Distortion in Samuel Becketts Waiting for Godot Essay -- Waiting for

Distortion in Samuel Beckett's Waiting for Godot Distortion presents exaggerated and absurd portraits of the human condition.   Distortion also equips an author with a plane of existence that provides an avenue for posing questions concerning the nature of thought, behavior, and existence.   Samuel Beckett distorts reality in his play Waiting For Godot; this literary effect enables him to question human life and a possible afterlife. Surfacely, the recurrent setting is absurd: Vladimir and Estragon remain in the same non-specified place and wait for Godot, who never shows, day after day.   They partake in this activity, this waiting, during both Act I and Act II, and we are led to infer that if Samuel Beckett had composed an Act III, Vladimir and Estragon would still be waiting on the country road beside the tree.   Of course, no humans would do such things.   The characters' actions in relation to setting are unreal-distorted, absurd.   However, it is through this distortion and only through this distortion that we can guess at the importance and the details of the evasive figure...

Securing Sensitive Items

In the military most people think when they hear the term â€Å"sensitive items† they will think of thing such as weapons, security codes, classified information, ect. However most things in the military are considered to some degree a â€Å"sensitive item†. . Which if they ended up falling into the hands of the enemy could cause minor or major damage to our nations national security and possibly endanger the lives of those both at home and deployed across the world. A very basic sensitive item used on a daily bases could include your common access card.For example because there is always the possibility of the â€Å"insider threat† if you accidentally left your CAC logged on to a computer another individual could now easily gain access to any classified information that you have access to. Things such as convoys carrying food and equipment to soldiers in the field that could become an easy target. Especially if the enemy were to know the exact route and what kin d of personnel and vehicles would be transporting the cargo.Another basic sensitive item that all soldiers are assigned is their gear. Most soldiers probably still remember their drill sergeants telling then to never leave their gear behind. If during a firefight you shouldn't just leave an empty magazine on the ground or leave you battle buddies weapon on the ground because he was wounded. You should always take it with you if possible, the reason being is because if no matter how small or insignificant it may seem every piece of gear we're issued can be turned against us.Something like a pistol might not seem like much but if your team member is wounded and you leave something like an AT-4 behind it could be fired at a convoy and then turned into an IED. Items such as keys to a cell in a prison could easily cause a major breach in security. As everybody knows of the last disturbance in the United States Disciplinary Barracks was only possible because a few inmates attacked a guard and got his keys.This allowed them to let all of the other inmates out in that housing unit causing a disturbance that in order to stop needed a riot control team using less than lethal rounds. Another sensitive item familiar to all soldiers in some form is your radio. Whether you're in the field, driving a squad car, or working I'm a prison. Your radio is a key piece of equipment, if you leave it laying around it could be used in many ways against you and your unit. If it's taken by the enemy try will now be able to listen in on the communication between different unit and know where  they are.If you're a road MP and you forget your radio, you have just now no lost communication with others that you may need to radio for backup or be able to respond to a distress call from somebody else. If you're a prison guard you have just lost the ability to quickly communicate with anybody in the facility. You will no longer be able to respond to a distress alarm or be able to call for assi stant if your body alarm is not functioning properly.

Getting a Job in the Videogame Industry

When the video game industry started, back in the days of Pong, Atari, Commodore, and of course, the coin-op arcade, the majority of the developers were hardcore programmers who became game developers because they knew how to work in the language of the machines at the time. It was the generation of the mainframe programmer and the self-taught hobbyist turned pro. As time went on, traditional artists, designers, quality assurance, and other personnel became part of the development process. The concept of game developers being limited to elite coders began to fade, and the term game design became formalized. Beginning as a Tester Testing games for money have been a dream job for countless teens. For a while, testing was a viable path for the industry, although many quickly realized that it wasnt the job they imagined it would be. This path  worked for quite some time, but as game design, development, and publishing grew into a multibillion-dollar industry, the potential game designer needed more formal training and the office became a more professional setting in the times past.  It is still possible to progress from tech support or quality assurance into the development, but doing so without higher level education and training has become a rarity inside the big development companies.   QA and testing were once considered a no-qualification-required or entry-level job, but many publishers and developers have test teams with higher education and even development skills as well. Applying for Development Positions Getting a development position isnt just a matter of having some programming or art classes on your resume. Long, sometimes multi-day interview processes  stand between the aspiring developer and their dreams of making games. Questions you will want to ask yourself: Programmers: What titles have you shipped? If youre still a college student, what was your final project? Have you worked in a collaborative programming environment before? Do you know how to write clean, concise, documented code? Artists: What does your portfolio look like? Do you have a solid command of the tools you use? Can you take direction well? How about the ability to give constructive feedback? Game designers or level designers: What games are out there that youve made? Why did you make the decisions you did about gameplay, level flow, lighting, art style, or anything else that you did to make your game unique? Those are the easy questions. Programming interviews frequently involve having to stand up in front of your potential coworkers at a whiteboard and solve logic or programming efficiency problems. Level designers and artists may have to talk about their work on a video projector in the same sort of environment. Many game companies now check for compatibility with teammates. If youre not able to communicate with your potential peers, you may lose the chance at a job that youd be perfect for. Independent Development The recent rise of independently developed and published games has opened a new path for those looking to get into the game industry—but this is not an easy route by any stretch of the imagination. It requires a significant investment of time, energy, resources, and a drive to face a very competitive market. And most importantly, it requires that you know how to fail, and despite this to get up and move on to the next project until you make it.