Wesly is dreaming.

重開機後發現，原有的設定沒了。八成是udev的作用。所以直接修改apcupsd.conf

su -
vi /etc/apcupsd/apcupsd.conf

直接將其中的某行指定位置就行了

DEVICE  /dev/hiddev0

真是簡單的解法，看來要多花時間了解udev的作法才好。Orz -----

Just backup this file ~/.gnome2/rhythmbox/rhythmdb.xml
and save all the on-line radio info. -----

參考XCIN 常見問題與解答與輸入法調校，先拷貝一份xcinrc到使用者家目錄下，再對.xcinrc進行修改。

cp /etc/chinese/xcin/xcinrc ~/.xcinrc
vi ~/.xcinrc

可以自訂個人預設的輸入法，就不用多按鍵切換。

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在Fedora Core 3下使用apcupsd監控APC Backup RS 800。參考以下資料：
apcupsd on-line manual
Checking Usb Subsystem
由於別人都已經包好好的了，直接用就有所需要的程式。先安裝打包好的套件再執行所附得程式就可以用了。

su -
rpm -ivh apcupsd-usb-3.10.16-1.i386.fc3.rpm
/etc/apcupsd/make-hiddev
/etc/apcupsd/hid-ups
apctest
service apcupsd restart

如果安裝正常，用以下的指令應該就能看到UPS的資料了。

apcaccess
service apcupsd status

裝好之後，拔掉插頭試試看就知道了:-p

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直接修改totem的設定檔，方式如同修改xine的設定檔

vi ~/.gnome2/totem_config

其中的

subtitles.separate.subtitle_size:normal
subtitles.separate.font:sans
subtitles.separate.src_encoding:big-5

請去掉井號並修改為相應的字型和編碼方式。基本上，整個設定檔的寫法和 ~/.xine/config是類似的。

totem的基本預設字型目錄和xine的相同，雖然可以使用TrueType字型，但目前的使用效果並不甚理想。故若要有較好的顯示效果，請參考How to create own xine subtitle fonts?並自行轉換字型。

簡言之，只是前端介面不同而已，實體還是xine。

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利用iconv可作文字的轉碼。例如將簡體中文的電影字幕檔轉成其他編碼的格式。

如：

iconv -c -f GB2312 -t BIG5 Innocence.GB2312.srt -o Innocence.srt

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現在室溫是攝氏零度！這是我有生以來第一次在平地體驗到攝氏零度！

聽著老遊戲Kanon中由I've作曲的配樂，我想起上次接觸這個遊戲已經是四年多前大學畢業不到一年左右的時候。當時剛好也正值冬季寒流盛行，我就在手腳都感到冰冷的狀態下玩著這樣一個以日本北海道為背景的遊戲。每當天氣一變得寒冷，我總會想起Kanon這個故事，其中的角色，以及下雪的北海道。畢竟在台灣的平地通常看不到雪啊！之前看著學長們到富士五湖賞雪的照片，我還是有些小小的羨慕。雖然，我個人對於充滿冰雪的世界並沒有過多幻想，但一想起中學時讀梁丹丰寫在北極圈內做水彩寫生的文章，還是多少有些眷戀吧。

在貝蒂米勒主演的"昨日今日永遠"中，有一段在韓戰勞軍的演唱也有這麼一句"Baby, it's cold outside...."。那段劇情讓我印象深刻。

寒冷，的確是有種神秘的魅力。

在下雪的街道上，神秘女孩對我微笑著.......，希望她不是雪女（笑）。

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Because SCAD web space doesn't support CGI and database for students, I can only use nanoblogger to generate my blog in my pc, and upload it to the server. It's easy to use nanoblogger, but it's better to know how to use VI first. -----

