This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
The game is played from a third-person perspective and its world is navigated on foot and by vehicle. Throughout the single-player mode, players control Niko Bellic. An online multiplayer mode is also included with the game, allowing up to 32 players to engage in both cooperative and competitive gameplay in a recreation of the single-player setting.[b] Two expansion packs were later released for the game, The Lost and Damned and The Ballad of Gay Tony, which both feature new plots that are interconnected with the main Grand Theft Auto IV storyline, and follow new protagonists.
Development of Grand Theft Auto IV began soon after the release of San Andreas and was shared between many of Rockstar's studios worldwide. The game introduced a shift to a more realistic and detailed style and tone for the series. Unlike previous entries, Grand Theft Auto IV lacked a strong cinematic influence, as the team attempted an original approach to the story. As part of their research for the open world, the development team conducted extensive field research in New York, capturing over 100,000 photographs and several hours of video. The developers considered the world to be the most important element of the game; though not the largest map in the series, they considered it comparable in scope due to its verticality and level of detail. The budget climbed to over US$100 million, making it one of the most expensive video games to develop.
Grand Theft Auto IV was released for the PlayStation 3 and Xbox 360 consoles in April 2008, and for Windows in December. Upon release, the game received critical acclaim, with praise particularly directed at the narrative and open-world design. Grand Theft Auto IV broke industry sales records and became the fastest-selling entertainment product in history at the time, earning US$310 million in its first day and US$500 million in its first week. Considered one of the most significant titles of the seventh generation of video games, and by many critics as one of the greatest video games of all time, it won year-end accolades, including Game of the Year awards from several gaming publications. It is among the best-selling video games with over 25 million copies sold by 2013. The game generated controversy, with criticism directed at the game's depiction of violence and players' ability to drink-drive. Its successor, Grand Theft Auto V, was released in September 2013.
Grand Theft Auto IV is an action-adventure game played from a third-person perspective.[2] Players complete missions—linear scenarios with set objectives—to progress through the story. It is possible to have several active missions running at one time, as some require players to wait for further instructions or events. Outside of missions, players can freely roam the game's open world and complete optional side missions.[3] Composed of the fictional city of Liberty City, the world is larger in area than most earlier Grand Theft Auto series entries.[4] At the beginning of the game, players can only explore the first island—composed of Dukes and Broker—with all other islands unlocking as the story progresses.[5]
Players use melee attacks, firearms and explosives to fight enemies, and may run, jump, swim or use vehicles to navigate the game's world. There is a first-person perspective option when using vehicles. In combat, auto-aim and a cover system can be used as assistance against enemies. Should players take damage, their health meter can be fully regenerated by consuming food or drinks, using medical kits, or calling for paramedics.[6] If players commit crimes, the game's law enforcement agencies may respond as indicated by a "wanted" meter in the head-up display (HUD). On the meter, the displayed stars indicate the current wanted level (for example, at the maximum six-star level, efforts by law enforcement to incapacitate players become very aggressive). Law enforcement officers will search for players who leave the wanted vicinity. The wanted meter enters a cool-down mode and eventually recedes when players are hidden from the officers' line of sight.[7]
Combat in Grand Theft Auto IV was reworked to include a cover system.[6]
The game's cover system allows players to move between cover, to fire blindly, aim freely, and target a specific enemy. Individual body parts can also be targeted.[8] Melee attacks include additional moves, such as dodging, blocking, disarming an opponent and counter-attacking. Body armour can be used to absorb gunshots and explosive damage, but is used up in the process. When health is entirely depleted, gameplay stops, and players respawn at the nearest hospital.[6]
