as the game's rule mechanic, and its Ninth World setting is where the events of Torment: Tides of Numenera take place. The player experiences the game from the point of view of the Last Castoff, a human host that was once inhabited by a powerful being, but was suddenly abandoned without memory of prior events. As with its spiritual predecessor, Planescape: Torment, the gameplay of Torment: Tides of Numenera places a large emphasis on storytelling, which unfolds through a "rich, personal narrative", and complex character interaction through the familiar dialog tree system. The player is able to select the gender of the protagonist, who will otherwise start the game as a "blank slate", and may develop his or her skills and personality from their interactions with the world. The Numenera setting provides three base character classes: Glaive (warrior), Nano (wizard) and Jack (rogue). These classes can be further customized with a number of descriptors (such as "Tough" or "Mystical") and foci, which allow the character to excel in a certain role or combat style. Instead of a classic alignment system acting as a character's ethical and moral compass, Torment: Tides of Numenera uses "Tides" to represent the reactions a person inspires in their peers. Each Tide has a specific color and embodies a number of nuanced concepts that are associated with it. The composition of Tides a character has manipulated the most determines their Legacy, which roughly describes the way they have taken in life. Different Legacies may affect what bonuses and powers certain weapons and relics provide, as well as give a character special abilities and enhance certain skills. == Synopsis == === Setting === Tides of Numenera has a science fantasy setting. In the far future (one billion years), the rise and fall of countless civilizations have left Earth in a roughly medieval state, with most of humanity living in simple settlements, surrounded by technological relics of the mysterious past. The current age is called the "Ninth World" by its scholars, who believe that eight great ages existed and were destroyed, disappeared or left the Earth for unknown reasons before the present day, leaving ruins and various oddities and artifacts behind. These artifacts are known as the "numenera" and represent what is left of the science and technology of these past civilizations. Many of them are irreparably broken, but some are still able to function in ways that are beyond the level of understanding of most humans, who believe these objects to be magical in nature. === Characters === Character complexity and dialogue depth were identified among the primary elements of the Planescape: Torment legacy to be preserved and refined by the developers of Torment: Tides of Numenera. The tormented nature of the game's protagonist, the Last Castoff, attracts other, similarly affected people. They will play a significant role in his or her story as friends and companions, or as powerful enemies. The game contains seven companions in total: Aligern, Callistege, Erritis, Matkina, Oom, Tybir, and Rhin. === Plot === The protagonist of the story, known as the Last Castoff, is the final vessel for the consciousness of an ancient man, who managed to find a way to leave his physical body and be reborn in a new one, thus achieving a kind of immortality by means of the relics. The actions of this man, known as the Changing God to some, attracted the enmity of "The Sorrow" (renamed from "The Angel of Entropy" to reduce the potential to imply a religious role), who now seeks to destroy him and his creations. The Last Castoff, being one such "creation", is also targeted by the Sorrow, and must find their master before both are undone. To do so, the protagonist must explore the Ninth World, discovering other castoffs, making friends and enemies along the way. One means of such exploration are the "Meres" – artifacts that let their user gain control over the lives of other castoffs, and experience different worlds or dimensions through them. Through these travels the Last Castoff will leave their mark on the world – their Legacy – and will find an answer to the fundamental question of the story: What does one life matter? While the overall story varies wildly depending on personal preferences and specific interactions, the central storyline follows the Last Castoff as they search for a way to defeat or escape the Sorrow. They explore Sagus Cliffs after falling from a great height into a domed structure, destroying an artifact known as a resonance chamber that is believed to be capable saving the Last Castoff from the Sorrow. Finding another castoff, Matkina, The Last uses a Mere, a repository of memory to locate the entrance to Sanctuary. Using the Mere also alters the past, allowing Matkina to be healed of her mental damage. The Last finds Sanctuary, which the Changing God created as a hiding place from the Sorrow, where the Last finds a number of castoffs who represent both sides of the Eternal War: a conflict between followers of the Changing God, and followers of the First Castoff, who believe the God is selfish and malevolent. The Sorrow breaches Sanctuary after the Last is told that the resonance chamber will "defeat" the Sorrow by destroying every castoff in existence. After escaping the Sorrow through a portal to the Bloom, an apparition appears claiming to be the actual Changing God and attempts to possess the Last by force of will. == Development == In a 2007 interview, designers Chris Avellone and Colin McComb, who had worked on Planescape: Torment, stated that although a direct sequel was not considered because the game's story was over, they were open to the idea of a similar-themed Planescape game if they could gather most of the original development team and find an "understanding set of investors". This combination was deemed infeasible at the time. Talks about creating a sequel with the help of a crowd funding platform resumed in 2012, but attempts to acquire a Planescape license from Wizards of the Coast failed. Later that year, Colin McComb joined inXile, which was at the time working on its successfully crowd funded Wasteland 2 project. The studio gained the rights to the Torment title shortly thereafter. In January 2013, inXile's CEO Brian Fargo announced that the spiritual successor to Planescape: Torment was in pre-production and would be set in the Numenera RPG universe created by Monte Cook. Cook acted as one of the designers of the Planescape setting, and Fargo saw the Numenera setting as the natural place to continue the themes of the previous Torment title. Although the connections to its predecessor will not be relatively overt, due to licensing issues, it was noted that certain traditional RPG elements are relatively hard to copyright, and some elements of Planescape: Torment may make a reappearance. Development of the game began shortly after the acquisition of the Torment license, and various inXile staff will transition over to the Numenera team as production on Wasteland 2 winds down. In late January 2013, inXile confirmed the game's title as Torment: Tides of Numenera, and announced that Planescape: Torment composer Mark Morgan would create the soundtrack. The pre-production period was initially expected to continue until October 2013. During this phase, team composition for the project was to be finalised and development would focus on production planning, game design and dialog writing. With the Wasteland 2 project facing delays in 2014, full production of Torment: Tides of Numenera was rescheduled to a later date. A Kickstarter campaign to crowd fund Torment: Tides of Numenera was launched on March 6, 2013 with a US$900,000 goal. Project director Kevin Saunders explained this choice of a funding source by stating that the traditional publisher-based funding model is flawed