今天和室友小劉聊到這陣子台灣發生出版審查關的事件，他便問我，網上查得到六四天安門事件的資料嗎？稍微用Google就找到維基百科的介紹，其中寫的還頗詳細的。一看圖片上的民主女神，他以略帶神氣的口氣告訴我，這是他母校學長們的作品。在北京的網路上是查不到任何和六四有關的資料，而.tw網域的站台也多被過濾掉了。六四對北京這一代人是不可磨滅的記憶。

人生到底有沒有所謂的必然呢？

即便是假裝這件事不存在，也無法阻止它確實存在的事實。

小時候對六四這整個過程的剪報還留在家裡，六四事件對我而言，印象最深刻的應當就是民主女神和一位無名者站在解放軍坦克前的畫面了。六四事件是近代中國一大重要的事件，也是我小時候對民主最深刻的記憶了。

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這是一篇關於押井守導演的Talking Head的小心得。

Talking Head也是部距今十年以上的老電影了。由於出品時間較御先祖樣萬萬歲晚，很多類似的橋段或可互相比較。例如在真正結局之前的假工作人員列表。不過由於大量使用超長台詞以營造導演獨白的效果，說教的成份倒是很重啊（笑）。劇中的演員全是聲優，全部用的都是舞台劇手法，難怪當年有人將此部和暗戀桃花源相比。

那，這到底是怎樣的一部片子？

簡言之，就是一個精神錯亂動畫導演的獨白。

押井利用一貫風格的幽默來述說他自己對創作物的看法，有些想法是很古典的，有些則都是主觀意識。如同他自己利用千葉繁的口中說出的，電影都是導演和編劇的主觀意識，在絞盡腦汁的創作之後，只剩下作品而創作者早已不存在。

這和御先祖樣萬萬歲相當的情形，不想頭痛的人還是把這部當成搞笑作品來看較好。常常想太多不健康啊。

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I try to test image link. I can only use absolute links to get images showing every pages. This picture is made with GIMP, a useful OSS. -----

這是一篇關於押井守導演的紅色眼鏡與地獄番犬的心得。

這兩部都算是很久以前的電影了，也是押井守早期執導的真人實攝影片。雖然我之前先看了Talking Head與Avalon，但是這並無損看這些早期影片的樂趣。對於整個地獄番犬系列的相關作品，紅色眼鏡應該算是最早的一部。我個人覺得這也是最詭異的一部，和動畫的人狼或是地獄番犬相比，其表現手法無疑是讓人存在一堆疑問。還好我小時候已經看過御先祖樣萬萬歲，多少也知道這種混合舞台劇手法的誇張演出是如何被押井使用來表現時空錯亂與夢境。紅色眼鏡所表現的幽默與搞笑和其嚴肅與深沈的人物心理其實是十分相當。不論是對舊時同伴的信任或是主角的內心掙扎， 或是同伴被新的當權者所收編的無奈或真正背叛原有團體的事實，同時參雜幽默與嚴肅的對白和動作將一切交織成荒謬但感人的故事主線。

對當權者者的抗爭，是這故事的背景。可是感人的部份倒是都集中在同袍情誼的部份啊。

相較之下，地獄番犬的故事主線清楚明白多了，敘事手法也容易了解多了。

以現在的眼光來看地獄番犬，當然是不能用好萊塢的標準看了(其實也不能用一般商業片的標準來看)。對我個人而言有趣的部份，則是那些90年代拍攝的台灣街景與氛圍。我想，或許當初押井選擇台灣為拍片的背景是考量了經費與異國情調也說不定。現在看來，則形成了一種與記憶中相似卻又充滿距離感的畫面。在動畫的人狼上面，押井已經建構出十分詳細的世界觀，而那些台南老街的畫面則成為這整個建構過程中的一部分過程。這些舊時影像（如廟會，廣告看板林立的街道，陳舊的雜貨店等），倒是一直都出現在他之後的電影或動畫中。

