It seems like today was my lucky day. While doing a bit of shopping and wandering around Game Stop I picked up three great Taito packages.

First the old stuff. I grabbed PC version of Taito Legends 1&2 for around $12 total. I know what most people are thinking right now: “but you can get them all in MAME and for FREE!” that’s not the point. See, if I have the option I prefer to own legit copies of games. Sure the interface is a little annoying, but I don’t feel like I’m on the gray side of the law here. So far I’ve spent most of my time playing Elevator Action Returns, Ray Force, and a game I’d never really paid attention to yet turned out to be really excellent: Bonze Advernture.

I also found a typo on the back of the Legends 2 box!

So the other Taito game I purchased blew my mind twice: Space Invaders Extreme. My mind was initially blown when the Square-Enix logo was the first logo to pop up. I mean, I’ve know they bought out Taito, but it was still really strange and a bit heart breaking to see. I was yet again blown … by the gameplay. Now, while the game at it’s heart is still very, very much Space Invaders there’s been so much mixed into the formula that it feels really fresh, replayable, and stylish. I mean, everyone know’s that Space Invaders is now retro-sheik, but this oozes with nostalgic reference and modern aesthetic appeal.

The influence that effected SIE are easily identified: Rez and Ikaruga. I can’t simply say that SIE ripped off either game–they have been molded to fit inside of the vision we’re presented with. Auditorily Rez was about making beats and sounds that flowed with the music through player interaction. While it’s a more prominent feature in Rez than SIE, it’s still an easy connection to make. The other connection is a bit looser, but still just as easily recognized. The key “gimick” of Ikaruga is the way that you chain colored enemies to get a better score. This has been taken in by SIE and been expanded upon to be the catalyst that gives the player other weapon options, and also drives the score. Hell, if I didn’t know better I’d say that Jeff Minter had a hand in the game’s influence too.

Don’t take these comments at face value, honestly if I gave this game to my wife or many gamers who just don’t scratch too far beneath the surface they wouldn’t see these influence. The influences are ubiquitous. SIE has taken them and evolved them to fit what it needed for itself. It’s really a fantastic collaberation of the great things that the medium can do, all the while maintaing a violently faithful connection to it’s own roots. More so even than my (now) second favorite Space Invaders game: SI ‘95: Attack of the Lunar Loonies (aka Akkanvader).

Sorry Akkanvader.

E3 is over, and nothing really new has been said. How uneventful. One excellent thing did come out of it all though: the demo for Siren: Blood Curse is now up on the PSN for your shiny PS3 that sits around being used as a media center and PS2 machine without any lovely games of it’s own to keep your interest (outside of MGS4). Well, that could just be my PS3 anyways.

The original Siren for the PS2 is an excruciatingly difficult game for reasons that are hard to explain without playing through it. It took me and Sara probably a good year of starts and stops and over a hundred hours, but we did eventually finish the first game. I even liked it enough to purchase the sequel which was only released in Asia, but never got around to playing it in hopes of an eventual US release which never came about.

Even though the demo for Blood Curse is new to the US, it’s been available in Asia for a little while now, and this game was announced quite a while ago. So, honestly, E3 brings most of us nothing new. If you go about looking for information on Siren at IGN or any of the major news sites, you’ll probably come away with less information than you previously knew about the game, or less than you get from spending the 10 min with the demo that it takes to complete. Ultimately I’m severely disappointed with the only thing announced that was previously unconfirmed: the US is only getting a episodic (though, you get three episodes per… episode) release of the game in four parts for $15 each or $40 for all.

[Sidebar: I don’t like Sony’s trend to release full games as downloadable items. It’s not that I’m against digital distribution for full products (you should see my Steam list of games), It’s that they have the audacity to think that the PS3 is the same as a PC. You’re offering me proprietary software on a proprietary system that I am pretty sure Sony’s going to drop support for in the next 5 - 7 years. Something like this doesn’t really make me feel comfortable or safe plunking down that much money for, and I’d rather have something tangible that I can use to SELL and get retribution for if it’s shite. Now, calm down, I know what some of you are saying: “but Matt, the first game was a disaster sales wise, why would they want to release a physical version just to lose money on again?” First, it’s not like they lose money on it, they have all their other games supporting the occasional failure. This is how all other publishers work. By making it digitally distributed it actually lowers the amount of people who will know about the game, and hence worsens sales yet again. To top that off, it’s not like there’s a wealth of other great games for the system that’s going to get your average customer to overlook this one (which was much more the case with the PS2 release). So, in conclusion, I’m going to wait and see if the Asian version (which isn’t region coded, nor is any other PS3 game) has English menus and pick that up. This way I support the game, but stick my nose up at Sony’s inflated ego.]

