README.txt
For X-Bomber v. 0.6
by Bill Kendrick
kendrick@zippy.sonoma.edu
New Breed Software
http://zippy.sonoma.edu/kendrick/nbs/
February 18, 1998
WHAT IS X-BOMBER?
X-Bomber is a multiplayer game for the X-Window system. The concept is
loosely based on the game "Super Bomberman" for the Super Nintendo
game system.
Up to four players can play simultaneously. The game runs as one client
which connects to multiple X displays (servers).
ABOUT THIS VERSION
Version 0.6, released 18.Feb.1998
This is the seventh beta release of "X-Bomber." If you have problems,
please e-mail me. If you have solutions to porting problems, definitely
please e-mail me!
Changes since v. 0.5 include:
* Cool new mouse-shaped pointer.
* Level 00 has been added (oops! Sorry to those who played 99+ levels
and got an error!)
WHAT'S THE OBJECT?
The object of X-Bomber is to be the last one standing. In other words,
kill all of your opponents (and/or let them kill each other). If you
survive a level, you gain a point. To do this, you use bombs! (Yay!)
COMPILING:
To compile the game, simply type "make". You may need to edit the
"makefile" first, though, in case your system is configured differently.
RUNNING THE GAME:
To run the game, you can simply run "xbomber" with no arguments to
play a one-player game on your current X display:
% ./xbomber
Or you can specify one to four displays on which to play the game.
For example, to play a game where player 1 is on "x.computer.domain",
and player 2 is on "my.home.computer", you would probably say:
% ./xbomber x.computer.domain:0.0 my.home.computer:0.0
Note that you can probably replace the address of YOUR display with
the "DISPLAY" environment variable, if it's set:
% ./xbomber $DISPLAY my.home.computer:0.0
You can select the starting level to play on by appending "-L#", where
"#" is a number between 1 and 99:
% ./xbomber $DISPLAY someone.else.com:0.0 -L35
If you wish to play the game using sound (using the machine's "/dev/audio"
device), append "-sound" to the end of the command line:
% ./xbomber $DISPLAY my.home.computer:0.0 -sound
Remember that only the machine that the game is actually RUNNING on
will be making any noise. The X-Window protocol doesn't (yet!) support
network sound. A future version of X-Bomber may use the "Network
Audio System" (NAS) for multiplayer audio. "-sound" must appear AFTER
any "-L" value.
For your copy of X-Bomber's version number, append "-version" (or simply
"-v"):
% ./xbomber -v
For a brief help display, append "-help" (or simply "-h"):
% ./xbomber -h
PLAYING THE GAME
CONTROLS:
X-Bomber is controlled with the keyboard. The following movement controls
are available:
* Up-Arrow:
Move your person up a space.
* Down-Arrow:
Move your person down a space.
* Left-Arrow:
Move your person left a space.
* Right-Arrow:
Move your person right a space.
On the screen, your person faces the direction you last (tried to) move(d).
These controls are also quite useful:
* SPACE:
Drop a bomb.
* RETURN/ENTER:
Detonate a radio-bomb (described below).
And finally:
* Q:
Quit the game. (It kills the entire game, so everyone leaves!)
ON THE SCREEN:
The game area consists of a room which you view from above in your window.
Each level typically starts out with the room containing the following
things:
* Blank spaces -
...where you can walk.
* Blocks -
Indestructable blue blocks laid out in a pattern and along the outer
edges of the room. Less and less of these appear the higher
the level you are on.
* Boxes -
Red wooden boxes. They can be destroyed, and often provide upgrades
(or "goodies") in their place.
Each level has a different "map" associated with it. This map describes
where the indestructable blocks appear. Sometimes they are arranged
in a pattern, sometimes more randomly, and sometimes (just for fun)
in the shape of pictures. :)
BOMB TYPES:
Each of the four players can drop bombs on the screen. There are currently
two types of bombs:
* Fuse bombs -
* The standard. You start out with this type at the beginning of
the game and after you've died.
* They look like little grey round bombs.
* These bombs go off a few seconds after being dropped.
* Remote bombs -
* You get these by picking up a "remote bomb" upgrade
(a green icon with a remote bomb inside of it).
* They look like fuse bombs with "X"'s in them.
* These bombs lay dormant until the player who set them send a signal
for them to go off. (Use the RETURN or ENTER key.)
When bombs go off, they explode in four directions: up, down, left and
right. An explosion noise will be heard.
If you get hit by any of this explosion, you die. (When you die,
an "uugh!" will be heard.)
If another bomb gets hit by an explosion, it goes off right then.