The single-player mode lets players control an Eastern European war veteran, Niko Bellic. During the story, Niko meets and befriends various new characters. They can then perform favours for Niko whenever he asks; for example, his cousin Roman, who owns a taxi service, can send one of his cabs to take Niko to any destination around the city. Cabs are always available during gameplay for quick travel to a destination. Throughout the course of the game, players are also faced with morality choices, which alter the storyline appropriately depending on the player's choice. While free roaming the game world, players may engage in context-specific activities such as bowling or darts. Other available activities include a vigilante mini-game, and in-game television programming.[9][10][11] Niko has a cell phone for contacting friends and starting activities.[12] The cell phone is also used to access the game's online multiplayer mode, and to enter cheat codes.[13] To access the in-game Internet, which allows Niko to send and receive emails and set up prospective dates with potential girlfriends, Niko can use Internet cafés located around the city.[14] The game also features a subway system, allowing players to quickly traverse through the game's world.[15]
The online multiplayer mode for Grand Theft Auto IV allows up to 32 players[b] to freely roam across the map. Players decide which game mode they wish to play, including deathmatches and street races. Both cooperative and competitive game modes are available, split into ranked and unranked matches.[16] For players to level up through ranks, in-game money has to be earned. The game also features a Free Mode, in which players have the entire map open to explore, with no end goal or mission to complete. Hosts of the game can control many variables, such as police presence, traffic, and weapons.[17] The multiplayer mode was discontinued on Windows in 2020.[18]
Grand Theft Auto IV takes place in 2008, within a redesigned version of Liberty City. The design of the city focuses on a recreation of four of the boroughs of New York City: Broker (based on Brooklyn), Dukes (Queens), Bohan (The Bronx), and Algonquin (Manhattan). The setting also includes the neighbouring state of Alderney (based on New Jersey).[19] Initially, bridges are locked down due to a terrorist threat, and police constantly pursue players if the bridges are crossed. The blockades are lifted as the story progresses, allowing the player to traverse between islands safely.
Grand Theft Auto IV is set in the fictional "HD Universe", which mirrors and parodies the real world. The previous games formed fictional universes of their own,[c] which despite having many similarities with the HD Universe, are considered to be different continuities. Hence, the Liberty City depicted in Grand Theft Auto IV is different from its previous renditions, and the game itself serves as a reboot for the series. The new timeline established by Grand Theft Auto IV would continue with two expansion packs, The Lost and Damned and The Ballad of Gay Tony, and a sequel, Grand Theft Auto V, as well as its online component, Grand Theft Auto Online.[21][22][23] The handheld game Grand Theft Auto: Chinatown Wars is also considered part of the HD Universe, because it features the same map as Grand Theft Auto IV, except for Alderney.[24]
Niko Bellic, an Eastern European ex-soldier,[25] arrives in Liberty City aboard a cargo ship, the Platypus, to escape his criminal past, pursue the American Dream, and search for the man who betrayed his unit to an ambush during a war ten years prior. Reuniting with his cousin Roman, he discovers that his tales of riches were lies concealing his small, dirty apartment, unprofitable taxi company, gambling debts, and disputes with loan sharks. Niko begins assisting Roman with his problems, which leads him to make his first criminal contacts in the city. He befriends Yardies second-in-command Little Jacob and is forced to work for Vlad Glebov, Roman's Russian loan shark, whom Niko eventually kills upon learning he had slept with Roman's girlfriend, Mallorie.
In retaliation, Niko and Roman are kidnapped by Russian mobsters on orders of their boss Mikhail Faustin and his lieutenant, Dimitri Rascalov. Indifferent to Vlad's murder, Faustin releases them and employs Niko as a hitman, eventually ordering him to kill the son of Russian crime lord Kenny Petrović. When Petrović threatens retaliation, Dimitri convinces Niko to assassinate Faustin. However, he then betrays and brings Niko to his former employer, Ray Bulgarin, who accuses Niko of stealing from him during a botched human trafficking job years earlier. Niko denies the allegation and a firefight ensues, allowing Dimitri and Bulgarin to escape.
