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Have you ever had a frustrating mouse wheel experience where you scrolled a <div>-container, but when you reached the end you accidentally scrolled the whole page? Well, I certainly have had my "fun" with this annoyance, for a very long time now. But today I stand tall and I proudly say "NAY!" as I present my JavaScript Code Snippet Of The Week called "DoBlockScroll()". [...](show me)(don't show me)
Now, when I say "DoBlockScroll" it is meant to be a question, as in "do block scroll or do not block scroll?". I always do that with my boolean returning functions, I give them "DoX" names. And it is a boolean returning function that I'm presenting you because that is the hardest part: finding out when to do it. I thought I would also need a How To for the blocking part, but no, the blocking itself roots down to a simple return false; as you may see further down below. I even made the function as general as possible so you could probably just copy'n'paste it to use for your own stuff.
As long as you're an Opera user. I didn't test it with FireFox or IE and I know that it should not work for them the way they are now. Alone the event call is handled differently in FireFox as far as I know. But frankly I don't give a shit about javascripting for FireFox or IE. I guess though, that it's probably simple enough to alter the code for other browsers. I'll let someone else have the fun.
The setup I used this for is a table within a div-container. The table features lots of data while the purpose of the div-container is to present this data neatly dosed. Something like this:
<div style='overflow: auto; height: 400px;'><table id='TableX'></table></div>
The objects don't have to be tables and divs, they just need to have this auto-overflow-attribute and the id - I guess they even don't need to be two separate objects. My assumption is that if you alter the upcoming variable IsLowerEnd even that adventure should indeed prove fruitful. Needless excursions brused aside, next comes the call of DoBlockScroll() which either looks like the first version if you implement onmouse* events dynamically (for whatever reason) or like the second version if you decide to directly write it all down.
(1) document.all.TableX.onmousewheel = function(){ return !DoBlockScroll( this, event ); }
(2) <table id='TableX' width=100% onmousewheel='return !DoBlockScroll( this, event );'></table>
Don't forget to give the table a width=100% attribute so that it spans over the entire width of the div-container. Otherwise you may wonder why the scrolling won't be regonized. Anyway, this (1) is what an onmouse* event looks like when you define it dynamically. Onmousewheel creates a mouse-related variable called event as all onmouse* functions do. Just in case you were wondering were the hell that came from. With this however you may google it yourself if you don't know about it.
[ Woody's Checkpoint: # top # ]
The basic idea behind DoBlockScroll() is to check three conditions that result in the wish to block the scrolling: is the user scrolling up although the scrollbar is already at its top? Or does this occur for the lower end of the scrollbar? And is the mouse over the object altogether? As this description already implies the code handles only a vertical scroll situation. Naturally, horizontal is possible, too.
/*
determines whether to block a scroll event or not; returns boolean
PARAM.: Tab is the table within the div object which has an overflow attribute
the objects don't have to be tables and divs.
PARAM.: event is the bequeathed onmousewheel event
*/
function DoBlockScroll( Tab, event )
{
// first search Div
var Div = Tab, Bool = false; // Bool returns false as default;
// don't search too far && it's not the one yet
while ( ( Div.nodeName.toLowerCase() != "body" ) && ( Div.style.overflow != "auto" ) )
Div = Div.parentNode;
// if found
if ( event && ( Div.nodeName.toLowerCase() != "body" ) )
{
var Cond1 = false, Cond2 = false, Cond3 = false,
IsUpperEnd = Div.scrollTop == 0,
IsLowerEnd = Tab.offsetHeight == eval( Div.offsetHeight + Div.scrollTop );
// on scroll up when Tab is already as up as it can be
Cond1 = ( event.wheelDelta > 0 ) && IsUpperEnd;
// same for bottom
Cond2 = ( event.wheelDelta < 0 ) && IsLowerEnd;
// is mouse over object
Cond3 = IsChildOfObject( event.srcElement, Tab );
Bool = ( Cond1 || Cond2 ) && Cond3;
}
return Bool;
}
Of course, you also need IsChildOfObject(). I already had that one.
