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Top 10 Ways to Speed Up Your Slow Technology

July 9th, 2012Top Story

Top 10 Ways to Speed Up Your Slow Technology

By Adam Dachis

Top 10 Ways to Speed Up Your Slow TechnologyAs fast as your technology may have been on day one, it's probably not quite so speedy now. That doesn't mean you can't restore it to its former glory. Whether it's your desktop, laptop, or mobile device, here are 10 great ways to speed up your slow technology.

10. Clean Up Your Drive

Top 10 Ways to Speed Up Your Slow TechnologyWhether your drive is in a computer or a mobile device, if it gets filled up you're probably going to lose some speed in the process. Although you may have a number of important files on that drive, there's still a bunch of stuff you can get rid of. On a desktop computer, the easiest way to find what's taking up a bunch of space is to use a disk space analyzer. Then you can use that information to figure out what to delete.

Most Android users can migrate data to a microSD card and call it a day, but if you're rooted you can use an app like SD Maid to clean things up automatically. If you're running iOS, you don't get an automatic method for cleanup but you can view what's taking up all that space. Head on over to the Settings app, tap General, and then tap Usage. You'll get a rundown of which apps are using how much space so you can delete them, or at least delete some of the data they're saving on your device.

9. Install a Custom ROM on Your Android

Top 10 Ways to Speed Up Your Slow TechnologyWhen Android 4.1 Jellybean is released (and actually on real devices), the OS' sluggishness might be a thing of the past. For those of us still running 4.0 or earlier and are bothered by speed issues, choosing a speed-optimized ROM can help remedy the issue. Speed is probably not the first priority of the ROM that comes with your device, so do a little research to see what's available and if you can flash something better.

8. Speed Up Dropbox's File Syncing Speeds

Top 10 Ways to Speed Up Your Slow TechnologyYou can only upload as fast as your connection allows, but Dropbox—by default—limits your upload speeds no matter what. Instead of maximizing your connection, it automatically choices whatever speed it believes is optimal. You don't have to let Dropbox choose for you. You can limit it to any speed yourself, or remove that limit entirely:

On Windows, Click Dropbox in the system tray, then Preferences > Bandwidth; on Mac, click Dropbox in the menu bar, then Preferences > Network > Bandwidth > Change Settings. Once there, change your Upload rate to "Don't limit", or if you're familiar with your network's upload bandwidth and want to exercise a little more control, pick an upload limit that you're comfortable with in the Limit to field.

That's all there is to it.

7. Uninstall Unnecessary Apps

Top 10 Ways to Speed Up Your Slow TechnologyThere's nothing wrong with a few apps on your computer, but when you're running a ton of them it can slow things down. If you need them you need them, but there are probably a few you don't. At the very least the apps are using your disk space, if not taking up additional resources, so it's good to audit your collection and uninstall what you don't need. Unsurprisingly, uninstallers can make this process a little easier for you. They give you a list of your apps and let you remove them with a few clicks. You still have to audit the list yourself, but it's a process that's much more simple than manual removal.

On mobile devices this isn't so much of an issue as both iOS and Android make it pretty simple to get rid of an app you don't want. Sometimes you end up with a lot of apps and aren't sure what you can get rid of. If you've got an app addiction problem, just follow this guide to help you figure out what should stay and what should go so you can keep your mobile a little tidier.

6. Perform System Maintenance and Optimization

Top 10 Ways to Speed Up Your Slow TechnologyModern operating systems perform maintenance tasks on their own, but these automated routines aren't perfect. It's a good idea to perform these tasks yourself on a monthly or bi-monthly basis. On Windows, CCleaner will get the job done. It works on OS X as well, but we prefer Onyx.