Each player can only drop a certain number of bombs at a time.
When you start the game, and after you've died, you can only drop one
bomb at a time. You must wait for each bomb to go off before you can
lay another.
To be able to drop multiple bombs at a time, you need to pick up a
"more-bombs" upgrade (a green icon with a fuse bomb inside of it).
You can only drop multiple fuse bombs, however. You can only drop one
remote bomb. Getting a "more-bombs" icon cancels your remote-bomb, if
you have one. Similarly, getting a "remote-bomb" icon cancels your
"more-bombs!"
UPGRADES:
As described above, these two upgrades change your bomb type:
* More-bombs -
* A green icon with a fuse bomb in it.
* Increases how many bombs you can drop at a time.
* Cancels out radio-bomb.
* Radio-bomb -
* A green icon with a radio bomb in it.
* Changes you bomb type to radio bomb.
* Cancels out any more-bombs.
A number of other upgrades help you out as well:
* Pusher -
* A green icon with a bull-dozer inside it.
* This lets you push boxes around, one at a time. Simply walk into the
box and it will move forward. (If you've ever played a game like
"Soko-ban," you understand how this works.) A "click" will be heard.
* Kicker -
* A green icon with a foot kicking a bomb.
* This lets you kick bombs out of the way. Simply walk into the
bomb and it will move forward. A "tink!" will be heard.
If you kick a bomb into a non-blank spot (a box, upgrade, etc.),
it continues to move the same direction "over" the objects until
it finds a blank spot.
* You can EVEN kick a bomb from one side of the game area to the
other! Bombs which are moving in this way don't go off until
they've landed.
* More-fire -
* A green icon with a happy flame in it.
* This makes your bombs' explosions larger by one unit in each
direction.
* You can have explosions which are up to 8 units in each direction!
* Total-fire -
* A green icon with a mad-looking outlined flame in it.
* This makes your bombs' explosions the maximum size (8 units).
You keep all upgrades until you die.
STATUS LINE:
At the bottom of the screen is a status bar. It lists, from left to
right:
* Each player and their score.
* A "person" represents a player who is still alive.
* An explosion represents a player who's died in the current level.
* The white "person" represents you. The others are your opponents.
* Your bomb status.
* A fuse bomb followed by "x1", "x2", etc., lets you know you have
fuse bombs, and how many you can drop at a time.
* A radio bomb lets you know you have radio bombs.
* Your bomb power.
* A green flame face followed by "x2", "x3", etc., lets you know
how large your explosions are. (More about this later.)
* A mad-looking outlined face followed by "x8" lets you know you
have the maximum explosive power. (More about this later.)
* If you have pusher.
* The green "pusher" icon will appear if you have the pusher upgrade.
* If you have kicker.
* The green "kicker" icon will appear if you have the kicker upgrade.
* A text message.
It typically states the current level, but for a few moments at the
end of a level, it states who won (or if it was a draw).
OTHER OBJECTS:
Along with (or instead of!) indestructable blocks and destroyable boxes,
some levels of the game provide other interesting objects!
* TNT boxes:
* They look very similar to normal boxes, but have "TNT" written
on them.
* They act just like boxes (you can destroy them, they provide
"goodies," and you can push them if you have the "pusher" upgrade),
but they also happen to explode when they're destroyed, so don't
stand too close!
* Warps:
* They look like concentric circles on the ground.
* When you walk into these, you're randomly moved somewhere
on the screen. A "boing!" will be heard.
* You'll possibly be warped somewhere useful, but also possibly
into the line of an explosion!
* They CAN be destroyed.
* Nuke:
* They look like green upgrades with a "radioactive" symbol inside.
* When you walk into this, all of the bombs on the screen explode
right then. (Be careful!)
* Invert:
* Green upgrades which are diagonally half green and half black.
* When you walk into this, all of the light blue blocks turn into
boxes, all of the boxes turn into light blue blocks, all of the
dark blue blocks turn into TNT and all of the TNT turns into
dark blue blocks. Hit another one to "undo" this.
* A strange "whistle" noise will be heard.
* Death:
* A mean-looking yellow face. A meniacle laugh will he heard when
he appears.
* Death picks a player and chases them around the screen.
If that player dies, death chooses another to attack.
* When death touches a player, that player dies. (He eats them!)
* When death touches bombs or upgrades ("goodies"), death eats them.
* Death pauses for a moment when he eats (his facial expression
will change for a moment).
* Death appears randomly. He rarely appears in levels 1 through 10,
and appears much more often in levels 11 and up.
* He cannot be stopped!