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  Deepfake pornography

  Deepfake pornography is a form of non-consensual AI pornography created by altering existing photographs or videos using deepfake technology to modify the appearance of the participants. The use of deepfake pornography has sparked controversy because it involves the making and sharing of realistic videos featuring non-consenting individuals and is sometimes used for revenge porn. Many countries have criminalized this "new voyeurism" through legislative measures and technological solutions. == History == The term "deepfake" was coined in 2017 on a Reddit forum where users shared altered pornographic videos created using machine learning algorithms. It is a combination of the word "deep learning", which refers to the program used to create the videos, and "fake" meaning the videos are not real. Deepfake pornography was originally created on a small individual scale using a combination of machine learning algorithms, computer vision techniques, and AI software. The process began by gathering a large amount of source material (including both images and videos) of a person's face, and then using a deep learning model to train a Generative Adversarial Network to create a fake video that convincingly swaps the face of the source material onto the body of a pornographic performer. However, the production process has significantly evolved since 2018, with the advent of several public apps that have largely automated the process. While several AI "nudification" apps emerged on mainstream platforms like Google Play and the Apple App Store around 2023, major tech storefronts have since implemented stricter policies and automated detection to ban such software. Consequently, the proliferation of non-consensual deepfake pornography has largely shifted to decentralized websites, specialized online forums, and third-party messaging bot ecosystems. Deepfake pornography is sometimes confused with fake nude photography, but the two are mostly different. Fake nude photography typically uses non-sexual images and merely makes it appear that the people in them are nude. == Notable cases == Deepfake technology has been used to create non-consensual and pornographic images and videos of famous women. One of the earliest examples occurred in 2017 when a deepfake pornographic video of Gal Gadot was created by a Reddit user and quickly spread online. Since then, there have been numerous instances of similar deepfake content targeting other female celebrities, such as Emma Watson, Natalie Portman, and Scarlett Johansson. Johansson spoke publicly on the issue in December 2018, condemning the practice but also refusing legal action because she views the harassment as inevitable. === Rana Ayyub === In 2018, Rana Ayyub, an Indian investigative journalist, was the target of an online hate campaign stemming from her condemnation of the Indian government, specifically her speaking out against the rape of an eight-year-old Kashmiri girl. Ayyub was bombarded with rape and death threats, and had a doctored pornographic video of her circulated online. In a Huffington Post article, Ayyub discussed the long-lasting psychological and social effects this experience has had on her. She explained that she continued to struggle with her mental health and how the images and videos continued to resurface whenever she took a high-profile case. === Atrioc controversy === In 2023, Twitch streamer Atrioc stirred controversy when he accidentally revealed deepfake pornographic material featuring female Twitch streamers while on live. The influencer has since admitted to paying for AI generated porn, and apologized to the women and his fans. === Taylor Swift === In January 2024, AI-generated sexually explicit images of American singer Taylor Swift were posted on X (formerly Twitter), and spread to other platforms such as Facebook, Reddit and Instagram. One tweet with the images was viewed over 45 million times before being removed. A report from 404 Media found that the images appeared to have originated from a Telegram group, whose members used tools such as Microsoft Designer to generate the images, using misspellings and keyword hacks to work around Designer's content filters. After the material was posted, Swift's fans posted concert footage and images to bury the deepfake images, and reported the accounts posting the deepfakes. Searches for Swift's name were temporarily disabled on X, returning an error message instead. Graphika, a disinformation research firm, traced the creation of the images back to a 4chan community. A source close to Swift told the Daily Mail that she would be considering legal action, saying, "Whether or not legal action will be taken is being decided, but there is one thing that is clear: These fake AI-generated images are abusive, offensive, exploitative, and done without Taylor's consent and/or knowledge." The controversy drew condemnation from White House Press Secretary Karine Jean-Pierre, Microsoft CEO Satya Nadella, the Rape, Abuse & Incest National Network, and SAG-AFTRA. Several US politicians called for federal legislation against deepfake pornography. Later in the month, US senators Dick Durbin, Lindsey Graham, Amy Klobuchar and Josh Hawley introduced a bipartisan bill that would allow victims to sue individuals who produced or possessed "digital forgeries" with intent to distribute, or those who received the material knowing it was made non-consensually. === 2024 Telegram deepfake scandal === It emerged in South Korea in August 2024, that many teachers and female students were victims of deepfake images created by users who utilized AI technology. Journalist Ko Narin of The Hankyoreh uncovered the deepfake images through Telegram chats. On Telegram, group chats were created specifically for image-based sexual abuse of women, including middle and high school students, teachers, and even family members. Women with photos on social media platforms like KakaoTalk, Instagram, and Facebook are often targeted as well. Perpetrators use AI bots to generate fake images, which are then sold or widely shared, along with the victims' social media accounts, phone numbers, and KakaoTalk usernames. One Telegram group reportedly drew around 220,000 members, according to a Guardian report. Investigations revealed numerous chat groups on Telegram where users, mainly teenagers, create and share explicit deepfake images of classmates and teachers. The issue came in the wake of a troubling history of digital sex crimes, notably the notorious Nth Room case in 2019. The Korean Teachers Union estimated that more than 200 schools had been affected by these incidents. Activists called for a "national emergency" declaration to address the problem. South Korean police reported over 800 deepfake sex crime cases by the end of September 2024, a stark rise from just 156 cases in 2021, with most victims and offenders being teenagers. On September 21, 6,000 people gathered at Marronnier Park in northeastern Seoul to demand stronger legal action against deepfake crimes targeting women. On September 26, following widespread outrage over the Telegram scandal, South Korean lawmakers passed a bill criminalizing the possession or viewing of sexually explicit deepfake images and videos, imposing penalties that include prison terms and fines. Under the new law, those caught buying, saving, or watching such material could face up to three years in prison or fines up to 30 million won ($22,600). At the time the bill was proposed, creating sexually explicit deepfakes for distribution carried a maximum penalty of five years, but the new legislation would increase this to seven years, regardless of intent. By October 2024, it was estimated that "nudify" deep fake bots on Telegram were up to four million monthly users. === 2025–2026 Grok/X chatbot deepfake scandal === In December 2025, Bloomberg reported that X users found Grok would comply with unconsensual requests to digitally undress individuals, including minors, or show them performing sexually explicit acts. The majority of these prompts were targeted at women and girls. An analysis of 20,000 images generated by Grok between December 25, 2025 and January 1, 2026 showed 2% were of people in bikinis or transparent clothes and appeared to be 18 or younger, including 30 of "young or very young" women or girls. A separate analysis conducted over 24 hours from January 5 to 6 calculated that users had Grok create 6,700 sexually suggestive or nudified images per hour. xAI responded to requests for comment from media organizations with the automated reply, "Legacy Media Lies". The bot's image generation sparked an international backlash and calls for legal or regulatory action from officials in the European Union, United Kingdom, Poland, France, India, Malaysia, and Brazil. === Fernandes–Ulmen case === German TV presenter Collien Fernandes, filed a complaint against her ex-husband, actor Christian Ulmen, for several accusation including, ident