5. Speed Up Browsing Times by Optimizing Your DNS Settings

Top 10 Ways to Speed Up Your Slow TechnologyThe amount of time you spend waiting for a site to load can be a bit faster if you're using the best DNS servers. The problem is, which servers you ought to be using will depend on your location. Namebench is a free utility for Windows, OS X, and Linux that'll run tests to figure that out for you so you can optimize your DNS settings. The test can take a little while to complete, so run it, take a break, and come back to better DNS server suggestions. If you want to learn more about how DNS can speed up your browsing times, check out our guide.

4. Install a Lightweight Operating System

Top 10 Ways to Speed Up Your Slow TechnologySometimes your computer is just old and any speed gains you can tweak out of it are not going to be worth your time. Instead, it's better to just say goodbye to the machine as you know it and give it a lightweight operating system it can run with ease. Which OS should you pick? You've suggested several options, as well as some good ones for netbooks (which may do just as well for old machines), but generally that means some flavor of Linux. While that'll work for a lot of Lifehacker readers, it won't for everyone. If you'd rather stick with Windows, trim it down to the bare essentials. It may not be as fast as some of those tiny Linux distributions, but it'll be a lot faster than a feature-rich copy of Windows.

3. Boost Your Boot Time

Top 10 Ways to Speed Up Your Slow TechnologyYou're probably not rebooting your computer with too much regularity, but that can make it all the more frustrating when you have to wait to see your desktop again. While booting up is always going to take a little while, you can speed it up. Windows users have a great tool called Soluto that helps you fix a number of issues that cause slow performance, including problems that affect boot times. If you want to learn how to use it, check out our guide.

OS X users don't have such a nice solution, but OS X is pretty quick when it comes to the actual boot screen. More slowness occurs after you see the desktop and all the little things you have installed start to open. If you want to remedy that situation, just head into the System Preferences app, the Users and Groups preference pane, and click on your user. In the Login Items tab you'll have a list of all the stuff that you've set to run when you log in. If there's anything in there that you don't really want, just remove it from the list and your startup time will improve. Users of OS X Lion (or later) may also benefit from disabling the Resume feature, which restores your computer to its previous state as soon as you boot up. You can do this in the General preference pane in System Preferences by unchecking the box next to "Restore windows when quitting and re-opening apps."

2. Overclock Your Processor

Top 10 Ways to Speed Up Your Slow TechnologyIf you literally want to speed up your computer, that's what overclocking can do for you. Some processor overclocking provides greater speed gains than others, so you'll want to do a little research before you jump right in. The process takes quite a bit of time, commitment, and care, so you don't want to bother if you're in for negligible speed gains. That said, we've got guides for Intel processors and even low-powered PCs and netbooks. You can even overclock your video card, too.

1. Get an SSD

Top 10 Ways to Speed Up Your Slow TechnologyBy now, it shouldn't come as a surprise that we think the SSD is the best upgrade you can get for your computer and now is a great time to buy one. When home for the holiday, I stopped in at Microcenter and found 120GB OCZ Vertex and Agility SSDs for under $100. I've seen online deals for even less from time to time. SSDs have never been more affordable and they can make a sluggish computer feel brand new. If you've been sitting on the fence about making the upgrade, now's a great time to make the change. Just know that you'll never go back.

Photos by iDesign (Shutterstock) and oknoart (Shutterstock).

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The Difference Between A Good Video Game and a Bad One

July 9th, 2012Top Story

The Difference Between A Good Video Game and a Bad One

By Stephen Totilo

The Difference Between A Good Video Game and a Bad OneDuring my first 25 years playing video games I had no theory about what makes a video game good. I knew the good ones when I played them. I just felt it.

Last year, however, I was forced to come up with a theory—a theory about what makes a video game good. I've been testing it ever since.

My theory is simple. Whether a video game is about shooting guns, flying planes, jumping over mushrooms, solving puzzles or rotating falling blocks, the game is a series of choices for the player. A good video game presents a series of interesting choices for the player to make. Should the game's choices be uninteresting—should they barely be choices at all—then the game is bad.