Dimitri's men burn down Niko and Roman's apartment and taxi company, forcing them to flee to Bohan. While Niko finds work with several local drug lords, Dimitri kidnaps Roman in a failed attempt to lure Niko into a trap. Later, Niko discovers that his romantic interest, a woman named Michelle, is a government agent, who then entraps him into working for her agency. In exchange for the murders of several known or suspected terrorists, the agency clears Niko's criminal record and assists him in searching for the traitor he seeks. Niko and Roman's fortunes improve when the latter receives a large amount of insurance money from his destroyed business, which he uses to rebuild it and buy an apartment in Algonquin. Roman also proposes to Mallorie, who accepts.
While working for the Irish Mob, Niko befriends gangster Patrick "Packie" McReary and helps him and his brothers carry out various jobs, including a major bank robbery. Niko is later hired by Ray Boccino, a caporegime in the Pegorino crime family, to oversee a diamond deal, which goes awry. Boccino repays Niko by helping him find his ex-comrade Florian Cravic, now known as Bernie Crane, who claims he was not the one to betray their unit. Niko concludes that the traitor was Darko Brevic, the only other survivor. Niko continues working for the Mafia in Liberty City and eventually earns the trust of Don Jimmy Pegorino, who orders Niko to kill Boccino after suspecting him of being a police informant. Niko also helps Packie kidnap Don Giovanni Ancelotti's daughter to ransom her for the diamonds, but Bulgarin intercepts the exchange. In the ensuing firefight, the diamonds are lost.
Eventually, the government agents find Darko in Romania and bring him to Liberty City for Niko to decide his fate. Afterwards, Niko is summoned by Pegorino for one final favour: to help with a highly lucrative heroin deal in collusion with Dimitri. Niko must either agree to work with Dimitri or exact revenge on him.[26] If Niko goes through with the deal, Dimitri betrays him again,[27] kills Pegorino,[28] and attempts to kill Niko via an assassin at Roman's wedding, but accidentally kills Roman;[29] Niko retaliates by tracking and murdering Dimitri.[28] If Niko chooses to exact revenge, he kills Dimitri aboard the Platypus,[30] prompting a furious Pegorino to target Niko but accidentally kill Packie's sister Kate, whom Niko had been dating, at Roman's wedding;[29] Niko retaliates by tracking and murdering Pegorino.[31] Later, either Mallorie or Roman tells Niko that Mallorie is pregnant.
Rockstar North's former studio in Edinburgh, Scotland, where Grand Theft Auto IV's development was overseen
Preliminary work on Grand Theft Auto IV began in November 2004,[32] a month after the release of Grand Theft Auto: San Andreas.[33] Rockstar president Sam Houser felt that following up San Andreas was "a nightmare".[34]Rockstar North, the core 220-person team behind the game, co-opted studios owned by parent company Rockstar Games to facilitate development between a full team of over 1,000,[35] including 50 employees at Rockstar NYC, 40 at Rockstar Lincoln, 10 at Rockstar San Diego, and around 600–700 working part-time internally and externally.[36] Some key members of the development team worked 12-hour days during production, often without holidays.[35] The team decided to continue the numbering scheme absent from the previous two main games to represent the same leap in production as Grand Theft Auto 2 (1999) to Grand Theft Auto III (2001).[33] Development of Grand Theft Auto IV ceased by 21 April 2008 when the game was submitted for manufacturing.[37] Producer Leslie Benzies estimated that the budget of the development efforts exceeded US$100 million, making Grand Theft Auto IV one of the most expensive video games ever made.[35]
The game's setting, Liberty City, is based on New York City. The team did not look at the previous renditions of Liberty City as inspiration, wanting it to retain the "general feel" but nothing else.[38] The map is roughly three times the size of Grand Theft Auto III's.[38] The developers originally considered using the entire state of New York, before restricting it to Manhattan, and then expanding it out again. They considered including more suburbs with woods, and would regularly vote on which areas to include.[39] Art director Aaron Garbut said that the team chose the setting because of the detail and variety it provided, describing New York as "an amazing, diverse, vibrant, cinematic city".[40] Writer Dan Houser added that the team "wanted to be somewhere where we had a foothold" due to the amount of research required for the world; Rockstar Games's main headquarters are located in New York.[41] The team consciously avoided a precise recreation of New York City to allow for more enjoyable game design,[32] selecting the areas that they felt "characterised it the best".[40] Garbut wanted to capture a caricature of the city as he felt that most people were familiar with "the highlights" from film or literature but did not need to know the areas precisely.[40] The city was not built with specific missions in mind; the area was created first, and missions implemented later.[42]