Whatever, back to the game at hand. As I said there’s a new demo for Siren: Blood Curse on PSN, go download and play it now. I want to explain exactly what’s exciting about this demo, because honestly it gives initial impressions of being very mundane. The game starts off both feeling way too dark, and–ARGHmyhand–brings back awful tank controls. There’s also an new focus on combat, which is a bit misleading because your fists really aren’t going to do you any good. And, top this all off with the little niggling bit of needing to press the up button on the d-pad twice to make your flashlight turn on or off.

Moving along, the demo decides to give your your first weapon: a rusty pipe. How suiting. Now, you find that using this pipe with the control scheme is a bit unwieldy, and if there’s other survivors around you even hit them with no apparent way to avoid hurting your partners. Then the demo give you a gun. See this is where the real control scheme shines through: as soon as you pick up the gun hit R3 and never look back.  This puts the player into first person view. With no obscuring HUD or pesky aiming reticule, suddenly I’m completely absorbed into the tension and horror of the situation. The control scheme becomes natural, and the camera movements only enhance what was being shown from an outsider perspective previously.

The cherry here is that the auto-aim system is seamlessly integrated into aiming effectively feeling more like they game’s reading your mind than that it’s auto-aimed. While experimenting with the fps view on subsequent replays of the very short demo I went back to a previous area where I left a zombie (shibito) alive. I had unequipped my gun for a shovel (I don’t know why the demo makes you wait to get a gun to go into the fps mode) and try to find him. While running down some stairs, suddenly from the darkness he emerges. I swing the shovel in hopes of knocking him out, but he deftly avoids my swing and heads straight for my partner. Now, I don’t realize what’s happen at first, because after I swung the shovel the zombie disappeared below my field of vision, but the auto-aiming tracked them in a way that slowly turned me around (as though the character was looking for the zombie, rather than quick snapping zombie-locked-to-center-of-the-screen) to face them. Brilliant little moment.

After initial impressions I wasn’t so excited about Siren:BC, but now after playing around with first person perspective I’m stoked once again.

As a special bonus for all you horror fans, I’m mirroring the greatest B-Game wallpaper ever created here for your PS3’s pleasure. It reminds me of Bio-Zombie for some reason.

While I’m pretty sure this is a quiet story in the gaming press, it’s something that’s struck me as totally bizarre. In Age of Conan female characters attack approximately 33% slower than their male counterparts for most classes. This is something that made it through at least 18 months of beta testing, and something that was done intentionally at one point or another. Since this is all hidden behind a log-in password that you need to have a copy of the game to access I’m going to copy/paste the developer comments here:

My fellow Hyborian Adventurers …

Last week I promised that I would do my best to have a more detailed update on the issue about Male vs. Female attack speed/damage ready by today. It’s quite possible that not everyone will be thrilled by what this update contains but you as a community deserve to know both what’s causing it, why it’s taking us this long to fix it, and how we plan on fixing it.

Let me begin with saying “yes, we here at Funcom agree with you; this is an unacceptable bug”. We never intended for any character to be stronger/weaker than another based on its gender, and we have been working on making the necessary adjustments to correct this issue for quite some time already.

Now, in our game, we have two primary sources of damage; ‘normal’ damage, commonly referred to as “white damage”, and ‘combo’ damage. Making the white damage equal for both Male and Female characters is, in this context, a fairly simple task and something we’ve already done and which should already have been patched out to Live.

For future reference, when I say that it was a fairly simple task to fix it, we’re still talking about modifying, either through actually having an animator work on the animation resource itself or by having a BCC designer adjust the speed-scaling of said animation resource, of more than 150 unique animations. In addition, these animations are fairly “simple”; by which I mean that they are your ordinary attacks and don’t contain any flourishes, sequential blows or other “complicated” stuff.

However, if we move onto ‘combo’ damage, which is what is causing the notable part of this issue, there are suddenly several factors that come into play when determining the final damage. I won’t be wasting too much time in this update to go into detail about every factor, but to quickly list a few they would be stat/modifier/multiplier (which in turn depends on class, level and weapon equipped), length of animation and, although irrelevant to this exact issue any longer, amount of steps in a combo sequence.