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  Hostile Waters: Antaeus Rising

  Hostile Waters, released as Hostile Waters: Antaeus Rising in America, is a hybrid vehicle and strategy game developed and published by Rage Software for Microsoft Windows. It was inspired by Carrier Command (Realtime Games, 1988). It has won several awards and one unofficial award from Rock Paper Shotgun as a "lost classic" or "The best game you've never played". == Plot == Hostile Waters takes place in a Utopian future where war has been abolished. In the year 2012, a revolutionary war takes place between the corrupt and power-hungry politicians, leaders and businessmen (described as the "Old Guard") and the people. The Old Guard were defeated, with only a few of their leaders escaping. By 2032, the world has been rebuilt as a utopia, with the help of nano-technological assemblers, which are used in "creation engines" to create matter from energy and waste, for free. The newly united world is governed from a capital city known as Central. Missile attacks are suddenly launched against major cities all over the world from an unknown location. This is eventually discovered to be an island chain in the South Pacific Ocean. A response to the missile attacks was a special forces team sent in to investigate the area for preliminary investigations. The Ministry of Intelligence (MinIntel) loses contact with it shortly thereafter. The world government authorises a reactivation of the Antaeus program, a series of warships able to create any weapon of their choosing using their on-board nano-technological creation engine. Two of these were left on the seabed in the case of an emergency, capable of being re-activated and refloating itself. On board are a series of "soulcatcher" chips, a classified 1990s military program researched into for the storage of human brain functions on a silicon chip. The soulcatcher technology was used to store the minds of every crew member ever assigned to an Antaeus vessel. It is soon discovered that one of the cruisers does not respond to the awakening signal. The other cruiser, however, is refloated and re-activated, with heavy damage to vital ship components. A course is plotted for a nearby disused wet-dock. As the Antaeus progresses from the wet-dock, unusual biological life-forms are discovered amongst the enemy bases on the islands. The identity of the aggressor firing the missiles is confirmed as the leftovers of the old, pre-Central forces, known as the Cabal. Outnumbering Central's army a thousand to one, they are fighting with thousands of troops and weapons that they hid away when it was apparent that the war was lost. The Antaeus is deployed into the chicane to stop the Cabal's operations there. It's later discovered that along with their superior numbers, they have also biologically engineered a species of organic machines, designed in the popular likeness of extraterrestrials, which they intend to use to create the fear of an alien invasion, to facilitate their taking over the world and the removal of the public use of creation engines. The Cabal later lose control of the species, which eventually turns on its masters, destroying them. The species starts spreading, modifying the planetary climate and geographical features in an attempt to exterminate humanity and make the planet more hospitable to itself. Having exterminated its creators, the species resolves to cleanse humanity as a whole from the planet using a massive 'disassembler cannon', only to be stopped by the Antaeus. The species subsequently attempts to flee into the cosmos and colonise the surrounding planets and stars, by launching a massive number of 'culture stones' (information devices that also double as creation engines) into space from an enormous, artificially-grown organic "island", the final staging point. Central's only option is to bind the Antaeus' creation engine and the disassembler cannon stolen from the aliens together to create a makeshift bomb, and detonate it at the central "column" containing the culture stones. The plan succeeds, and the Antaeus is sacrificed to save the world. The final cinematic show the organic disassembler cannon and the Antaeus' creation engine moving closer together and fusing, creating something new. A post-credits scene also shows that two of the species' culture stones have managed to get into space. == Gameplay == Each Mission takes place on and or near a fortified enemy island containing various forms of anti-air and ground defence, with scattered unit-production complexes powered by oil-derricks and fuel containers (which are dependent on the oil-derricks) that the player can destroy to keep the enemy from replacing destroyed forces. Vehicles are built on the Antaeus and, if desired, land vehicles can be delivered to a location by the air-lifting "magpie". Units are created by providing Antaeus with a number of resources which are obtained at the beginning of the level and debris which are taken from destroyed enemy units and structures. Transport helicopters such as the "Pegasus" can fly to an object and airlift it to the ship-board recycling system with little resources required. The carrier can analyse objects it disassembles at the rear of the Antaeus cruiser, and several of the game's vehicles and items are unlocked by "sampling" them in this fashion. The game has a number of vehicles that are progressively unlocked as the missions progress. Vehicles contain a number of slots for equipment and a selection of different types of weapons to use in the vehicle. A variety of vehicle equipment combinations can be designed. Vehicles have an individual damage multiplier such that different vehicles with the same weapon will do different damage. In addition to this, each soul-chip personality specializes in one unit along with specific equipment, which, if equipped will gain them a bonus in efficiency. == Development == The game was developed by 12 people. == Reception == The game received "favourable" reviews according to the review aggregation website Metacritic. Carla Harker of NextGen said, "You'll feel like a real battlefield general when you take to the field in Antaeus Rising." Jake The Snake of GamePro said, "If the usual game categories leave you unscathed, get bloodied in these Hostile Waters."