WHEN THE LEVEL ENDS:
The level ends when:
* There is only one player left.
* All of the boxes explode, leaving a large collection of goodies.
* All loose bombs go away, and the winning player can no longer
drop any bombs, making the game area safe.
* The player gets a few moments with which to collect as many
goodies as possible.
* A spiffy music plays.
* There are no more players left.
* The same as above, but since there are no players, nobody can get
any goodies.
Another kind of ending occurs when the level's time runs out:
* Just before "time runs out," new indestructable blocks start appearing
on the screen, starting from the outer edge and spiraling inwards.
* If you're hit by one of these blocks, you die.
This still causes one of the two endings listed above, of course.
CREDITS:
X-Bomber
(c) 1998
by Bill Kendrick
kendrick@zippy.sonoma.edu
New Breed Software
http://zippy.sonoma.edu/kendrick/nbs/
7673 Melody Drive
Rohnert Park, CA 94928 USA
WANT TO HELP?
Send me a note, money or any other form of encouragement. Positive feedback
always gets my programming juices flowing! :) (And maybe one day I'll
afford to replace my bike which was stolen! <:^( )
THANKS TO:
* Matt Spinetta, for showing me Super Bomberman.
* Mike Hufnagel, for letting me learn X-Window programming with him.
* and many more...
A much more important factor in the social movement than those already mentioned was the ever-increasing influence of women. This probably stood at the lowest point to which it has ever fallen, during the classic age of Greek life and thought. In the history of Thucydides, so far as it forms a connected series of events, four times only during a period of nearly seventy years does a woman cross the scene. In each instance her apparition only lasts for a moment. In three of the four instances she is a queen or a princess, and belongs either to the half-barbarous kingdoms of northern Hellas or to wholly barbarous Thrace. In the one remaining instance208— that of the woman who helps some of the trapped Thebans to make their escape from Plataea—while her deed of mercy will live for ever, her name is for ever lost.319 But no sooner did philosophy abandon physics for ethics and religion than the importance of those subjects to women was perceived, first by Socrates, and after him by Xenophon and Plato. Women are said to have attended Plato’s lectures disguised as men. Women formed part of the circle which gathered round Epicurus in his suburban retreat. Others aspired not only to learn but to teach. Arêtê, the daughter of Aristippus, handed on the Cyrenaic doctrine to her son, the younger Aristippus. Hipparchia, the wife of Crates the Cynic, earned a place among the representatives of his school. But all these were exceptions; some of them belonged to the class of Hetaerae; and philosophy, although it might address itself to them, remained unaffected by their influence. The case was widely different in Rome, where women were far more highly honoured than in Greece;320 and even if the prominent part assigned to them in the legendary history of the city be a proof, among others, of its untrustworthiness, still that such stories should be thought worth inventing and preserving is an indirect proof of the extent to which feminine influence prevailed. With the loss of political liberty, their importance, as always happens at such a conjuncture, was considerably increased. Under a personal government there is far more scope for intrigue than where law is king; and as intriguers women are at least the209 equals of men. Moreover, they profited fully by the levelling tendencies of the age. One great service of the imperial jurisconsults was to remove some of the disabilities under which women formerly suffered. According to the old law, they were placed under male guardianship through their whole life, but this restraint was first reduced to a legal fiction by compelling the guardian to do what they wished, and at last it was entirely abolished. Their powers both of inheritance and bequest were extended; they frequently possessed immense wealth; and their wealth was sometimes expended for purposes of public munificence. Their social freedom seems to have been unlimited, and they formed combinations among themselves which probably served to increase their general influence.321 The old religions of Greece and Italy were essentially oracular. While inculcating the existence of supernatural beings, and prescribing the modes according to which such beings were to be worshipped, they paid most attention to the interpretation of the signs by which either future events in general, or the consequences of particular actions, were supposed to be divinely revealed. Of these intimations, some were given to the whole world, so that he who ran might read, others were reserved for certain favoured localities, and only communicated through the appointed ministers of the god. The Delphic oracle in particular enjoyed an enormous reputation both among Greeks and barbarians for guidance afforded under the latter conditions; and during a considerable period it may even be said to have directed the course of Hellenic civilisation. It was also under this form that supernatural religion suffered most injury from the great intellectual movement which followed the Persian wars. Men who had learned to study the constant sequences of Nature for themselves, and to shape their conduct according to fixed principles of prudence or of justice, either thought it irreverent