The main reason for the discrepancy in damage output that you’re seeing is that the length of an animation isn’t equal for both Male and Female characters in many cases. This is what we’re currently fixing, but there’s roughly 800 to 1000 animations in total that are involved here, and that they are significantly more “complex” than the ‘white damage’ animations mentioned above this naturally takes a lot more time.

Of course, once the length of the animations have been fully corrected/tweaked either by an animator or BCC designer then every rank (of every combo for every class) has to be re-balanced by the System Designers because, as I mentioned above, one of the factors that come into play when determining the combo damage is animation length.

I guess I should begin wrapping this up by now. I’m afraid I won’t be able to give you an exact date for when this issue will be fixed, but we’re working internally towards a goal of having everything finished during the next two to three work-weeks, depending on how much we need to re-adjust after the initial tweaking. This is including the majority of QA testing, which can be performed during the process as we’re working on a class-by-class basis. That being said, and even with on-going testing during this process, everything still needs to be verified by QA once more after we merge our changes into the system data to ensure that we’re not breaking anything else.

We will however not be patching this out to Live on a class-by-class basis, but rather in one big “collective” fix to all classes. I will make another promise right here and now though; I’ll be investigating whether or not we can introduce these changes to the public Test server (which Famine has promised everyone a bigger update on soon) at the earliest possible convenience.

I know that many of you will probably be disappointed to hear that it might take us as much as another three to four weeks to solve this issue, for which I can only apologize, but we want to make sure that we devote the amount of time that an issue of this magnitude and importance deserves rather than rush out a “quick fix” that might not work as well

And finally, I have to stress that even with our internal goal set and everything currently proceeding on schedule I cannot currently promise that this will be patched to Live at the projected date. There’s a lot of stuff that, while totally unrelated, might cause a certain patch to be delayed or even pushed out without containing this data. What I can promise though is to return with another update about a more specific patch date as soon as possible.

I hope that this information is what many of you have been asking for, and that I’ve been able to present you with answers to many of the questions you’ve had about this issue. On behalf of myself, everyone else directly involved on fixing this issue and Funcom as a company; thank you for reading!

-Svein Erik “Sharum” Jenset: BCC Design Funcom

Bold added for emphasis by myself.

I think it’s interesting that this is being handled as a “bug”. It is clear that at one point or another someone made the conscious decision to do this. Whether it was just carelessness by the animation department, or if it was intentional from a higher up level, I don’t know. But clearly if 800 - 1000 animations are “effected by this bug” it’s hardly a minor oversight.

Honestly, I’m not really sure what conclusion to draw from this. It’s obviously an oversight that the developers didn’t care about. Now I can understand how this wasn’t picked up in Beta testing or anything for a while (I wasn’t playing two characters of different sex of the same class, I can understand why many people wouldn’t), but I don’t understand how it made it past the developers in the first place.

What are your thoughts on this?

EDIT: Two more things have come to light about this issue while I was poking around. All following information was confirmed by the above quoted developer.

1st: The devs were told about this bug in beta testing. Around mid-March the first reports of noticing this were released by beta testers. This means that the game could have still shipped w/o the “bug”

2nd: The devs are saying that this “bug” is due to the speed of the Motion Capture for the animation for the classes. This opens up a whole new bag of worms.

Interesting.

One of the first huge enemies I’ve encountered in the game. I had to climb to the top of a mountain in Connel Valley to find them. Much larger than their flatland brethren. Unfortunately they were a bit of a push-over compared to what you’d expect from something their size.

In the 1920’s a depressed and talented pugilist took up his hand at writing for pulp publications of the time. Later this man would become a contemporary of era standing next to pillars like Howard Phillip Lovecraft and Clark Ashton Smith. Stemming from his love of history, particularly that of Europe and Asia, he created the Hyborian Age (”Hy” being Irish for “country of” and “Borea” meaning “north wind”). In this setting he solidified his previous fictional works of the brave Pict warrior Bran Mak Morn and the exiled Atlantian King Kull as the Thurian Age of “the past” and set the scene for his most famous character: Conan.