// recursively checks for a (grand)parent-child-relationship
function IsChildOfObject( Ch, Obj ) // Child element
{
if ( Ch == Obj ) // super special case: you can't be your own child
return false;
else
return IsChildOfObject_sub( Ch, Obj );
}
function IsChildOfObject_sub( Ch, Obj )
{
// termination condition
if ( Ch.tagName.toLowerCase() == "body" ) // this is by far too far
return false;
else if ( Ch == Obj ) // this is just right
return true;
else // this is 'not found yet'
return IsChildOfObject_sub( Ch.parentNode, Obj );
}
# top # Labels: personal, programming
Nice read about female characters and sexuality in videogame history. Oy! [...](show me)(don't show me)
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EDITORIAL
The Role of Female Characters in Video Games Part 1
April 27, 2009 | 10:19 AM PST · Joey Davidson
 It wasn't until I read Brad Hilderbrand's editorial, "Are Games Gay Enough?" that I realized that Kombo was the perfect place for me to take a step in a more theoretical direction when it comes to video game studies. That's right, you read correctly, a theoretical approach to video game studies.
I'm not really writing this piece as an extension or retort to Brad's interesting thoughts. I encourage you to read Brad's article (linked above) for the thought provoking pile of words that it is. This is something slightly different. This is something that I've been kicking around ever since I started on my Film Theory degree in college. Video games are a medium not too much unlike that of film. It's fairly common knowledge, and an often shared opinion, that video games are a lot like long, interactive flicks. I don't mean to lump the entire medium into one convenient package, but for the intents and purposes of this article, you'll have to let me do just that.
So, continuing under the assumption that video games can and should be supported by the same theories and applications as film making and film studies, perhaps you'll join me as I step out into the realm of critical thought and undressing. I intend to approach the concept of the role of female characters in video games through the perspectives of respected and often cited film theorists. These theorists, as is normal in the field of Film Theory, lean on the psychoanalytical methods of Sigmund Freud and the theories of Jacques Lacan. As we encounter these theories throughout this article, I will try and add enough insight and information at each juncture so that those without a background in Film Studies can feel extremely welcome. With a little elbow grease, I intend to provide a gamut of reasoning for females being portrayed the way they are, and have always been, in most titles within my favorite medium.
I would like to slide this disclaimer out in front of you readers just so that I can quell any early senses of anger before we proceed. I may say some things here and there that place the female sex and gender into a position that's well below the politically correct norm. I want you to know that while I may be using these viewpoints and positions in order to further prove my argument, I know as a human being and a member of society that women are equal to men. My goal with this article is to dismantle the accepted image of females in video games and educate those that may look at their typical portrayal as normal and commonplace.
So, on we go...
Super Mario Brothers (NES) It doesn't take an avid gamer to realize that women have often been portrayed in gaming as the damsels in distress. We've been given a princess that needed rescuing since the beginning of video games with a narrative plot. That's right, the first game to institute and, thus, perpetuate the modern conception of female characters in video games is Super Mario Bros. for the NES (I am dismissing the likes of Donkey Kong, as its plot structure can't really be considered solid enough for my purposes). I don't even think I really need to continue with my explanation but, just in case, I will. SMB is all about rescuing Princess Peach from Bowser. You quest from castle to castle in search of the fair maiden, and when you finally get her, you get a kiss on the cheek.
So what's wrong with this portrayal? Well, logically speaking, it puts the female character in a position of weakness. It takes you, as a male, to rescue her from a situation that she herself cannot escape from. But the quest to see her, the quest to rescue her and, most importantly, the earning of a kiss from her all put the female role in video games at an extreme disadvantage.
Laura Mulvey wrote an essay concerning the role of females in narrative cinema, and it's there that I'd like to draw support for my thoughts regarding the princess in SMB. We'll start with the perspective of the game. Players are situated facing and controlling Mario (or Luigi). This first and seemingly simple step is what sparks the series of events that places Princess Peach in the realm relegated to the lower female gender. So, all gamers are assumed, from the beginning, to be male. If they are not already male, then they are females controlling a male. Since Mario is placed front and relative center of the screen at all times, he is the focus and thus the landing place of our look and projection. We watch Mario, we control Mario, we are Mario...