我有時會戲稱押井守是個不長進的導演，這只是希望他能試試別的題材或類型罷了。

相較於宮崎駿每次都選用新題材的方式，重複使用相似的題材與相似的元素是押井守的作法。或許這就是不看他人動畫作品的結果吧。

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After lefting my job for web designer for more than two years, I started to write my homepage again and built this blog. I hope I can continue this for a long time. By the way, sometimes I got problems with unicode Chinese. Mybe I will figure it out later. -----

其實，這幾天的天氣不算太糟。但由於前些日子的咖啡酒作祟，我又過了將近一週的日夜顛到的生活。寒假這陣子想做些東西，順便準備下學期的課程，但我還是玩了好幾天的電腦遊戲，並重新搞這個雜記系統。日夜顛倒的好處是，我能和台灣的朋友們即時聊天。也趁機交換了這幾天來對於新的出版分級辦法的心得。

這個新的審查制度雖然建議的方式居多，但由於基本上還是基於刑法235條與兒童少年福利法，並不是完全沒有罰則。而且參與參與相關條文建議的人，是藍綠雙方都有份，根本上就是保守者立法。目前網路上是一片撻伐之聲，或許當權者的腦袋能夠稍微挪一下位置。

不過對於網路分級的部份，目前還沒有那麼多人關注。可是我個人覺得這是影響更大的一部分。因為，對於這些的灰色地帶如果越明確，只是加深地下化，並且造成 .tw 網域的大量受限。管不到國外只能管自己國內的下場。正如同色情出版品一樣，審查制度只會影響到正常的出版物，卻從來都不會對真正邪惡的猥褻書刊有任何威脅。（想看的人還是看得到的）

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http://rpm.livna.org/configuration.html -----

The Elements Used in Mamoru Oshii's Animation

In Japanese animation, there are several directors who are famous with their different visual styles. Japanese animation became famous for its original Japanese term, anime. As one of the most popular anime directors in America, Mamoru Oshii uses his specific elements to build his own style (Patten 4). Most audiences can recognize Mamoru Oshii's animation and live-action films with his obvious visual language, and he likes to use repeating elements to present his ideas from the Japanese tradition and Christian Bible. However, what kinds of elements does Mamoru Oshii use in his animation and films in order to create his style?

From Urusei Yatsura (1981), a serial TV animation based on Rumiko Takahashi's original comic, Oshii often uses different aspects to re-create the characters' attributes. In Angel's Egg (1985), Oshii created animated art rather than a story, and he also used some similar symbols in the movie, Urusei Yatsura 2: Beautiful Dreamer (1984). A few years later, Oshii joined another serial anime project, Mobile Police Patlabor (1988), which became a success as two OVA series, a TV show, and two theatrical features. In 1995, the famous Ghost in the Shell (1995) was released in Japan, England and America simultaneously, and its style and story also influenced other directors, such as Wachowski Brothers who directed the Matrix trilogy. In addition, Oshii directed some live-action movies between these animation careers, such as Stray Dog: Kerberos Panzer Cops (1991), Talking Head (1992), and Avalon (2001) (Ledoux 134).

This thesis considers Mamoru Oshii's main concept and the elements which have been used in his animation and films. Oshii choses 3-D computer graphics (CG) scenes in his animation and films to show the isolation between humans and machines. Characters in different works have a similar quality. Animals and buildings in Oshii's animation and films become meaningful symbols. In addition, the background music of composer, Kenji Kawai, helps Oshii to create atmosphere in these productions. Multicultural influence combines in Oshii's Asian style, especially in Ghost in the Shell. Otherwise, Oshii uses long dialogues to express his concepts in his animation, but he also creates his own humorous style.