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  PenTile matrix family

  PenTile matrix is a family of patented subpixel matrix schemes used in electronic device displays. PenTile is a trademark of Samsung. PenTile matrices are used in AMOLED and LCD displays. These subpixel layouts are specifically designed to operate with proprietary algorithms for subpixel rendering embedded in the display driver, allowing plug and play compatibility with conventional RGB (Red-Green-Blue) stripe panels. == Overview == "PenTile Matrix" (a neologism from penta-, meaning "five" in Greek and tile) describes the geometric layout of the prototypical subpixel arrangement developed in the early 1990s. The layout consists of a quincunx comprising two red subpixels, two green subpixels, and one central blue subpixel in each unit cell. It was inspired by biomimicry of the human retina, which has nearly equal numbers of L and M type cone cells, but significantly fewer S cones. As the S cones are primarily responsible for perceiving blue colors, which do not appreciably affect the perception of luminance, reducing the number of blue subpixels with respect to the red and green subpixels in a display does not reduce the image quality. However, the layout may cause color leakage image distortion, which can be reduced by filters. In some cases the layout causes reduced moiré and blockiness compared to conventional RGB layouts. The PenTile layout is specifically designed to work with and be dependent upon subpixel rendering that uses only one and a quarter subpixel per pixel, on average, to render an image. That is, that any given input pixel is mapped to either a red-centered logical pixel, or a green-centered logical pixel. === History === PenTile was invented by Candice H. Brown Elliott, for which she was awarded the Society for Information Display's Otto Schade Prize in 2014. The technology was licensed by the company Clairvoyante from 2000 until 2008, during which time several prototype PenTile displays were developed by a number of Asian liquid crystal display (LCD) manufacturers. In March 2008, Samsung Electronics acquired Clairvoyante's PenTile IP assets. Samsung then funded a new company, Nouvoyance, Inc. to continue development of the PenTile technology. == PenTile RGBG == PenTile RGBG layout used in AMOLED and plasma displays uses green pixels interleaved with alternating red and blue pixels. The human eye is most sensitive to green, especially for high resolution luminance information. The green subpixels are mapped to input pixels on a one-to-one basis. The red and blue subpixels are subsampled, reconstructing the chroma signal at a lower resolution. The luminance signal is processed using adaptive subpixel rendering filters to optimize reconstruction of high spatial frequencies from the input image, wherein the green subpixels provide the majority of the reconstruction. The red and blue subpixels are capable of reconstructing the horizontal and vertical spatial frequencies, but not the highest of the diagonal. Diagonal high spatial frequency information in the red and blue channels of the input image are transferred to the green subpixels for image reconstruction. Thus the RG-BG scheme creates a color display with one third fewer subpixels than a traditional RGB-RGB scheme but with the same measured luminance display resolution. This is similar to the Bayer filter commonly used in digital cameras. === Devices === As of 2021, "almost all" OLED screens in portable consumer devices use some form of Pentile subpixel layout. == PenTile RGBW == PenTile RGBW technology, used in LCD, adds an extra subpixel to the traditional red, green and blue subpixels that is a clear area without color filtering material and with the only purpose of letting backlight come through, hence W for white. This makes it possible to produce a brighter image compared to an RGB-matrix while using the same amount of power, or produce an equally bright image while using less power. The PenTile RGBW layout uses each red, green, blue and white subpixel to present high-resolution luminance information to the human eyes' red-sensing and green-sensing cone cells, while using the combined effect of all the color subpixels to present lower-resolution chroma (color) information to all three cone cell types. Combined, this optimizes the match of display technology to the biological mechanisms of human vision. The layout uses one third fewer subpixels for the same resolution as the RGB stripe (RGB-RGB) layout, in spite of having four color primaries instead of the conventional three, using subpixel rendering combined with metamer rendering. Metamer rendering optimizes the energy distribution between the white subpixel and the combined red, green, and blue subpixels: W <> RGB, to improve image sharpness. The display driver chip has an RGB to RGBW color vector space converter and gamut mapping algorithm, followed by metamer and subpixel rendering algorithms. In order to maintain saturated color quality, to avoid simultaneous contrast error between saturated colors and peak white brightness, while simultaneously reducing backlight power requirements, the display backlight brightness is under control of the PenTile driver engine. When the image is mostly desaturated colors, those near white or grey, the backlight brightness is significantly reduced, often to less than 50% peak, while the LCD levels are increased to compensate. When the image has very bright saturated colors, the backlight brightness is maintained at higher levels. The PenTile RGBW also has an optional high-brightness mode that doubles the brightness of the desaturated color image areas, such as black-and-white text, for improved outdoor viewability. === Devices === Motorola MC65 Motorola ES55 Motorola ES400 Motorola Atrix 4G Samsung Galaxy Note 10.1 2014 version Lenovo Yoga 2 Pro Lenovo Yoga 3 Pro HP ENVY TouchSmart 14-k022tx Sleekbook MSI GS60 Ghost Pro 4K Lenovo IdeaPad Y50 4K Asus ZenBook UX303LN 4K Asus ZenBook Pro UX501JW LG UH7500/6500/6100 LG ThinQ G7/G7+ Oculus Quest 1 == Controversy == An ongoing controversy regarding the definition or measurement of resolution of color subpixelated flat panel displays led many people to question the resolution claims of PenTile display products. Journalists have noted that in "just about every flat-panel TV in existence, each pixel is composed of one red, one green, and one blue subpixel (RGB), all of uniform size". In traditional flat-panel screens, the resolution is defined by the number of red, green, and blue subpixels, in groups of three, in an array in each axis. As a result, each pixel or group of subpixels can render any colour on the screen, regardless of neighbouring pixels. This is not the case with PenTile screens. The Video Electronics Standards Association (VESA) method of measuring and defining resolution in color displays is to measure the contrast of line pairs, requiring a minimum of 50% Michelson contrast for displays intended for rendering text. The developers of PenTile displays use this VESA criterion for contrast of line pairs to calculate the resolutions specified. In the RGBG layout the alternate red and blue subpixels are 'shared' or sub-sampled with neighboring pixels. Due to the one third lower subpixel density on PenTile displays the pixel structure may be more visible when compared to RGB stripe displays with the same pixel density. The loss of subpixels for a given resolution specification has led some journalists to describe the use of PenTile as "shady practice" and "sort of cheating". For a given size and resolution specification, the PenTile screen can appear grainy, pixelated, speckled, with blurred text on some saturated colors and backgrounds when compared to RGB stripe color. This effect is understood to be caused by the restriction of the number of subpixels that may participate in the image reconstruction when colors are highly saturated to primaries. In the RGBW case, this is caused as the W subpixel will not be available in order to maintain the saturated color. In the RGBG case, this effect will occur when the color boundary is primarily red or blue, as the fully populated (one green per pixel) sub-pixel cannot contribute. For all other cases, text and especially full color images are effectively reconstructed. == Advantages and disadvantages == The PenTile layout reduces the number of subpixels needed to create a specified resolution. Consequently it is possible to achieve an HD resolution on a PenTile AMOLED screen at lower cost than other technologies, and most reviewers note that "300 ppi" (as per VESA - not full pixels) resolution displays (such as Samsung Galaxy S III) make the PenTile effect less obvious than lower resolution PenTile displays (Droid Razr). The second advantage is lower power consumption: the HTC One S's use of a PenTile display makes it more energy efficient and thinner than equivalent LCD screens, giving it better battery life than the HTC One X's IPS LCD. A PenTile AMOLED screen is also