Events in the year 2011 had forced me to come up with some sort of theory about what makes a game good. The events involved Zynga, the company behind FarmVille, CityVille and, as I understood in early 2011, much of the eVil plaguing video games. The Zynga games, I'd heard, weren't so much games as psychological tricks that baited players to keep playing by enticing them with scheduled rewards, not by entertaining them as games should, whatever that meant. Millions of people may have enjoyed Zynga's games, I had heard, but the thinking was that millions of people didn't know what was good for them. These things Zynga made weren't just bad games, the critics charged; they weren't even games.

A good video game presents a series of interesting choices for the player to make.

How awkward, then, that Zynga was courting me throughout 2011 to play their games. They did that monthly, contacting me in my capacity as an editor at major video game website in the hopes that I would pay attention to their next big game, appreciate its improvements over the last big Zynga game and wind up with something positive to report about it. I did not want to play their games, but a reporter's job is not to stem the flow of information. Yes, I told the Zynga people month after month, I'll try your games.

Before the Zynga courtship began, I had only played FarmVille and only for a few minutes. The beginning of the game had presented no choices that interested me. It pulled me from one action to the next, telling me what to build or collect or what to wait for, giving me no sense that I was making any decisions of my own. It had bored me.

The Zynga people showed me FrontierVille. They told me about the game's story. That didn't make me want to play. They told me about Empires & Allies, which borrowed ideas from an old favorite, Advance Wars. Through its combat system I recognized that a player could lose a fight. The losing player, I realized, must have had a choice to make that brought them to victory or defeat. I was more interested in this game. But I tried that one and it, too, quickly bored me.

Then I tried Adventure World, a game Zynga would eventually re-brand as an Indiana Jones aventure. The hero of that series hates snakes, but an encounter with a snake in Adventure World is what convinced me that not only was this one a game, but it had the potential to be good.

I've tried to recreate my moments of discovery with some screenshots.

The Difference Between A Good Video Game and a Bad OneFirst, I entered one of the game's maps and realized that I had a choice of where I could go. One path, to the upper left of the frame, would bring me toward bushes through which I'd have to slash. I had no idea if anything was hiding in them. The path to the right would bring me to a piece of red treasure but also toward a snake that was moving in a pattern of its own and might intercept me.

The Difference Between A Good Video Game and a Bad OneI chose to move toward the treasure—and toward the snake.

The Difference Between A Good Video Game and a Bad OneI grabbed the treasure, and the snake closed in.

The Difference Between A Good Video Game and a Bad OneI decided to fight instead of fleeing. I discovered it was too weak for me. I killed it.

These were not the most fascinating choices in video game history, but they were choices. They were choices that would lead to immediately distinct outcomes. They interested me.

When the Zynga people showed me their next game, Mafia Wars 2, I knew what to look for: choices. The more the merrier, at least for Zynga, I thought. The Zynga people were getting better, I had decided. They were no longer making unbranching flow charts for their customers to click through; they were beginning to offer players branches; they were serving decisions that led to distinct consequences.

What Makes Tetris Great

As my idea about choices in video games coalesced, I began to look at my favorite video games differently. I love Metroids and Assassin's Creeds, which I never doubted were video games. The Legend of Zelda: Majora's Mask is my favorite game, though I'm pretty sure that Tetris is the best video game ever made. All of these games support my theory, Tetris most purely among them, which is probably why it's the best. Each falling piece presents the opportunity for some basic but almost always-interesting choices: Where will I put this piece? Can I rotate it fast enough? Should I drop it swiftly? What is the next piece coming and how will this piece set me up for dropping that one? Do I want to set myself up to score a four-line-clearing Tetris? Etc. The choices come quickly. The choices are always clear. The consequences are sometimes immediate, sometimes delayed. They are always clear.

The game isn't really about falling blocks; it's about a cascade of chances to make decisions.