Japanese animators have used computer graphics to improve special effects in their productions, and most 3-D animation was made for inserting in TV games in the early 1990s. 3-D computer graphics scenes in Oshii's animation show the isolation between humans and machines. Oshii uses CG to express some kind of inorganic feelings. In Patlabor: The Movie (1990) and Patlabor: The Movie 2 (1993), Oshii chose 3-D CG to present a user interface of the robot operation system, and he also used this technique to build a believable near-future world which is full of unknown technologies. Oshii used more 2-D computer generated images (CGI) to create a cybernetic environment in Ghost in the Shell, and 3-D CG was still used for virtual reality and inorganic machine interface. In Avalon, Oshii created another virtual reality world in which people are involved in a kind of computer war game. Of course, Oshii repeated his concept about 3-D CG as computer interface but enlarged the scale in whole film. The green random letters which are used for the main title in Ghost became orange in Avalon. Moreover, he used more 3-D CG to create battle scenes in the virtual world of Avalon (Chute 85).

Until Ghost in the Shell 2: Innocence (2004), Oshii used more 3-D scenes for the animation than before, but he still followed his own ideas. He used 3-D CG to create a fictional city and kept the cold feel about the cyberpunks and hackers in Innocence (Ledoux 135).

Mamoru Oshii repeats his ideas about visual style and screen space. In addition, the characters in his different works have a similar quality and personality. Although most of Oshii's famous anime is based on other original stories or other writers, he performs these characters in his own way. Their opinions are all like Oshii's original characters, and some of them are even totally different from the original version. The obvious example is that some heroines in Oshii 's productions have similar independent minds and strong skills, such as Maroko in Maroko (1990), Shinobu Nagumo in Patlabor, Kusanagi Motoko in Ghost, and Ash in Avalon (Newman 41).

Other characters in Oshii's works give similar performances, too. Because animation is a medium that a director can control in his hands totally, Oshii tells his audiences his concepts about social problems in Japanese by these characters. Oshii used similar characters in different environment to solve different conflicts, and he also made these characters to have similar physical / psychological relationships. For example, Kiichi Gotoh and Shinobu Nagumo never become a couple in Patlabor, and neither do Batou and Motoko in Ghost. Of course, some specific attributes continue showing in Oshii's characters, but that does not mean Oshii's work is boring to me.

Another important aspect of Mamoru Oshii's animation is the environment and background objects. Animals and buildings in Oshii's animation and films become meaningful symbols, such as yellow air-ships in Maroko and Patlabor. Oshii likes to use dogs, birds and fish in his films, especially using the image of his dog. Some of Oshii's fans even call that “Mamoru Oshii's Trinity.” A bird is usually a metaphor for the prophet or spectators, and fish become the symbol of unenlightened people. However, Oshii is more interested in the stories of dogs, which are often symbolic, who follow the political system and national power. Because Oshii loves his dog very much, he uses his dog in most of his recent films, such as Avalon and Innocence. Even in early live action films, such as Stray Dogs, Oshii described his main concepts about birds, dogs and fish. Otherwise, Oshii also uses different cities to create a similar atmosphere. Oshii likes ruins and the Bible for its philosophy, so he created cities which are full of wrecked parts and dark shadows (Ledoux 137). For instance, Tokyo plays a meaningful role in Patlabor, and the audiences can see what is happening when a city is growing. The bridges in Tokyo become the connection of people and the false peace. In Ghost, Oshii used Hong Kong as a reference and constructed an over-developed city full of new buildings and old ruins. Oshii really used these elements to build his film world (Ledoux 138).

Music is an important element of animation. The background music composer, Kenji Kawai, helps Oshii to create atmosphere in these productions. They have known each other since 1980s, and they cooperate on projects many times. Through the Japanese Movie Database and Oshii's official website, Kawai became involved in Oshii's productions from a live action film, called Red Spectacles (1987). In 1989, Kawai joined the production team of Patlabor and collaborated with Oshii again. As a composer, Kawai does not change his style of theme rhythm for many years, so audiences can easily recognize Kawai's music styles. This improved the link between Oshii's works and Kawai's music, and it created a strong image for the audience. It is easy to find these connections in Patlabor series, Maruko, Talking Head, Red Spectacles, and Stray Dog: Kerberos Panzer Cops. When Oshii was making Ghost in the Shell, he asked Kawai to change the music style and basic rhythms. The similar music style repeated again in Avalon and Innocence, and it matched the main themes of these three productions and Oshii's thought.

