the goal is a complete rewrite that matches the original windows binary behavior exactly. if the original has a bug, the rewrite has the same bug. if there’s a texture that’s one pixel too small (there is), i replicate that too. the executable is the spec, and we’re writing the spec back into source code.
“新花都”迎宾处旁，威风凛凛的关公像前仍香火兴旺，红色地毯两侧挤挤挨挨地摆着两行明灿灿的盆景菊花，刺眼的灯光恍如白昼。面带倦意的印度人抬抬手，与客人道晚安。电梯门关上，音乐骤停，一个时代的歌舞升平也被挡在了外面。
。关于这个话题，whatsapp提供了深入分析
While I worried at first that the bodycams might make for a barrage of blurry shots (think the shaky-cam aesthetic of The Hunger Games), Brandon Christensen is meticulous in the staging of certain scenes. With the cameras positioned at the center of his protagonists' chests, often the footage from one captures the other's expression. Or perhaps a mirror catches the wearer's face as he's chided by his mother. This slightly low angle also reflects the characters' initial sense of superiority over those around them. But as the film progresses, the angle shifts to suggest a break in their relationship. In one scene, Jackson is practically on the ground as his camera captures Bryce firing on a civilian. This much lower angle, showing Bryce's arm fully extended, his face locked into focus as he fires, creates a sense of dread and intimidation. These two are no longer on the same footing on what it means to be a cop. This lower angle suggests Bryce is the scariest thing in this room.
「這是一種人類自嬰兒時期就擁有的基本學習能力——在嬰兒還不懂任何語言之前，他們就能開始從周遭世界中捕捉規律。我們用這種能力隨著時間學習聲音、影像與事件中的各種模式。」
By Charlie Wood