Singularity Game Subtitles
Carlota Sproul
Yeah, this annoyed me too. I always turn subtitles on to pay closer attention to the story in games. I feel very bad for anyone who is deaf and paid $60 for the game only to not be able to understand a damn thing,
That's really weird. I pretty much always turn them on in any game, even if I can hear what people are saying clearly. Just a habit at this point.
But really? Wow. You'd think every game would have them at this point.
This got me too. What really gets me is that all the Russians speak to each other in English (except the soldiers), and half of the propaganda is in English too. I'd understand if You and Nolan North were rolling through the island with a Babel Fish type device in your ear, but to be honest, the game would be better in Russian with English subs.
Let's face it at some point somebody at Raven said "You know what, balls to continuity, kids don't wanna read, they wanna shoot".
No subtitles threw me for a loop since I always always turn them on for games. I ended up cranking the volume way higher than it needed to be in order to hear the dialogue since the sound effects and the music were just as loud.
It actually probably ended up improving my playing experience.
I know I'm late to the party, but I just picked this up and it seriously sucks that it's missing subtitles. Even now 7 months later they still haven't patched it. I like it so far but I can't believe they shipped the game like this.
I have followed the Troubleshooting section in ( ) and was able to successfully check my access to the input data folder and BIDS validity, check my access to the output data folder and write permissions (also verified by the error files being written), checked my access and permissions to my $HOME folder.
Killed messages usually indicate out of memory. How much memory/cpu are you devoting to the process? I see that you did not specify memory in your sbatch header, so you are probably using a very low default value not suitable for fmriprep.
Symlinking is possible, just be careful and intentional with your mounting strings in the singularity command, keeping in mind both the target and destination of the symlink are mounted. Ideally you just run it from a BIDS valid dataset without symlinks.
Understanding, measuring, and effectively reporting the degree to which the topic of sustainability is featured in broadcast media is challenging (McDonagh and Orero forthcoming). While some analyses and methodologies exist, these can be difficult to implement and time-consuming. Currently, there are no automatic tools to measure large language-based broadcast corpus data. Some companies have developed their own private methodology. Seeking to remedy this critical oversight, the goal of this paper is to propose the use of subtitles as a tool and explain the singularity of subtitles as a text type. At present subtitles are already used to mine information, which is the second part of the article. As a text type, subtitles features need to be taken into consideration. The final part defines the objective of our research: to use subtitles as a metric to measure the frequency, topic coverage, and accessibility of sustainability-related content in television. By drawing on subtitling data, we can measure the degree to which sustainability is discussed and presented in the wider broadcast mediascape. These data are expected to be instrumental in drafting reports, guidelines, and recommendations on sustainability for broadcasting in the region with the possibility of influencing national and international policy. By using subtitles as measurable raw data to develop metrics to gauge the quantity of sustainability-related content in broadcast television, we can better understand how climate change is currently covered. Armed with this knowledge, we can develop strategies and benchmarks to promote sustainability as a concept and contribute towards Net Zero targets.
Dr. Alexander SHVETS is a Lead Researcher at the Natural Language Processing Group (TALN) at UPF. He earned his Diploma in Applied Mathematics and Computer Science from the Siberian Federal University and his Ph.D. in Computer Science from the Russian Academy of Sciences. His research interests lie in the areas of multilingual content extraction, with application to text understanding, natural language generation, and dialogue management. His recent papers include studies on computational lexicography and hate speech analysis. In the past thirteen years, Dr. Shvets has been actively participating in various European and national research projects in dialogue management, opinion-driven design, disaster management, and scientometrics, being the UPF team coordinator in several of them.