Merihari... and Forks

I reached out to some of the smartest video game creators that I know and I asked them how they could spot a good game and distinguish it from a bad one. My theory was that the big thing was the presence of interesting choices, but what was their theory?

Dylan Cuthbert weighed in from Japan, which thrilled me because Dylan Cuthbert not only makes many video games that I like—Star Fox, PixelJunk Monsters, Digidrive, to name a few—but he has also worked closely with the top people at Nintendo's Kyoto headquarters where many indisputably great video games have been made.

"Well to begin with, 'beauty is in the eye of the beholder,'" he told me over e-mail back in the beginning of the year. "For example I think Dark Souls is an amazing game but others might disagree with me. However, for any game that someone thinks is really good there are a few common factors. For me those are: Aesthetics (not just artistic beauty), Polish, Engagement, Originality and final but not least, 'Merihari'.

"'What's merihar?' you are probably asking; well it's a Japanese word that embodies rhythm+balance+distribution—for example. imagine a roller coaster ride without merihari, and it would just be a continuous downhill ride. That may sound good, but, actually without the tension of that initial climb, a fairly large chunk of the thrill is lost. It's why boss fights work well in games. The stage before it builds up the tension. If you have a game that only has boss fights, the experience begins to feel shallow. (a game that sticks in my mind for doing this, unfortunately, is Omega Boost from Polyphony, a game that would have been much better if it had built up the tension before each battle)

Cuthbert: "For any game that someone thinks is really good there are a few common factors. For me those are: Aesthetics (not just artistic beauty), Polish, Engagement, Originality and final but not least, 'Merihari.'"

"Probably the main thing, though, is that old favourite: tender love and care—when the entire development team has loved and cared for the game that alone can simply make all the difference."

The merihari thing sounded right. Theory revision! Interesting decisions + merihari. Plus other stuff too, probably.

I got another response, this one from Eric Zimmerman, a game designer and academic in New York:

"I don't think you can answer the question in simple terms, i.e. a certain kind of game design or a certain kind of player experience," he told me in an e-mail. "I would have to answer that deciding WHAT constitutes a good experience for your players is part of the design problem itself. A game designer has to decide what success will be for her game. And then she has to design it!

"This idea of a game designer defining her own design problem is particularly salient for game designers, as opposed to other forms of designers (like architects or industrial designers) because our work is usually explicitly non-utilitarian. A fork designer can always fall back on the success of a fork design being the functional use of the fork: someone actually can use it to eat food.

Zimmerman: "Fork designers usually have their own aesthetic goals, for example. But in the case of (non-educational) games, the non-functional goals are ALL THAT WE HAVE."

"But in game design, we have to create our own criteria for success. This might include aesthetic goals, goals for exploring or conveying ideas, commercial metrics, and technical innovations, etc. Of course, all of these kinds of goals are things that non-game designers can take on, too. Fork designers usually have their own aesthetic goals, for example. But in the case of (non-educational) games, the non-functional goals are ALL THAT WE HAVE.

"So game designers themselves decide what makes a good game good. And it can be unique for each individual designer, and for each individual game a designer might make. A game might be good because it makes you sad, or happy, or angry. It might be meant to relax players, or excite them, to grind them into a zen state or snap them into problem-solving alertness. A game designer might decide success is loving social interaction, or ruthless trash talking, or solitary isolation. Or success might be thinking about violence in a new way—or maybe thinking about violins in a new way. Usually it is a stewy mix of a whole bunch of different and sometimes conflicting success criteria.

"And a designer's idea of what success looks like for a game can even change as the game is being developed or after it is released. In fact the sweetest pleasure for a game designer can be seeing your game played in ways you never anticipated. That's when your players teach YOU about what makes a good game good."