What started with a short poem (poetry being R.E. Howard’s first passion), he created the land of Cimmeria spurred on by a memory held of hill-country in the heart of Texas after a winter rain. It was from this land which Conan left to seek his crown, and the land which Howard hardly wrote about besides that it was a war ravaged nation of nomadic tribes. When Howard wrote Conan he used the character as a vent for understanding his own internal conflicts about society and lonesomeness. Yet he still understood how to tell a good story: weave an interesting yarn.

“The average man has a secret desire to be a swaggering, drunken, fighting, raping swashbuckler.”
-Robert E. Howard in a letter to a friend circa Decmber 1932

As I’ve only recently found Howard as a writer, I’ve long been an admirer of his work without even knowing it. My interest stems from many viewings of the campy and violent outing of Arnold Schwarzenegger as Conan. While quite different from the Howard stories in point, it gets much of the essence of the character just through the acting and setting in which the film takes place. As a young boy it captivated my imagination. Years later when I found HP Lovecraft I never realized that he and the writer of Conan weren’t only good friends, but that I’d read some of Howard’s Cthulhu mythos stories. He and Lovecraft were good friends and writing partners. They died within a year of each other, both tragically: Howard committed suicide after the death of his mother, and Lovecraft a victim of cancer.

My first videogame experience with Conan was before I’d ever even heard of the NES with the Apple ][ game Conan. I spent many hours attempting to learn this game, and it remains one of my fondest memories on the Apple ][, even though I’m positive I never even finished the fourth level. Twenty something years later Funcom has released Age of Conan: Hyborean Adventures. It’s one of those online games that everyone’s talking about. As I’m not completely adverse to such things I got swept up in the hoopla and decided that, yes, I did want to play this game because it offered a setting which I thought excellent for something on such a massive scale.

My time with the game so far has been brief and mixed, but outside of the bugs (somehow more acceptable with new online only games) I’ve loved nearly everything about it. Recently I found a way past a fake wall in the game and, as I’m wont to do, I explored behind the scenes quite a bit and got some fantastic screenshots. I’m withholding more infomation about the game itself because things are still early (as far as MMO’s go) and I’ve still yet to see nearly half of the game, so today I just give you my cartographic experiences behind the scenes in a pictoral manner. Fear not though, I’ll talk more on the game proper at a later date. Till then I recommend picking up the original RE Howard books.

This first image I present with the HUD is only to point out the upper right mini-map to show that I am indeed, off the map… as thought the abrupt end of the earth isn’t enough of a clue Also, I took over 30 screen shots behind the scenes, the following are only the choicest of the group.

As a side note so I don’t seem perverse with the above “up skirt” image, that was taken while swimming through mid-air and not from the ground looking up.

When I was in high school I saw my first game of Warhammer played on a giant miniature battleground taking up two fold-out tables. It was a stunning display of dedication, strategy, and cash expenditure. Previously I’d played many tabletop RPGs with miniatures, but this was like watching grandiose G.I. Joe battles taking place over a whole back yard with organization and rules. It was on such a massive scale that I was instantly interested.

Unfortunately when I ventured further into the world of Warhammer, attempting to learn the game and build an army, I was hindered by my cash flow. It was expensive to build an army, and the prospect of painting all of these tiny little things was intimidating to say the least. While I never did end up building a full army or battling anyone I was always interested in the game and aspired to one day actually get further involved.

As a brief background for the unacquainted, Warhammer is broken up into two main games: the first is a high fantasy setting similar to Dungeons & Dragons, the other is Warhammer 40k which takes that same setting and essentially transplants it into the future. Personally I find Warhammer 40k more interesting because it’s not every day you get to fight space goblins and undead with nuclear capabilities. What they share in common is the massive sized armies of miniatures for combat.

When Warhammer: Age of Reckoning (cleverly abbreviated as WaR) was announced as an MMO I was still a bit skeptical on the whole genre and only listened to the exuberant EA Mythic PR with half an ear. Recently Patrick Klepek of MTV Multiplayer convinced me to pay a bit more attention to the game because of the way that WaR will handle large scale public battles. Also, since the game’s announcement I’d become more open and welcoming of the concepts of MMOs. So I began to poke around a bit about more details on WaR.