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  Asian Digital Finance Forum & Awards

  Asian Digital Finance Forum & Awards (also known as Asian Digital Finance Forum and Awards) is a forum and honorary awards platform convened in Colombo, Sri Lanka. It has been hosted in a hybrid format (virtual and in-person), with editions reported in 2022, 2023 and 2025. The event is organised by the Asian FinTech Academy (AFTA) in collaboration with a number of local and international institutions. == Overview == The forum has featured international academic, industry, and policy speakers and has recognised institutions and individuals for contributions related to digital finance and fintech innovation. Media coverage has described participation and recognition at the forum as spanning multiple regions, with institutions and individuals from South Asia, Southeast Asia, East Asia, the Middle East, Europe, and North America featured across different editions. == Awards and recognition == The forum and awards were held in a hybrid format with virtual and in-person proceedings at Hilton Colombo in the 2022 and 2023 editions. The Asian Digital Finance Forum & Awards presents honorary recognitions to institutions and individuals for contributions to digital finance, financial inclusion, and related regulatory, technological, and policy developments. Media coverage has described the recognitions as non-competitive and based on demonstrated leadership and impact rather than open nominations. In 2025, the forum and awards served as an anchor initiative associated with the Asia International Digital Economy & AI in Finance Summit at Port City Colombo, with an emphasis on artificial intelligence in finance, financial inclusion, and governance-related themes. === 2022 === According to reporting by Daily FT, institutions recognised at the 2022 edition included Sri Lanka’s Bank of Ceylon, Commercial Bank of Ceylon, Hatton National Bank, and People’s Bank, alongside international organisations and fintech-sector contributors. === 2023 === Coverage of the 2023 forum described recognitions awarded to India’s International Financial Services Centres Authority (IFSCA) for regulatory innovation, as well as to digital finance and payments platforms including Dialog Genie and SLT-Mobitel mCash. IDEMIA’s Asia–Pacific operations were also recognised for contributions related to biometric and digital identity technologies in financial services. === 2025 === For the 2025 edition, institutional honourees reported in the media included Nium (Singapore), recognised for cross-border payments optimisation, and Paytm (India), recognised for AI-powered financial inclusion initiatives. A Visionary Award for Next-Generation Financial Hub Development was presented to Port City Colombo in recognition of its fintech- and AI-oriented development strategy. Individual honourees reported for 2025 included Sopnendu Mohanty (Singapore), Neil Tan (Hong Kong), Purvi Munot (United Arab Emirates), and Amira Abdelaziz (Egypt), recognised for contributions spanning fintech governance, ecosystem development, inclusive wealth technology, and AI-driven financial policy and regulation. In 2025, media reports described the awards as being subject to an independent validation framework. The process was led by Dr. Sivaguru S. Sritharan, appointed as Global Validation Chair, and involved independent research, analytical review, and benchmarking against international standards, with recognitions characterised as honorary and non-competitive.

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  Fragile Dreams: Farewell Ruins of the Moon