This seems right as well, and helped remind me of my original quandary, which wasn't to distinguish between good games and bad ones but to determine if something—specifically, the creations of the Zynga corporation—were games at all. Zimmerman did not address that specifically, but his comments about the goals of games helped me realize what it is that Zynga's big FacebookVille games possess that makes it so hard for me to relax and just play them: their goal of making money for the people who created the game feels apparent every time I make a decision in one of those games. Every time I make a decision, I use one of my rationed pieces of energy, bringing me another step closer to having to wait to continue (that's annoying) or to bug my friends for help (that makes me feels like I'm marketing the game for Zynga) or paying for more energy (that feels like I'm losing a test of wills with a rich corporation).

Possible theory revision: A good video game not only contains interesting decisions but doesn't include decisions that make me feel like I'm being manipulated/used/nickel-and-dimed.

Super Mario Decision-Making

In 2012, armed with my theory I've been looking for games that are full of choices. The Zynga people still call, and they still show me their games. If the game doesn't appear to offer choices I haven't been offered before—or if it doesn't offer choices that lead to distinct consequences—I lose interest.

As I've hunted for games full of choices, I've honed my taste in first-person shooters and realized that I'm less interested in the ones that feel as if they pull me down a straight line and not give me a choice how to solve my problems (so that's why I liked 2011's Bulletstorm so much... every enemy encounter was ripe with multiple choices about how to win it).

I've realized that my low tolerance for Japanese role-playing games might be less due to the stories they present than to the lack of choices available in the ones I've played (so that's why the Fire Emblems are my favorites and why I despise level-grinding, the epitome of the uninteresting choice of how to spend your time).

The Difference Between A Good Video Game and a Bad One

My zeal for interactive decision-making has enhanced my appreciation for Angry Birds Space and explained my limited interest in the wonderfully-written but choice-limited Ace Attorney games.

I now crave from the games I play the choice to do radically different things to see what happens next. If I feel like I'm being funneled or forced to do only a certain thing next, I resist. I get annoyed. I dislike the game. This must be why I loved Portal 2 last year, a game that may have had just one solution to each of its puzzles but let me feel like I was experimenting—making decisions—as I tinkered with possible ways through. And this must be why I tired of Uncharted 3's combat, which offered me the same choices against the same enemies ad nauseum.

When I say I now look for games that are filled with choices, I don't mean that I'm always looking for BioWare-style role-playing games that are full of branching moral paths. For me, choice can involve having two different targets to shoot. It can involve something as simple and pure and being posed with the quandary of whether or not to jump.

A Mario level rushed through briskly is an encounter with a series of interesting choices.

I've always been fascinated by the act of jumping in Super Mario Bros.. I consider it the most perfect activity ever put in a video game (how strange that it's not in Tetris!). Mario's ascent is associated with discovery. On his way up he might hit a block that will sprout a mushroom or flower that grants him new abilities. His descent is an attack. On his way down he squashes his enemies. When combined, the ascent and descent are also a necessary means of traversal used to pass bottomless pits or avoid carnivorous plants that emerge from green pipes. Every inch of a Mario level presents the player a string of choices, almost all of which compel the player to decide whether or how to use the ascent, the descent or both to one's advantage.

A Mario level rushed through briskly is an encounter with a series of interesting choices. The best levels in the series are composed of a series of obstacles that, when approached rapidly, offer a delightful set of quandaries. Do I run and jump over this guy? But then what does that put me in a position to do to the next guy? Do I take this upper path? But then do I miss the power-up that was hidden below? Do I hope on this turtle and knock its shell into the next few enemies, do I hop across each of their heads? Etc.

Perhaps this idea of good games that present interesting choices is too obvious a theory. Perhaps it does not sufficiently sift gaming's good works from its bad, to say nothing of distinguishing between gaming's good work and its greats. The theory has aided me, though, because it has helped me respect myself as a gamer and made me more conscious of how a game will use my time. If it offers me interesting choices, second by second and minute by minute, I may enjoy it. If it does not, I'd have been better off not playing it. This is how I now distinguish the good games from what I believe are the bad.

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