After looking around it turns out that what I kind of invented in my head about WaR is nothing like the game is going to end up being. From what I’m reading it’s going to be very much like World of Warcraft, but with the foreknowledge of what is “wrong” about that game. Everything that WaR will bring to the table is going to either be “just like WoW, or better” or it is “fixing one of the inherent problems with WoW.” Essentially the game views itself as “the next WoW,” which, to me, spells overall failure.
See, one of the greatest advantages of using the Warhammer IP is the armies and the large scale combat. WaR will put the player in control of only one character: as soon as I learned this my interest level dropped from fairly high to quite low. The experience of building an army to play real people on fold out tables covered with green felt and miniature landscapes is something that most people can’t obtain. The chance of playing an MMO where you are the commander of an army you built yourself was something that seemed perfect for me. It even made sense within the rules of MMOs.

Dream a little dream with me if you will. You start out as just one hero, a commander without an army to command. The first ten levels or so involve completing quests which gain you prestige. After a certain point you can start to recruit your squad with one or two soldiers. Which character types you pick, how they’re equip, and what color you paint them is basically how the class-system would work. When you hit the maximum level the player should have a large squad to bring into combat with a few vehicles in their control as well. The world of Warhammer would allow for very unique level of customization based on what race, type of squad, and weapons you focused on training.

Now for the “end game.” You have your squad nice and strong so you join an Army (rather than guild) and you play out your role commanding your squad in large scale army combat. My imagination tingles with the possibilities of dynamic emergence this game could have. But that’s not what WaR is going to be and it just feels like wasted potential.

This isn’t saying that the game will be bad, it’s just that I’m disappointed. Because of this I decided to pick up Age of Conan: an IP and world that interests me and it seemed that the game is trying to be something other than “the next WoW.” The depth of combat and involvement attracted me to AoC rather than waiting a few months to see how WaR ends up. To quench my desire to control and fight huge armies I picked up the 2004 PC RTS Warhammer 40k: Dawn of War and a couple of the expansions off of Steam. While not the best game ever made, it does satiate my wonton lust for large scale combat nicely.

Maybe I just need to wait until someone uses the Warhammer 40k IP for an MMO to get the game I want.

I was recently … uhm … alerted to a … game. I mean, I think it’s a game.

The only thing I can say is that this is the Faces of Death of videogames. It’s disturbing, mostly fake, and inhumane yet I keep looking at it and using it.

The game is simply titled The Torture Game 2 and that sums it up wholly.

After the near fatal incident with my iPod last week I’ve realized that I now have full access to all my music since my HDD mirrors it (previously it was all managed from my iPod like an external HDD). In effect I am taking full advantage of music programs and have rekindled my relationship with Audiosurf.

Music is one of our societies greatest arts, and it’s so easily and widely shared that most of the time I take it for granted. While playing Interstate 8 by Modest Mouse on Audiosurf I thought about just how accurately the song was being visually represented. Audiosurf is far more than either a game or a visualizer. Most of the time neither is rooted to music in so many primal ways. In most games music will set the mood in the background, much like with film. With visualizers there’s no interaction and no scope.

Audiosurf combines those things and adds more. The key to it all is the course that is generated from the music. The track created from the digital wavelengths inside your music are the focus of the player throughout most of the play time, and even outside of it. The first time you play a track the program creates a map at which point the player is shown where to expect the most traffic, and also it shows the flow of the song.

Before the player can begin playing the song an overview of the course is given by rotating around the zoomed out arena. Upwards slopes are slower and the colors are in the cold range. Downward slopes warm up in color and contain more architecture. The color and shape now has a form which is displayed like a captured snake before the buyer.

While riding the serpentine path small nuances of the music are shown through color, accolade, and speed. Moving through the notes inside the track the color shifts from shades of color by melding perfectly from one to the next in a natural and beautiful display. When notes are passed a small light glistens off the corners enhancing the beat. Particularly intense moments involve traveling through a tunnel of arches or exploding particles in the air the same color of the track.

The whole time the eye must travel to the upper left in order to track progress represented not on a straight line, but a crooked bent one. A digital map of the music.

Speed is the second key to connection between the art, the player and the game. Upon reaching the peak of a slope the player will speed down the other side like a sledder on a hill of snow. Smaller formations and dips will garnish less speed, while mountainous heights result in velocity drops that nearly take your breath away. As the beat slows down the camera slowly pulls away from the avatar of the player while speeding up pulls the camera in. This keeps the flow of the music controlled by perspective. The theory is that when you see notes your brain will attempt to process them all. Pulling into the player’s ship limits far ahead you can see and makes processing the notes simpler. You’re not overwhelmed. When things slow down the camera pulls out so that the brain doesn’t become bored as there’s now a longer amount of track’s worth of information to process.