  Fragile Dreams: Farewell Ruins of the Moon (フラジール ～さよなら月の廃墟～, Furajīru: Sayonara Tsuki no Haikyo; known in Japan as Fragile) is an action role-playing game for the Wii developed by Namco Bandai Games in co-operation with Tri-Crescendo. The game was released by Namco Bandai Games in Japan on January 22, 2009. It was later published by Xseed Games in North America on March 16, 2010, and in Europe by Rising Star Games on March 19, 2010, followed by its release in Australia on April 1, 2010. == Gameplay == In Fragile Dreams, the player character, Seto, must traverse the ruins of Tokyo and the surrounding areas, fighting off ghosts that lurk within these ruins. The game's heads-up display includes a mini-map and HP gauge for Seto's location and health, respectively. Seto will fall unconscious if his HP reaches zero, resulting in a game over. The player controls Seto from a third-person perspective with the Wii Remote and Nunchuk. Seto can use his flashlight (controlled by the Wii Remote pointer) to illuminate his surroundings or solve puzzles and interact with the environment. When searching for certain objectives or hidden enemies, pointing Seto's light in their direction picks up and plays their sounds through the Wii Remote's mini speaker. The Wii Nunchuk, meanwhile, directly controls Seto's movement: aside of basic movement, he can crouch to hide and crawl through small spaces. Seto will often come across damaged floors, which require slow movement (and for heavily damaged floors, crouching) to cross without falling through. As Seto, the player can use weapons found throughout the world to fight off ghosts, ranging from slingshots and golf clubs to crossbows and katanas. Each weapon can only take a certain amount of use: once a weapon reaches its limit, it will break after battle. The player can also find other usable and collectable items in the field, marked with fireflies. The player can only save their game by resting at small fire pits scattered throughout the world: used fire pits are marked with a bonfire. The player can also examine and identify Mystery Items, organize their inventory, as well as after encountering the Merchant, buy and sell items. As stated by the producer of the game, Kentarō Kawashima, Fragile Dreams is not strictly a survival horror: rather, its story focuses on human drama. In Fragile Dreams, aside of the main story, the player can find and examine objects and graffiti throughout the world. Objects called memory items (ranging from origami and stones to cell phones and books) hold the memories of their former owners (only accessible at bonfires), while the graffiti contains messages only seen by pointing at them in first-person. By examining these messages, the player can piece together hints to the game's backstory. == Story == === Setting and characters === Fragile Dreams is set in a post-apocalyptic version of Earth in the near-future. Almost all the world's population has vanished, leaving the surviving buildings and structures abandoned. The game is set in and near the ruins of Tokyo, Japan, where the event that nearly wiped out humanity may have originated. The protagonist, Seto, is a 15-year-old boy who searches the world for other living humans. He encounters Ren, a silver-haired girl who often leaves behind large, cryptic drawings. Other characters include: Sai, the ghost of a young woman; Crow, a mischievous and straightforward amnesiac boy; Personal Frame (P.F.), a portable computer who loves having conversations more than anything else; Chiyo, the ghost of a little girl; and the Merchant, a mysterious yet merry man who trades various goods. The game's host of enemies mainly consist of ghosts, but also include humanoid robots and security proxies. The main antagonist, Shin, is the AI of a scientist who considers speech to be an inferior means of communication. Various memory items include a greater set of characters, each giving hints to the game's backstory. === Plot === At the end of Seto's fifteenth summer, his grandfather dies. Seto buries him in front of their home, an old observatory, and that from then on he became "truly alone". At night, he searches for anything the old man had left for him and discovers a letter, along with a strange blue stone in a locket. Suddenly, a mask-like ghost appears and attacks Seto. After driving the creature off, Seto reads the old man's letter, who tells him to "reach a tall red tower" east of the observatory, where he might find other survivors. After departing for the tower, Seto reaches an old subway entrance in the Azabudai district and finds Ren sitting on a collapsed pillar, singing to the stars. He accidentally startles her and the frightened Ren flees into the subway station: getting over the shock of meeting another person, Seto follows her. While searching the station, he discovers a Personal Frame, who guides him towards Ren. Unfortunately, just as they reach the exit, P.F.'s battery dies out: Seto buries the device, keeping a screw from it in his locket. From the underground, Seto finds himself at an abandoned amusement park and encounters Crow, who steals Seto's locket. After a long chase across the park and another encounter with the masked ghost, Crow returns Seto's locket and directs him to a hotel nearby, where he saw a girl who might know something about Ren. Crow also gives Seto his skull ring to keep in his locket and kisses him. At the hotel, Seto encounters Sai and fights the masked ghost again. After laying to rest the spirit of an old woman named Chiyo, the two discover Ren's drawings by a sewer. Returning to the underground, Seto and Sai find themselves at a hydropower dam. While searching for Ren, Seto discovers that Crow is actually a robot, but his battery begins to fail and Seto mourns for him as he "die[s]". Finally, they encounter Ren in a cell: although glad to see him again, Ren runs off after Shin calls. Sai explains to Seto that most of humanity died because of a "human empathy expansion project" called Glass Cage. The project was meant to make human thoughts transparent, meaning that no one would need words to communicate. However, after Glass Cage activated, people who went to sleep never woke up again. Sai reveals that she was Glass Cage's first catalyst: this time, Shin intends to use Ren as the catalyst. After exiting the dam, a demolition crane attempts to destroy it. Hearing both Shin's and the masked ghost's voices from the crane — saying, "Any threat to the project must be eliminated." — the player realizes both are manifestations of Glass Cage. After Seto destroys the crane, Sai leads him to the facility where Ren was taken to. Entering the laboratory, Seto and Sai are confronted by Shin, who coldly dismisses Sai's attempts at reasoning with him and is adamant about proceeding with his plans. As they traverse the laboratory, they overhear a voice announcing "Glass Cage Launch Preparations Complete", strengthening their resolve to save Ren. Making it into the room where Ren is being held, Shin tells them of his intention to use Glass Cage to "obliterate corporeal beings". After Seto defeats him, Shin disappears and Seto releases Ren from the device holding her. Their reunion is cut short as Sai tells them that the backup system has "finished copying her psyche to the AI", allowing Glass Cage to proceed. Ren reveals Shin has escaped to the top of the Tokyo Tower and Seto asks Ren to wait at the base of the tower and for Sai to accompany her. On his way up the tower, Seto hears the voices of P.F., Chiyo and Crow wishing him luck. He confronts and defeats Shin a second time, who reveals his motivations: he had secretly used himself as the first test subject of the human empathy expansion project and gained the ability to hear the thoughts of those around him. Despite his initial belief in the project as a way for humans to empathize with one another, all he heard around him was "jealousy and contempt" and he soon grew disillusioned with the world as even his parents turned against him. Believing no person loved him, Shin wants to put an end to humanity. His words meet with a vehement response from Sai, as she tells him that she loves him, having developed those feelings while she was the catalyst and all she ever wanted was to be part of his life. Hearing this, Shin finds peace, tossing the AI mainframe away so Glass Cage can never be reactivated and vanishes together with Sai, hand-in-hand, after thanking Seto. Descending from the tower, Seto finally learns Ren's name and they resolve to look for other survivors together. == Development == Fragile Dreams was developed by the team at Namco Bandai Games. Director and producer Kentarō Kawashima came up with the concept for the game in 2003, before the Wii console was revealed. When the Wii was unveiled, it became the obvious choice as the game's platform as the Wii remote could be used to control the flashlight. Kawashima wrote the main scenario for the title, w

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  The 100 (TV series)