Another characteristic of Mamoru Oshii's animation is to use ideas from other countries rather than Japanese traditions. Multicultural influence combines in Oshii's Asian style, especial in Ghost in The Shell. This does not mean Japanese traditions can't be found in Oshii's films, but his animation work is really more distinctive from mainstream anime in Japan. In Ghost, the main stage is a fictional city based on real Hong Kong, so it is easy to see many background in South Asian styles. In Avalon, Oshii brought the idea of Arthurian myth in this film to make a hybrid or synthesis (Rayns 31). Moreover, in Innocence, Oshii created a fictional multicultural city which is based on Masamune Shirow's original story. There are even some Gothic buildings with eastern divine statues standing on the top in this fictional city. Oshii really wants to make this kinds of synthesis after working in anime industry for more than twenty years, so he always finds more ideas from other cultures (Rayns 30).

Outside of these serous elements, Mamoru Oshii still has his humor as an animator. Oshii uses long dialogue to tell his main concepts in his animation, but he also creates his own humorous style in this way. The obvious example is Talking Head, and it contains most of Oshii's humorous ideas which appear before or after. These fun ideas came from Oshii's early TV cartoon careers, such as Urusei Yatsura series and Patlabor TV series. Oshii worked with the writer, Kazunori Ito, many times, and he really got some good ideas from Ito. Besides, the voice actor, Shigeru Chiba, also inspired Oshii with his wonderful voice performance, for example, speaking a meaningless non-stop dialog for a long time. Oshii even used stage play style in his animation and created absurd effects in the screen space, such as in Maroko and Talking Head. The kind of humor is not accepted by most audiences, but Oshii's fans would love these funny parts a lot (Ledoux 138).

Mamoru Oshii is really a special director in the Japanese animation industry. Most of Oshii's productions, including animation and films, have common elements. Some people may not like these elements repeated many times, but Oshii always puts some new ideas in his later works. His animation may not the most popular anime in Japan, but his style is the most distinctive anime there is. Indeed, Oshii has made his world-wide fame with animation. I think that Oshii uses familiar elements to combine an excellent work of animation every time, and I hope he can create more new interesting concepts in his new films.

Works Cited

Chute, David. “The Soul of the new Machine: Oshii Mamoru's Ghost in the Shell.” Film Comment v.32 (May/June 1996). 84-86.

Internet Movie Database Inc. “Mamoru Oshii.” The Internet Movie Database (IMDb). 30 Oct. 2004 http://www.imdb.com/name/nm0651900/.

Newman, Kim. “Avalon.” Sight & Sound v. 12 no.12 (December 2002): 41-42..

Patten, Fred. “America's Favorite Anime Directors.” Animation Magazine v. 11 (August 1998):4-5.

Rayns, Tony. “Game Master.” Sight & Sound v. 12 no.11 (November 2002): 28-31..

Oshii, Mamoru. Interview. Anime Intrviews: The First Five Year of America, Anime & Manga Monthly: (1992-97). Ed. Trish Ledoux. San Francisco: Cadence Books, 1997. 134-141..

Oshii, Mamoru. Oshii Mamoru Official Site. 21 Oct. 2003. 30 Oct. 2004 http://www.oshiimamoru.com .