In her essay, "Visual Pleasure and Narrative Cinema," Mulvey looks to Freud and Lacan in order to explain a series of "gazes" in cinema. Lacan's theory states, extremely basically, that children are born without a recognition of self. At a young age, kids cannot tell themselves as existing as a separate piece of the world. They are merely part of the world, but their sense of "I" has not formed yet. It is when they look into a mirror for the first time (i.e. Lacan's Mirror Stage) that they develop the situational sense of "I" and "otherness" and realize that they exist independently in the world. Mulvey takes the concept of the Mirror Stage and places it onto the silver screen. When viewers watch a film, according to Mulvey, they start to narcissistically involve themselves with the main character on screen. They revert back to the moment when they had no sense of self. They see the big character in front of them as an extension of themselves and, sometimes, as themselves entirely. For instance, I watch Indiana Jones fighting jungle natives, Indiana Jones is the center of my attention, Indiana Jones becomes me, I am Indiana Jones.
[ Woody's Checkpoint: # top # ]
I'd like to contend that video games develop an even stronger sense of connection with the main characters as we, the players, not only watch them on the screen, but we control them in their narrative and, thus, become more intrinsically involved with them. Instead of simply watching and projecting ourselves onto the characters, we're becoming involved with the goals and objectives of the main character. We adopt these goals and objectives as our own. Mario wants to save Princess Peach from Bowser, we watch Mario, we control Mario, we are Mario and therefore we desire to achieve Mario's goals and save Princess Peach from Bowser.
Therefore, it is with that instant connection to Mario as being "me" that we start to view women as lower and weaker in form and capabilities. We have become Mario. The Princess obviously can't save herself from Bowser because she is too weak, so we, as a man, have to save her from Bowser ourselves.
Finally, with SMB at least, I'd like to tackle the game's end reward for saving the Princess, the supposed kiss. I say supposed because it does not actually happen on screen. We've seen the kiss in the SNES remake of SMB on Super Mario All-Stars, but the NES version leaves that bit out. We will, once again, have to assume it is implied in order to achieve full effect for this argument. Mulvey looks to Freud in order to get a grasp on the concept of sex and making love on screen and why it is that we, as viewers, find the moments so pleasurable. According to Freud, almost every member of the human race could be considered scopophiliac. We get pleasure from looking and watching, and we get pleasure from imagining that we are what we are watching.
Now, I realize that the 8-bit version of Princess Peach is far from sexy. You could never logically consider her an object of sexual desire in her NES state.
But I would like to demonstrate that what she represents in the game is a prize of sexuality.
You romp through the Mushroom Kingdom facing bottomless pits and giant turtles in order to save her, and you're implied to be rewarded with a kiss. You are given a piece of her sexuality as a female for saving her from her demise. It is right here that Nintendo forms the first moment of females as sexual objects in the narratives of video games. Princess Peach is the trophy and the kiss she'll give you is the champagne at the end of your journey, she is the coveted sexual prize, she represents females in gaming. I will definitely be returning to the following quote again as these articles move forward, but I'd like to take this chance to prove my point of sexual objectivity with a tiny excerpt from Mulvey's essay, "Visual Pleasure and Narrative Cinema."
"In their traditional exhibitionist role women are simultaneously looked at and displayed…Women displayed as sexual object is the leit-motiff of erotic spectacle: from pin-ups to strip-tease…she holds the male look, plays to and signifies male desire. Mainstream film neatly combines spectacle and narrative. The presence of woman is an indispensible element of spectacle…" -- Laura Mulvey, "Visual Pleasure and Narrative Cinema"
I'll point to this exceptionally not safe for work song for pop proof.
What SMB did for video games is that it built a narrative into their structure. Games now had plot lines. What it also did for the role of females in video games, through the desire and kiss of Princess Peach, is force them into the position of erotic spectacle. And that's only the beginning of the downfall of females as characters in gaming.
I intend to continue these articles on a regular basis. Do not expect to see them occur every week. I will write them as often as I can while still remaining thorough. They also won't last forever. I'll continue to work on them until I feel I've done what I set out to accomplish.