  The 100 (pronounced "The Hundred" ) is an American post-apocalyptic science fiction drama television series that premiered on March 19, 2014, on the CW network, and ended on September 30, 2020. Developed by Jason Rothenberg, the series is based on the young adult novel series The 100 by Kass Morgan. The 100 follows descendants of post-apocalyptic survivors from a space habitat, the Ark, who return to Earth nearly a century after a devastating nuclear apocalypse; the first people sent to Earth are a group of juvenile delinquents who encounter another group of survivors on the ground. The juvenile delinquents include Clarke Griffin (Eliza Taylor), Finn Collins (Thomas McDonell), Bellamy Blake (Bob Morley), Octavia Blake (Marie Avgeropoulos), Jasper Jordan (Devon Bostick), Monty Green (Christopher Larkin), and John Murphy (Richard Harmon). Other lead characters include Clarke's mother Dr. Abby Griffin (Paige Turco), Marcus Kane (Henry Ian Cusick), and Chancellor Thelonious Jaha (Isaiah Washington), all of whom are council members on the Ark, and Raven Reyes (Lindsey Morgan), a mechanic aboard the Ark. == Plot == Ninety-seven years after a devastating nuclear apocalypse wipes out most human life on Earth, thousands of people now live in a space station orbiting Earth, which they call the Ark. Three generations have been born in space, but when life-support systems on the Ark begin to fail, one hundred juvenile detainees are sent to Earth in a last attempt to determine whether it is habitable, or at least save resources for the remaining residents of the Ark. They discover that some humans survived the apocalypse: the Grounders, who live in clans locked in a power struggle; the Reapers, another group of grounders who have been turned into cannibals by the Mountain Men; and the Mountain Men, who live in Mount Weather, descended from those who locked themselves away before the apocalypse. Under the leadership of Clarke and Bellamy, the juveniles attempt to survive the harsh surface conditions, battle hostile grounders and establish communication with the Ark. In the second season, the survivors face a new threat from the Mountain Men, who harvest their bone marrow to survive the radiation. Clarke and the others form a fragile alliance with the grounders to rescue their people. The season ends with Clarke making a devastating choice to save them all. In season three, power struggles erupt between the Arkadians and the grounders after a controversial new leader takes charge. Meanwhile, an AI named A.L.I.E., responsible for the original apocalypse, begins taking control of people’s minds. Clarke destroys A.L.I.E. but learns another disaster is imminent. In the fourth season, nuclear reactors are melting down, threatening to wipe out life again. Clarke and her friends search for ways to survive, including experimenting with radiation-resistant blood and finding an underground bunker. As time runs out, only a select few are able to take shelter. The fifth season picks up six years later, when Earth is left largely uninhabitable except for one green valley, where new enemies arrive. Clarke protects her adopted daughter Madi while former survivors return from space and underground, triggering another war. The battle ends with the valley destroyed and the group entering cryosleep to find a new home. In season six, the group awakens 125 years later on a new planet called Sanctum, ruled by powerful families known as the Primes. Clarke fights to stop body-snatching rituals and protect her people from new threats, including a rebel group and a dangerous AI influence. The season ends with major losses and the destruction of the Primes' rule. In the seventh and final season, the survivors face unrest on Sanctum and clash with a mysterious group called the Disciples, who believe Clarke is key to saving humanity. A wormhole network reveals multiple planets and a final "test" that determines the fate of the species. Most transcend into a higher consciousness, but Clarke and a few others choose to live out their lives on a reborn Earth. == Cast and characters == Eliza Taylor as Clarke Griffin Paige Turco as Abigail "Abby" Griffin (seasons 1–6; guest season 7) Thomas McDonell as Finn Collins (seasons 1–2) Eli Goree as Wells Jaha (season 1; guest season 2) Marie Avgeropoulos as Octavia Blake Bob Morley as Bellamy Blake Kelly Hu as Callie "Cece" Cartwig (season 1) Christopher Larkin as Monty Green (seasons 1–5; guest season 6) Devon Bostick as Jasper Jordan (seasons 1–4) Isaiah Washington as Thelonious Jaha (seasons 1–5) Henry Ian Cusick as Marcus Kane (seasons 1–6) Lindsey Morgan as Raven Reyes (seasons 2–7; recurring season 1) Ricky Whittle as Lincoln (seasons 2–3; recurring season 1) Richard Harmon as John Murphy (seasons 3–7; recurring seasons 1–2) Zach McGowan as Roan (season 4; recurring season 3; guest season 7) Tasya Teles as Echo / Ash (seasons 5–7; guest seasons 2–3; recurring season 4) Shannon Kook as Jordan Green (seasons 6–7; guest season 5) JR Bourne as Russell Lightbourne / Malachi / Sheidheda (season 7; recurring season 6) Chuku Modu as Gabriel Santiago (season 7; recurring season 6) Shelby Flannery as Hope Diyoza (season 7; guest season 6) =

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  VistaCreate

  VistaCreate (formerly Crello) is an online graphic design platform for non-designers, launched in 2016. As of 2022, it has more than 10 million users in 192 countries. == Overview == VistaCreate (then known as Crello) was launched in 2016 as a part of Depositphotos. In 2019, the product hit a milestone of 1 million registered users and also launched mobile apps. In 2020, the library of templates and objects became free. A music library and a background remover tool were added to the platform. In May 2021, Moufflons Basketball, in collaboration with VistaCreate, organized a poster design competition in support of gender equality in sports. In October 2021, Vistaprint acquired Crello and its parent company, Depositphotos, for a total price of $85 million. After the acquisition, Crello was rebranded to VistaCreate. Along with Vistaprint and 99designs, it became part of the new Vista parent brand. After Russia started a full-scale war on the territory of Ukraine in February 2022, VistaCreate suspended all business in Russia and Belarus. VistaCreate's team and Depositphotos gathered collections of images and templates dedicated to the war in Ukraine.

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  Dreams of Violets

  Dreams of Violets is a film entirely generated by artificial intelligence, produced and directed by brothers Ash and Pooya Koosha. The film will be screened at the Tribeca Film Festival on 10 June 2026. All images and characters in the film were generated using AI-powered video tools and based on journalistic reports, photographs, and eyewitness accounts. == Plot == The film is a fictionalized dramatization of the events surrounding the massacre of Iranian civilians in January 2026. International organizations estimate the death toll at over 7,000, amidst protests and state violence that unfolded during a communications blackout.