Y, Nomura. “Mamoru Oshii.” Japanese Movie Database. 30 Oct. 2004 http://www.jmdb.ne.jp/person/p0045930.htm . -----

From 1970s to 1980s, a bad censorship of comic and the law of publication totally damaged the comic industrial in Taiwan. When I was ten years old, there were not any Taiwanese comic books in bookstores. After stopping the enforce martial law and revocation of the old publish law, publishers tried to introduce more Japanese comics into Taiwan and supported Taiwanese comic authors. Now, a new censorship law, which is called Law of Comic and Nude Picture Publication Management,This is censoring by the Taipei City Council in Taiwan. Some councilmen want to use this law to manage pornography and adult comic in order to protect young people. Not many citizens and publishers known about this law until its second reading, and I heard about this law almost one year ago. It contains many limitations of contents and a ridiculous cover design standard. Even some X-rated comic books will be illegal if this law can be passed. This dark law may cause a serious problem about harming the freedom of publish, and give effects to both the pornographies and the general publications. The central government doesn't have correct law, so some moral people want to use this law for protecting children, but they forget liberty of speech.

The government doesn't have a suitable law for pornographic publication, and the police usually use strange reason to manage comic books, including general ones. The police can decide what obscenity is and arrest the owner of a bookstore without justice standard. Taiwanese police system usually is not so efficient before. They have power to arrest people by different laws, but who can really decide the comic books obscene? An article in National Forum stated: "The irony is that while obscenity legislation can lead to censorship of non-pornographic material, it poses no real threat to pornography itself." For example, many companies invited Japanese adult video actresses to show up in car exhibitions in Taipei, because these AV actresses are so popular that many people want to see them directly. On the other hand, some people made a serial of Taiwanese erotic videos and used a local actress and an actor, but the actress and the actor were indicted by the police after a few months. These police officers know that foreign adult videos are popular in Taiwan, and I believe that they also watched this pornographic films. However, why don't they allow local adult videos? People treat the Japanese AV actresses as their idols, but they think about obscenity when watching Taiwanese pornography. The government department doesn't even censor movies very well in Taiwan, for instance, The Lord of The Ring - The Return of The King is a PG-13 movie in the U. S., but there were many crying children under 13 when I was watching it in the theater. How can I trust the censors for comic books?

Some people want to protect children from the pornography comic by limiting the content, but these adult publications are not for young people originally. Indeed, we need police system and laws to protect our general life, and prevent to be really hurt by other people. Of course, we want to protect our children from these pornographic comics, so comic publishers have already printed small X-rated marks on the covers of the books to tell consumers. However, by the new rule, publishers will need to use a bigger mark which can't be smaller than 1/10 of the cover, and they also need to use a smaller G-rated mark on general books. This rule will totally damage the art and design of comic books. People do anything they want in the name of protecting children. Some publishers modify some important scenes in famous comic books, as Berserk by Kentarou Miura, because they don't want to be attack by these moral people. I have seen a lots of examples about changing the original pictures, and this is not regard the authors of the stories. In Berserk, Mr. Miura used some sexual scenes to emphasize the two main characters' feeling and their relationship. However, this scene became strange because they are making love with pants. I am an adult and absolutely know what happened. These modifications can't protect a child if he read the book, but these totally destroy adult readers' feeling. Some people totally follow the wrong direction; they don't want to require the bookstores and sellers but want to put stupid marks on the comics. Everybody knows a book is general rated without stupid marks on it, and we really know how violent it is with a big mosaic on the picture.

This new law is not only for censorship but also for limiting creations. One of the rules is to give the definition of X-rated, such as violence, drug use, suicides, bloody scenes, and other obvious badness scenes or pictures. In addition, another rule says that use of pictures, photos or words to describe sexual activities will follow the last rule except publications for fine art and education. At the article in National Forum, the author gave a example: " "I can't define pornography," said a U.S. Supreme Court judge, "but I know what it is when I see it."" It is easy to define "obvious badness scenes" by anybody, however, everyone has his own rules, and it's difficult to judge creations or art. In Taiwan, some people still think comic or sequential art are not fine art, and they think comic is only for children. However, during the Kuomintang government period, the government known the separation and acceptance of comic are powerful, so they used it for propaganda. The government really want more power to control the society, and it usually uses laws to control the content of publications. If this new law were passed, many comic books would be rated again and re-printed the covers. Moreover, all of the comic books will be rated stupidly, and the authors will give up some ideas because of limitations. This effects the freedom of speech indirectly, and the new law will harm the liberty of Taiwan seriously.