>> # top # | Source: Kombo.com
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EDITORIAL
The Role of Female Characters in Video Games Part 2 - Samus Aran
July 2, 2009 | 3:17 PM PST · Joey Davidson
 I started this series of articles just a few months ago. I have already told you that my intention here is to investigate the role of female characters in gaming. I am not necessarily trying to provide a solution, but I am definitely looking to further unearth the inherent problem. Female characters in gaming cast a negative shadow over the medium and gender perception as a whole.
If you are looking to understand my full intentions throughout this series, I would like to offer you a chance to read my first article. I spend a lot of time in the early goings trying to explain my position. Well, I have done that already. So I decided that here, and with future editions of this editorial, I will begin more quickly than before.
When I finished the first piece, I immediately started to get a slew of reactions from colleagues, friends and readers. Not all of them were positive, of course, but they did spark the types of discussions for which I was looking. And a lot of people started to offer Samus Aran as a solution for the model of strong females in games. She immediately became my next target.
So I spent the last month or so looking into the portrayal of Samus. I will say that through my research I have realized that no other female character in the world of video games carries the same type of love and respect as Samus Aran. In light of that, lovers of Samus and the world of Metroid should realize that this is not an attack on the bounty hunter. I merely aim to use her in order to reach my destination.
Samus Aran Samus Aran first appeared in the original Metroid for the NES in 1986. She is a bounty hunter that works missions given to her by the Galactic Federation. She consistently tangles with Space Pirates and the alien parasites known as Metroids. But what is most special and identifiable about Samus is her suit. She is covered from head to toe in a wonderfully capable set of armor. It serves as both a defense mechanism and a disguise.
And it's the suit that operates perfectly for my intentions. Players familiar with the world of Metroid and Samus Aran already know that Samus' gender came as a surprise back in 1986. In the opening section of the game, players see Samus as she is above. Completely concealed by her armor. No one that played the game back in 1986 realized that Samus was female once they got a look at her here.
And that's the way the game continued. Until the very end. Much like Princess Peach in Super Mario Brothers, Samus Aran's sexual objectivity is held until the conclusion of the game and hinges on the success of the player. Defeat an entire swarm of alien beasts whilst traversing all types of insanely difficult terrain and the game rewards you with an object of your sexual desire. Don't believe me? Here's Samus as we see her with her suit off.
She is standing there in a bikini. There is simply no way to explain the need for here to wear a two piece beneath her space armor. To further demonstrate my point, look at the Zero Suit.
Revealing? Yes. But it's almost as if Nintendo decided to take a step back and redesign the sexuality of Samus and make it slightly less apparent. Although the model from Super Smash Brothers Brawl depicted above is still highly sexualized, it is not a bikini. The need to back away from the sexualization of a character is immediately checked back into place by a less-and-more revealing version.
[ Woody's Checkpoint: # top # ]
I will even take this one step further and try and prove to you that Samus' suit symbolizes an object of phallic power. Okay, wait, do not try and run off so soon. With film theory, the symbol of power is called the phallus. Yes, initially this was used to identify a male's sexual organ, but with film it's used to identify that which makes one character more masculine than another. In Indiana Jones it's his whip. In Star Wars it's Luke's lightsaber. A lot of theorists look at these objects and consider their phallic nature when trying to argue their sense of masculinity. But a Phallus doesn't always have to look phallic. It is merely a symbol of power. Let me offer this textbook definition:
"...the phallus is a symbol of power, of having (note how guns are used in film: guns = phallus = power). The woman has no phallus...the woman is lacking and therefore inferior..." -- Jill Nelmes, An Introduction to Film Studies
Take away Samus' suit and she is powerless. Even more than her suit, take away her arm cannon, and she is powerless. Both mechanisms represent her masculine image, and it is not enough that she becomes weaker when she removes them. She actually wears a bikini beneath all of that masculine strength, as if to say, "without the power, I am only an object of sex."
You can make an argument here that SSBB proves my point invalid. I will accept that Zero Suit Samus is a perfectly powerful combatant. However, the Samus without a suit in the early Metroid universe is powerless. If she did not need the suit, why would she have it at all?
I return to the objectification of Samus. All of this sexualization fits perfectly into my pre-established argument about Princess Peach. In fact, despite her combat capabilities, Samus Aran fits the role of sexually objectified females more perfectly than the victim in SMB. Here's the same quote I used from Laura Mulvey in my initial argument, and understand that it works more efficiently here.
