A nice little trailer of a fairly average (because it was stupidly hard) N-Gage game.
I’d also like to sarcastically thank those in charge at Nokia for removing without warning all their awesome dedicated game sites.
This was one of the few things I managed to save from there.
Resident Evil 4 [GameCube] (3 mins)
. ~ CLICK (more) ~ .. —CLICK more—\
Rate & leave comments, thanks!
Resident Evil 4 from the Japanese demo
Special thanks to fanblow; figured out this is the GameCube version. Considering GC is considered “inferior” by many gamers, they should be suprised how good the new Zelda will be. The GameCube v2 (Wii) is looking pretty sharp 
More on this game, including pics & a review:…
Wooden gymnastic wands are used, half as many as there are players
Wooden gymnastic wands are used, half as many as there are players.
Draw a line across the room or grass; divide the players into two
divisions, one on each side of the line, each player facing his
opponent. These grasp each other”s wand, and at a signal begin to tug,
but they must not put foot into the opponent”s territory. If they do
the struggle ceases. The side wins which secures the greatest number
of wands.
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The object in dominoes is either to block the game so that the adversary
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A comical charade is a performance representing the word ‘imitation
A comical charade is a performance representing the word ‘imitation.’
The spectators are informed that the charade about to be performed can
be exhibited to only one person at a time. One person is accordingly
admitted into the room in which the actors are congregated. The unhappy
wight stares about him with curiosity, not unmingled with apprehension,
fearing to be made the victim of some practical joke; nor is his comfort
increased by finding that his every look or action is faithfully copied
by each person present. This continues until he has either guessed or
given up the word, when a fresh victim is admitted, and the new initiate
becomes in turn one of the actors. Sometimes, however, the victim
manages to turn the laugh against his persecutors. We have known a
young lady, seeing through the joke, quietly take a chair and remain
motionless, reducing the matter to a simple trial of patience between
herself and the company.
To tell the figure a person has struck out of the sum of two given
numbers: Arbitrarily command those numbers only, that are divisible
by 9; such, for instance, as 36, 63, 81, 117, 126, 162, 261, 360, 315,
and 432
To tell the figure a person has struck out of the sum of two given
numbers: Arbitrarily command those numbers only, that are divisible
by 9; such, for instance, as 36, 63, 81, 117, 126, 162, 261, 360, 315,
and 432. Then let a person choose any two of these numbers; and, after
adding them together in his mind, strike out from the sum any one of
the figures he pleases. After he has so done, desire him to tell you
the sum of the remaining figures; and it follows, that the number which
you are obliged to add to this amount, in order to make it 9 or 18,
is the one he struck out. Thus:–Suppose he chooses the numbers 162
and 261, making altogether 423, and that he strike out the center
figure; the two other figures will, added together, make 7, which, to
make nine, requires 2, the number struck out.
The captain of the side which has not the coin now calls: ‘Jenkins
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Anyone not in the secret, perusing the above catalogue, would naturally
conclude that the descriptions referred to pictorial art of some kind
or other
Anyone not in the secret, perusing the above catalogue, would naturally
conclude that the descriptions referred to pictorial art of some kind
or other. But such is by no means the case. The visitor, on being
admitted, finds, in place of the expected pictures, shelves or tables
on which are arranged sundry very commonplace objects, each bearing
a numbered ticket. On close examination he finds that the numbers
correspond with those in the catalogue, and that No. 1, ‘Horse
Fair’–fare–is represented after a realistic fashion by a handful of
oats and a wisp of hay. No. 2, which he expected to find a spirited
marine sketch, is in reality only a toothbrush lying beside a
jack-plane; while the supposed companion picture, ‘Caught in a Squall
Off Yarmouth,’ is represented by a red herring. No. 4, ‘The Last of
Poor Dog Tray,’ is a sausage, and the exhibitor particularly begs that
no gentleman will on any account whistle while passing this picture.
No. 5, ‘He Will Return, I Know He Will,’ presumably the agonized cry
of a forsaken maiden, is in reality a poor-rate collector”s paper,
marked ‘Fifth application.’ No. 6 is represented by a numbered ticket
only, with no object attached to it. The exhibitor explains that ‘The
Midnight Hour’ has not yet arrived, but that any gentleman who likes
to wait till it does (which will be at twelve o”clock punctually), is
very welcome to do so. The ‘Heroes of Waterloo,’ Wellington and Blucher,
No. 7, are represented by a couple of boots known by those distinguished
names. 8, ‘True to the Core,’ is a rosy-cheeked apple. 9 is a coil of
watch spring. 10, ‘Tears, Idle Tears,’ on which the exhibitor feelingly
expatiates as a noble example of the imaginative in art, is an onion.