The course creation and speed management combine to turn music from an audio experience to a visual and tactile treat. Simple controls result in low learning curves. The wall of dissonance between the input device and player is broken down so that the emergent result can be reached by users of any experience level. The connection I had with the song Interstate 8 made me remember a scene from Mr. Holland’s Opus, which now has me contemplating other applications for Audiosurf.

Mr Holland’s Opus is a 1995 film about Glen Holland, a high school band conductor played by Richard Dreyfus. The film chronicles Mr. Holland’s life from when he begrudgingly starts teaching through his retirement. The most important thing to Glen is music and his dream is to write music and conduct a real orchestra: he pursues them above all else. When him and his wife have a baby boy who’s deaf Glen has no idea how this could have happen, and feels that his son can’t understand music nor his love of it. So, rather than learning sign language and being an understanding father, he distances himself from the child. During a dramatic Hollywood-esque he finally comes to know that his son can understand music and its significance by the way that the recent news of John Lennon’s death effects them both.

In an attempt to redeem himself in his son’s eyes Glen Holland builds a sound visualizer. In it’s design there is a special platform which amplifies the vibration of sound via a speaker directly attached, and flashing colored light to representation the music. Not only does Glen invite his son, but many other hearing impaired students from the special school he attends to seat on the vibration amplifying platform. After the initial concert Mr. Holland stands up in front of the crowd and sings a Lennon song to his son, during which he signs all of the lyrics showing that he has finally learned his son’s language.

It’s not the best written movie, nor the greatest directing, but it does have it’s moments. Seeing what is taken away from the deaf by removing music in its base form of sound makes me a little sad. Even with the device that Glen created it’s still barely half of what makes up music: the rhythm. It misses much of the melody. There are so many nuances that basic colored lights can’t show, no matter how lavishly they’re displayed. By adding a third dimension and weaving it with color and movement Audiosurf creates something completely different. While deaf persons still wouldn’t be able to hear the music, I do imagine that this game could have logopedic benefits and further the understanding of music with the hearing impaired.

I won.

Yes I finally crawled out from underneath the gigantic task of restoring a 40gb iPod that was pretty much wiped clean.

See, some people reading this may not know that I’ve had this 40gb iPod Photo for about 3 and a half years now. The only real panic I’ve ever had with it was when I leaned over into a ice cooler to grab a soda and it slid out of my pocket and into the ice water. It didn’t work for about 48 hours, but then it worked no problem. I’ve had some slowdown with the device before and always knew it needed to be formated, but by that time I realized it was such a gigantic task I always put it off.

Starting back at the beginning: last night. I don’t know what happen, but I connected my iPod to my PC to get some music off it and every program I used said the iPod was empty. Nothing. I even restarted my PC to try to get it to work. I ended up extracting all the audio I could off of it, but out of the 35GBs that use to be on it I only managed to get off about 70% of it at 22GB.

I don’t know what happen to the rest of the music, but it was eaten. It was really weird to start relabeling and organizing all this music only to slowly learn what was missing by only finding one track of a whole album that use to be on there.

I didn’t really do the math or look at the numbers until I noticed quite a few of my most listened to artists suddenly missing more than half their songs. That’s when I realized that somewhere I lost 13GB of music.

Most of it was stuff that was just taking up space. Others are things that are going to be impossible to remember the name of, let alone find them.

I did make a backup a while ago of some of my music on an external hdd, but that ended up only being about 3GB worth of it. I thought I had a lot on my laptop too, but it turns out that none of the stuff on there disappeared.

So, at about 6 am this morning–after staring at my pillow for about an hour–I decided to start this whole mess. As of right now I basically have my new program (seriously, screw anaPod, That program messed up my iPod more than it helped it), MediaMonkey, set up with my whole track list. I have exported it to html in case this ever happens again. I’m going to run the library program one more time to get the couple of albums that I stuck in there last minute registered, then I’m going to connect my freshly formated iPod to it like a virgin. If you’re interested I put the list up here.

So, 15 hours of this and I’m nearly done. I’ve trimmed a lot of fat off my track list, and I have a few things downloading right now that I need to add and don’t have the originals any more (or don’t feel like ripping). The things that have come out of this whole mess for the good:

-Finally found a better mp3 program that interacts with my iPod.
-Got a spare 160gb HDD installed on my PC.
-Connected up my external HDD
-…

Yeah.