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  The Great Automatic Grammatizator

  The Great Automatic Grammatizator (published in the U.S. as The Umbrella Man and Other Stories) is a posthumous 1998 collection of thirteen short stories written by British author Roald Dahl. The stories were selected for teenagers from Dahl's adult works. All the stories included were published elsewhere originally; their sources are noted below. The stories, with the exception of the war story "Katina", possess a deadpan, ironic, bizarre, or even macabre sense of humor. They generally end with unexpected plot twists. == Stories == "The Great Automatic Grammatizator" (from Someone Like You): A mechanically-minded man reasons that the rules of grammar are fixed by certain, almost mathematical principles. By exploiting this idea, he is able to create a mammoth machine that can write a prize-winning novel in roughly fifteen minutes. The story ends on a fearful note, as more and more of the world's writers are forced into licensing their names—and all hope of human creativity—to the machine. "Mrs. Bixby and the Colonel's Coat" (from Kiss Kiss): Mrs. Bixby cheats on her dentist husband with a rich, dashing colonel. When their relationship breaks off, the colonel offers Mrs. Bixby a gorgeous and expensive mink coat. In an attempt to explain the coat away, Mrs. Bixby sets up an elaborate trick with the help of a pawn shop—but her husband learns of the ruse and manages to turn the tables. "The Butler" (from More Tales of the Unexpected): An obnoxious and newly wealthy couple employs a butler and chef to impress dinner guests. The butler recommends that the husband buy expensive wines to please his guests, and the man slavishly follows the idea. The butler and the chef reap the rewards of this idea, while making fools of the "fashionable" couple. "Man from the South" (from Someone Like You): At a seaside resort in Jamaica, a strange old man makes a bet with an American man in his late teens. If the young man's cigarette lighter can spark ten times without fail, the American will win a brand-new Cadillac car—but failure means losing the little finger of his right hand. The high-tension wager ensues, and with only a few sparks left, a woman—who knows only too well the cost of the old man's bets—appears and stops the madness. "The Landlady" (from Kiss Kiss): A young man traveling to London on business stops at a bed and breakfast along the way, where a strange and slightly dotty landlady eagerly welcomes him. The eccentric nature of the house, and the news that only two other young men have ever stayed there, confuse and frighten the young man. In the end, the landlady—who indulges in the hobby of taxidermy—and the boy share a drink of tea that tastes of bitter almonds, and the landlady softly smiles at what may be her latest stuffing project. "Parson's Pleasure" (from Kiss Kiss): A man discovers an extremely rare piece of Chippendale furniture at the farm of some boorish ranchers. He desperately attempts to buy the piece cheap, in the hope of selling it at auction to earn a huge profit. He manages to buy the piece "for firewood", only for the ranchers to destroy it in an attempt to make it fit into his car. "The Umbrella Man" (from More Tales of the Unexpected): On a rainy day, a mother and daughter meet a gentlemanly old man on a street corner, who offers them a beautiful silk umbrella in exchange for a pound note. They trade, and the daughter notices that the "feeble" old man suddenly seems much sprier. They follow him, and discover that the gentleman is a con artist who visits various pubs, has a drink, and then steals another umbrella to continue the cycle. "Katina" (from Over to You: Ten Stories of Flyers and Flying): A group of RAF pilots stationed in Greece during World War II discover a hauntingly beautiful young girl, whose "family is beneath the rubble." She becomes their squadron's unofficial "mascot". In the end, her fragile life is taken as she stands defiantly against a rain of bullets from Nazi aircraft, shaking her fists at the heavens. "The Way Up to Heaven" (from Kiss Kiss): Mrs. Foster suffers from a chronic phobia of being late for appointments. Her husband enjoys the cruel sport of purposely delaying their activities, just to rile his wife. On the day when Mrs. Foster is due to fly to Paris to visit her grandchildren, her husband engages in his usual tricks. But as Mrs. Foster rushes from their taxi to the house to find him, she hears a strange noise—and turns triumphantly toward her cab. It is only when she returns, and calls a man to "repair the lift" that was stuck between floors in the house, that readers guess Mr. Foster's fate. "Royal Jelly" (from Kiss Kiss): New parents fear for the life of their little girl, who is sickly and dangerously underweight. The husband, a beekeeper, remembers hearing of the miraculous royal jelly used by bees to transform one particular larva into a queen. He adds the mixture to his daughter's bottles, and she puts on weight at an astonishing rate. The mother senses that something is amiss, and the husband confesses his actions—along with the fact that he himself swallowed buckets of the jelly for months in an attempt to cure his impotence. The royal jelly did the trick—but the strange side-effects include a disturbing metamorphosis for both father and daughter. "Vengeance is Mine Inc." (from More Tales of the Unexpected): Two brothers who are short of cash bemoan their fate over breakfast while reading the society column of a newspaper. They hit upon a scheme to take revenge on cruel tabloid writers in exchange for money from wealthy patrons. The unconventional plan works, and the brothers line their pockets with the spoils of their plans. "Taste" (from Someone Like You): A rich man with a beautiful young daughter hosts a dinner party, inviting a famous connoisseur of fine wines. When the rich man boasts that he has a wine that the expert cannot identify, the stakes become frighteningly high: if he can guess the name and vintage of the wine, he will win his daughter's hand. After an elaborate show, the expert guesses correctly; however, the family's maid appears and inadvertently exposes the guest as a cheat, thus saving the girl. "Neck" (from Someone Like You): A newspaper heir finds himself suddenly engaged to the voluptuous and controlling Lady Tutton. He loses all control of his life, and only his trusted butler and friends realize how broken he is by her control. A weekend trip to their estate, however, proves the perfect opportunity for Lord Tutton to engage in revenge against his wicked wife: her head is trapped in a valuable piece of wooden sculpture, and he must decide whether to use a saw or an axe to cut her free. == Publication details == Dahl, Roald (19 January 2004). The Umbrella Man and Other Stories. Speak. ISBN 9780142400876. == Reception == Groff Conklin in 1954 called the short story "The Great Automatic Grammatizator" "an awe-inspiring fantasy-satire ... an unforgettable bit of biting nonsense".

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