to trouble the god about questions on which they were competent to form an opinion for themselves, or did not choose to place a well-considered scheme at the mercy of his possibly interested responses. That such a revolution occurred about the middle of the fifth century B.C., seems proved by the great change of tone in reference to this subject which one perceives on passing from Aeschylus to Sophocles. That anyone should question the veracity of an oracle is a supposition which never crosses the mind of the elder dramatist. A knowledge of augury counts among the greatest benefits222 conferred by Prometheus on mankind, and the Titan brings Zeus himself to terms by his acquaintance with the secrets of destiny. Sophocles, on the other hand, evidently has to deal with a sceptical generation, despising prophecies and needing to be warned of the fearful consequences brought about by neglecting their injunctions. The stranger had a pleasant, round face, with eyes that twinkled in spite of the creases around them that showed worry. No wonder he was worried, Sandy thought: having deserted the craft they had foiled in its attempt to get the gems, the man had returned from some short foray to discover his craft replaced by another. “Thanks,” Dick retorted, without smiling. When they reached him, in the dying glow of the flashlight Dick trained on a body lying in a heap, they identified the man who had been warned by his gypsy fortune teller to “look out for a hidden enemy.” He was lying at full length in the mould and leaves. "But that is sport," she answered carelessly. On the retirement of Townshend, Walpole reigned supreme and without a rival in the Cabinet. Henry Pelham was made Secretary at War; Compton Earl of Wilmington Privy Seal. He left foreign affairs chiefly to Stanhope, now Lord Harrington, and to the Duke of Newcastle, impressing on them by all means to avoid quarrels with foreign Powers, and maintain the blessings of peace. With all the faults of Walpole, this was the praise of his political system, which system, on the meeting of Parliament in the spring of 1731, was violently attacked by Wyndham and Pulteney, on the plea that we were making ruinous treaties, and sacrificing British interests, in order to benefit Hanover, the eternal millstone round the neck of England. Pulteney and Bolingbroke carried the same attack into the pages of The Craftsman, but they failed to move Walpole, or to shake his power. The English Government, instead of treating Wilkes with a dignified indifference, was weak enough to show how deeply it was touched by him, dismissed him from his commission of Colonel of the Buckinghamshire Militia, and treated Lord Temple as an abettor of his, by depriving him of the Lord-Lieutenancy of the same county, and striking his name from the list of Privy Councillors, giving the Lord-Lieutenancy to Dashwood, now Lord Le Despencer. "I tell you what I'll do," said the Deacon, after a little consideration. "I feel as if both Si and you kin stand a little more'n you had yesterday. I'll cook two to-day. We'll send a big cupful over to Capt. McGillicuddy. That'll leave us two for to-morrer. After that we'll have to trust to Providence." "Indeed you won't," said the Surgeon decisively. "You'll go straight home, and stay there until you are well. You won't be fit for duty for at least a month yet, if then. If you went out into camp now you would have a relapse, and be dead inside of a week. The country between here and Chattanooga is dotted with the graves of men who have been sent back to the front too soon." "Adone do wud that—though you sound more as if you wur in a black temper wud me than as if you pitied me." "Wot about this gal he's married?" "Don't come any further." "Davy, it 'ud be cruel of us to go and leave him." "Insolent priest!" interrupted De Boteler, "do you dare to justify what you have done? Now, by my faith, if you had with proper humility acknowledged your fault and sued for pardon—pardon you should have had. But now, you leave this castle instantly. I will teach you that De Boteler will yet be master of his own house, and his own vassals. And here I swear (and the baron of Sudley uttered an imprecation) that, for your meddling knavery, no priest or monk shall ever again abide here. If the varlets want to shrieve, they can go to the Abbey; and if they want to hear mass, a priest can come from Winchcombe. But never shall another of your meddling fraternity abide at Sudley while Roland de Boteler is its lord." "My lord," said Edith, in her defence, "this woman has sworn falsely. The medicine I gave was a sovereign remedy, if given as I ordered. Ten drops would have saved the child's life; but the contents of the phial destroyed it. The words I uttered were prayers for the life of the child. My children, and all who know me, can bear witness that I have a custom of asking His blessing upon all I take in hand. I raised my eyes towards heaven, and muttered words; but, my lord, they were words of prayer—and I looked up as I prayed, to the footstool of the Lord. But it is in vain to contend: the malice of the wicked will triumph, and Edith Holgrave, who even in thought never harmed one of God's creatures, must be sacrificed to cover the guilt, or hide the thoughtlessness of another." "Aye, Sir Treasurer, thou hast reason to sink thy head! Thy odious poll-tax has mingled vengeance—nay, blood—with the cry of the bond." HoME古一级毛片免费观看
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