The space dedicated to No. 11 is occupied by the numbered ticket only,
the exhibitor explaining that ‘The Midnight Assassin’ (who is stated
to be a large and lively flea) has strolled away and is wandering at
large about the room; and he adds an entreaty that any lady or gentleman
who may meet with him will immediately return him to his place in the
collection. ‘The Dripping Well’ (No. 12) proves to be of the description
more usually known as a dripping-pan. ‘Family Jars,’ by Potter, is
found to consist of a pickle jar and jam pot. No. 14, ‘Never Too Late
to Mend,’ is a boot patched all over; while 15, ‘Past Healing,’ is its
fellow, too far gone to admit of like renovation. ‘The First Sorrow’
is a broken doll. ‘Saved’ is a money box, containing twopence halfpenny,
mostly in farthings. The next is a vacant space, over which the
exhibitor passes with the casual remark, ‘No. 18, as you will observe,
is unfortunately lost.’ No. 19, ‘First Love,’ is a piece of taffy. 20,
‘The Death of the Camel,’ is a straw, labeled ‘the last,’ and the
exhibitor explains that this is the identical straw that broke the
camel”s back. ‘His First Cigar’ is a mild Havana of brown paper. ‘A
Good Fellow Gone’ is suggested, rather than represented, by an odd
glove. Nos. 23 and 24 are represented by two small mirrors, which are
handed to a lady and a gentleman respectively, with a few appropriate
remarks as to the extreme success of the likenesses, coupled with
critical remarks as to the ‘expression’ in each case. ‘Our
Churchwardens’ are a pair of long clay pipes. No. 26, ‘Portraits of
the Reigning Sovereigns of Europe,’ are represented by a few cancelled
foreign postage stamps. ‘The Monsters of the Deep,’ in No. 27, are
represented by a periwinkle and a shrimp. ‘The Last Man’ (No. 28), is
at present missing from his place in the collection, but the exhibitor
explains that he will be seen going out just as the exhibition closes.
The ‘Contribution from the Sheepshanks Collection’ (29), is a couple
of mutton bones; while ‘The Light of Other Days’ (30) is an
old-fashioned lantern and tinder box. ‘The Meet (meat) of Her Majesty”s
Hounds’ is a piece of dog biscuit. No. 32 is a leaky can of water.
‘The Maiden”s Joy’ (obviously) is a wedding ring. ‘The Fall’ is a
lady”s veil. No. 35, ‘Motherhood,’ is the gem of the collection, and
should be kept carefully hidden (say by a handkerchief thrown over it)
until the company have had time to read and appreciate Mr. Caverley”s
graceful lines, when the veil is removed, and behold–an egg! No. 36,
‘A Friendly Party on Hampstead Heath,’ is represented by three toy
donkeys. ‘Borrowed Plumes’ are represented by a lady”s false front.
‘Out for the Night’ is an extinguished candle. ‘Something to Adore’
is a rusty bolt. ‘The Wearied Grinder’ is a back tooth of somebody”s
very much the worse for wear. ‘Repentance’ (No. 41) is represented by
a smashed hat and a bottle of sodawater. ‘Maggie”s Secret’ is a gray
hair, labeled ‘Her First.’ No. 43, ‘Somebody”s Luggage,’ consists of
a broken comb and a paper collar. ‘Eusebius’ is a pair of spectacles.
‘Happy Childhood’ is indicated by a lithe and ’swishy’ cane. When the
company arrive at No. 46, the corresponding object is apparently
missing. The exhibitor refers to his notes and says: ‘46–46? I see
they have written down against No. 46, “The Exhibitor,” but I don”t
see quite what they mean. Suppose we pass on to the curiosities, ladies
and gentlemen.’ No. 47 is merely some smashed crockery, and No. 48 a
pewter quart pot. No. 49 is again a vacant space, and the exhibitor
explains that ‘The Last of the Mohicans’ has just gone home to his
tea, and has taken his skull with him. No. 50 is, as its name implies,
a group of marbles, of the school boy character. No. 51 is a paper bag
of peas, and, being too full, has ‘bust.’ ‘The Puzzle’ (No. 52) is an
old guide book. ‘The Instantaneous Kid Reviver’ is a baby”s feeding
bottle; and the ‘Earnest Entreaty’ is the request of the exhibitor
that the visitors will recommend the collection to their friends.
A female figure, clothed in sober gray, and seated on a very
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