After so many years of regeneration, some assemblymen and councilmen are still stupid and conservative. The world is full of pornography, and it 's never end. To forbid pornographic comic books can't truly protect children. We need a correct censorship but not a stupid law to limit our ideas and imaginations. I agree to protect young people from pornography, but I don't want Taiwan to be a police state. Finally, I really want to be freedom to legally create my own products and animations in the future, and no idiotic politicians can use stupid laws to control me. This law should not be pass in the future, and the government should make correct modifications .

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[Game與模擬器]

大部分Windows平台的遊戲還是不容易玩到．不過一些比較早期的遊戲機都有模擬器

很多人用Linux感到缺少的一部分，就是很多遊戲沒有for Linux版的．少數如絕冬城之夜或重返德軍總部有for linux 的版本，但大部分Windows平台的遊戲還是不容易玩到．不過一些比較早期的遊戲機都有模擬器，算是大大填補了娛樂這一塊空間．

FCE Ultra

這是個任天堂紅白機模擬器，自行下載編譯後如果發生卡在搖桿無法正確設定的問題上時，要在

drivers/cli/sdl-joystick.c（ｖ0.97.5）的172行加上"goto endaconfig;"

大部分的ROM應該都能跑，不過到目前為止，我還沒找到能正確執行伊蘇國一代的模擬器．

Snes9x

這是最有名的跨平台超任模擬器，在Tales of Phantasy和Final Fantasy V上的執行效果都很好，一些特效都有顯視出來．不過搭配前台snes9express在目前的Fedora版Linux上執行時,往往snes9express執行第二次後會當掉．所以我都把

~/.s9x/last 及 ~/.s9x/prefs

在初始狀態下設成唯讀屬性

DosBox

一個x86的DOS模擬器，他可以忠實模擬386PC或486PC的環境，我的地下創世紀一代就這樣復活了，可惜我大部分的磁片都爛掉了（Doom啦Comanche啦）．不過也不是大部分的遊戲都能正確執行．例如Noctroplis一代光碟版．

XMAME

大型電玩模擬器，以前要繳一堆學費的現在在自己電腦上就能玩，可用yum上freshrpm安裝． 不過我發現他的前台GXMAME在Big5的locale下會不正常顯視中文，一定要用UTF-8．

ePSXe

Play Station模擬器，把你的電腦變成PS！其實我也只有在上面跑過Xenogear而已，效果上是不錯的．不過執行他還要一些額外的檔案

Pete´s Homepage...

BIOS請用Google找scph1001.bin吧

[Windows平台有譯典通，Linux下有星際譯王StarDict]

星際譯王StarDict

現在Stardict也跨平台了，不過我並沒有用過Windows版．我在Windows下已經有譯典通了，不過由於過了試用期，利用直接輸入已經無法查字．而這個星際譯王倒是全沒這種限制．他採用ＧＰＬ授權所以可以自由採用而不用付費．此外還可自行下載自己合用的字典檔，也有真人發音的語音檔．而且還有日英－英日字典，對我個人而言十分方便．

不管是英漢－漢英或是英英字典都都有，真是全人類的福音啊．

而原本的Gnome或KDE桌面環境都有自己的連線字典應用程式，只要電腦是在線狀態就能連到字典伺服器查詢，但都是英英字典．此外利用Mozilla瀏覽器的字典功能也可以查詢．不過這些方法都不是即時翻譯而且網路離線就不能用了．

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今天重新開始製作這個網誌，同時試著拿來當我的雜記系統。 I try to use nanoblogger 3.0 for this small log. -----