"In their traditional exhibitionist role women are simultaneously looked at and displayed…Women displayed as sexual object is the leit-motiff of erotic spectacle: from pin-ups to strip-tease…she holds the male look, plays to and signifies male desire. Mainstream film neatly combines spectacle and narrative. The presence of woman is an indispensible element of spectacle…" -- Laura Mulvey, "Visual Pleasure and Narrative Cinema"
 Consider the moment at the end of the original Metroid when we see Samus without her suit. She's waving at us. She becomes a pin-up, a girl in a bikini. She loses all of her power and is nothing more than a coy, sexual image used to reward the male demographic in gaming.
Now try Google Image searching "Samus Aran" without a search filter. You will find in the first few pages that the internet, no surprise here, harbors a vast multitude of images concerning the sexualized nature of Samus. I will concede, however, that the same trick works with almost every single female on this planet. But it served the cause of Samus Aran no benefit when Nintendo originally threw her up on the screen in a bikini after defeating a horde of alien beasts (I don't mean to blame Nintendo here, but they're the folks with these types of games during the era in question).
Stepping back, I do recognize that Samus Aran does represent a lot of positive strength for females in the world of gaming. She's a strong, confident, independent woman that regularly sets of to do what others cannot. But her flagrant sexualization as a reward for a job well done is something that cannot be dismissed. For all of her strengths and conquests, Samus is still immediately chopped down to an inferior form.
And for all of its shortcomings, the Zero Suit in SSBB is probably the best representation of strength and sexuality for the character. Without her suit in the originals, Samus becomes a waving pin-up. More recently, however, she's become something of a combative vixen. But, as I'll argue later when I tackle more recent games that use this same model, the sexualization of women in gaming still puts them at a disadvantage. Do her breasts still need to be so overtly apparent in the Zero Suit?
I'll close this off by saying that, once again, this series is not finished. It's only started. For those wondering why I'm doing such old games, please recognize that I'm trying to handle this topic in a chronological nature. I do intend to approach more recent titles eventually. For now, I believe a lot of understanding can be found in the roots of gaming.
>> # top # | Source: Kombo.com Labels: sex, videogame news
Another video session, but a rather short one this time, because the third one that I found just now is a must-show-immediately. I think. Simply amazing. [...](show me)(don't show me)
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///A Film directed and animated by MUSCLEBEAVER///
MSLBVR 2008 (c)
This animation we did was planned and animated for the prologue of a documentary.
(That explains the absurd, unfinished seeming, ending.That is where the actual documentary starts.... )
The briefing was to show an evolution of computer games.
The documentary itself is about different people, based here in germany, showing their everyday life, and their addiction to the same specific, famous MMORPG (massive multiplayer online role playing game):"Wo.."
Every game character in this prologue was reinterpreted, redrawn (...one pixel at a time), and animated frame by frame.
Animation: musclebeaver.com
Sound by: nichtvonpappe-platten.de
>> # top # | Source: Vimeo.com Labels: video, videogame news
I'm just as astounded as the author I'm copying from ;^) [...](show me)(don't show me)
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iPhone PlayStation Case Gives Me Warm Fuzzies
STYLE GUIDE: The idea of a PlayStation Console case for iPhone with matching controller key chain is one fantastical work of genius that instantly restored a feeling of childlike wonder for me at first glance. Hand tooled with a felt outside and black felt lining, this magical sheath is hand embroidered with great detail certain to spark epic conversations about the glory days of video gaming.
 Notice the Sony and PlayStation logos and geek-tastic detailing put into designing the controller. It's like buying an iPhone case and plush toy all in one. Dimensions are 5" by 3" making it capable of fitting an iPod touch or gadget of similar size.
Expect to pay $20.00 for the case and an optional $7.00 for lusting after the felt PS1 Controller. An ultra-fashionable iPhone accessory worth twice the price.
[Rabbitrampage via Etsy] | [Game Boy Pouch]
Posted at 10:26 AM in Style Guide
Technorati Tags: apple, iphone, iphone case, playstation console case, PS1 keychain
>> # top # | Source: iPhone Savior.com
sent by Foifur
Original flickr pages: 1 2 Labels: new technology, videogame news
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