Katsiouli, Polyxeni, Vassileios Tsetsos, Stathes Hadjiefthymiades, "Semantic video classification based on subtitles and domain terminologies", SAMT'07 Workshop on Knowledge Acquisition from Multimedia Content (KAMC), Genova, Italy, December 2007 ftp.informatik.rwth-aachen.de
Like any other art form, most games evolve from some kind of creative inspiration, and most have something unique to show off. This unique element doesn't have to be anything large or significant. It doesn't even have to be important to the game as a whole. Singularity, a first person shooter from Raven Studios, has the dubious distinction of having no sense of originality whatsoever. There is no spark, no point of inspiration, no artistic sense of uniqueness to be found here. Does that make Singularity a "bad" game? Not necessarily, but aiming for such a low-hanging fruit never produces greatness.
Singularity is a first-person title that takes most of its cues from shooters of the recent past, resulting in a Frankenstein-like creation complete with ugliness and graceless lurching. The main selling point is a time-shifting device called the TMD. With it, the player can rapidly age or revert objects and enemies: things like aging an oncoming soldier into dust, or restoring a destroyed staircase.
While it is pretty cool to see the pieces of bombed out structures slowly piece themselves back together, the novelty quickly wears off and the TMD devolves into nothing more than a glorified key/disintegration ray. It does gain a few other functions as the game progresses such as time-slowing bubbles and the ability to levitate objects, but none of them are particularly noteworthy. It's usable and doesn't hamper the game in any way, but the TMD is simply not interesting enough to carry the game on its own. However, Singularity's primary failure doesn't lie with the TMD, it lies with its bland setting.
If you've seen one broken piece of 1950s Soviet architecture, you've seen every broken piece of 1950s Soviet architecture. Almost every area is a drab, uninteresting pile of rubble with a few unscary monsters and maybe some Russian soldiers running around. Even when I went back in history, I just got to see the drab, uninteresting level before it became a pile of rubble. Given that I had to spend a lot of time exploring the levels during segments with no action, such a dull environment is a serious problem. A game world such as this needs to be its own character to a certain degree, and while Katorga 12 has obviously seen quite a lot in its existence, it has very little to say to the player.
One particularly bad example of the world design came fairly late in the game when I was swimming through some underground tunnels. At this point I had seen all manner of corpses strewn about, either killed by radiation or the monsters roaming the island. I turned a corner and saw a decayed body floating in the water. The music changed for a few seconds to help illustrate the fact that I was supposed to be scared here, but I wasn't. The idea that the game threw something at me that it had already used a million times before that and expected me to be shocked told me that perhaps the developers too were getting a just a little bored after spending so much time on Katorga 12.
As I trudged on through the game I saw a series of very un-subtle notes, audio diaries, and half-assed attempts at Fallout-style apocalyptic humor placed throughout the world, which felt very cheap compared to the type of environmental storytelling found in games like BioShock or Portal. Hell, BioShock at least made their audio diaries interesting to listen to. What's worse is that almost all of the messages were a variation of the same thing; "our lives were perfectly happy, but then something exploded and turned everyone into monsters, and now we're scared." The game was trying to force its narrative on me rather than let me discover it for myself through the world, and it was a very thin narrative at that.
The multiplayer side of Singularity works for what it is-a limited but enjoyable class based FPS with a few dashes of Left 4 Dead thrown in. Some of the monsters are a bit overpowered (especially the Zeks) but the surprisingly balanced use of TMD powers spread out through the different classes worked reasonably well. Rather than make everyone a time shifting juggernaut, there is an element (albeit a small one) of team strategy here. It felt like there was a lot more care taken to crafting the multiplayer experience than the single player campaign, really. Sadly, the game always had lag problems during multiplayer, although whether this was a problem with the game itself or Xbox Live I can't say.
Normally I'd throw a 5 on a review like this and call it done, but there's one more thing that really irked me-the complete lack of a subtitle option for spoken lines. I have perfectly fine hearing, but I normally turn subtitles on just to make sure I catch everything in case some of the audio is muffled. There is quite a bit of talking in Singularity, and I can't imagine what it would be like for a deaf player trying to follow the story or even play through the game without hearing the audio cues. It is totally inexcusable to not have a subtitle option.
93ddb68554