To achieve a realistic environment, 60–70 employees from Rockstar North travelled to New York for research: first at the beginning of the project in March or April 2005 for a week and a half,[39] and a smaller trip in 2007.[38] Police officers who previously worked the beat drove the team around Washington Heights.[39] A full-time research team based in New York handled further requests for information, such as the ethnic minority of a neighbourhood or videos of traffic patterns. Videos shot in New York were played on televisions at the Rockstar North offices "so while they worked they could look up and there was New York".[39] Benzies claimed that the team took over 100,000 photographs on location in New York,[35] though Garbut estimates that they took around 250,000.[38] They also studied architectural plans for apartments, used satellite images to determine city block layout, researched sales figures for models of cars, and read books that detailed the city's infrastructure, including its subways, sewers, and garbage disposal.[43] Hove Beach is based on Brighton Beach, which Sam Houser found "pretty incredible" and unusual; the name is based on the English city Brighton and Hove, made up of the former neighbouring towns Brighton and Hove.[44] Houser appreciated that Brighton Beach was home to several Eastern Europeans due to the nature of the game's characters.[44]
Dan Houser described Liberty City as "the biggest character" of the game.[40] The Grand Theft Auto IV rendition of Liberty City is more detailed and larger in size than most earlier entries in the series; although smaller than San Andreas, the setting of the previous main game, the developers considered it comparable in scope due to city's verticality, number of buildings, and level of detail.[45] The team wanted less dead spots and irrelevant spaces, such as the wide open deserts in San Andreas.[32] They wanted the game to be "a more focused experience" than San Andreas, and Dan Houser felt that the limited activities of New York allowed this.[33] The team felt that the addition of Niko's mobile phone added to the immersion of the world and represented society's shifted focus on phones.[33] The in-game brands and products are designed over several years; the billboards were implemented in the game around six months prior to release.[38]
Benzies produced the game. Dan Houser co-wrote the story,[35] while his brother Sam executive-produced the game.[34]
The game's script, written by Dan Houser and Rupert Humphries, is about 1,000 pages.[35] Approximately 660 actors provided voices for the game over 80,000 lines of dialogue.[39] After conceiving the character and setting, Dan Houser spoke with his brother Sam Houser and Leslie Benzies to bounce story ideas before writing a rough synopsis, a six-paged, detailed document. Once the synopsis was reworked, the designers broke it into missions, represented by a large flow document demonstrating each section. The writers then work on the introductions to the missions; the gameplay dialogue comes much later.[41] Unlike previous Grand Theft Auto games, Grand Theft Auto IV does not have cinematic influences. "We were consciously trying to go, well, if video games are going to develop into the next stage, then the thing isn't to try and do a loving tribute or reference other stuff," said Dan Houser.[41] He said that the writers wanted something "fresh and new and not something that was obviously derived from [a] movie".[41] Dan Houser felt that the quality of the writing had to improve alongside the advancements in graphics and technology. He noted that the improvements in facial animation allowed for slower-paced cutscenes.[40] The unique dialogue that plays when a mission is retried was to ensure that the gameplay felt "less canned and less like Groundhog Day".[40]
Dan Houser described Niko Bellic as "a more rounded character" than those in previous games.[40] He felt that his dual personality—often saving innocent people, while also being a "cold-hearted killer"—made him more relatable.[40] He also felt that Niko's unfamiliarity with Liberty City allowed for the player to relate to him more, only driven by his vague past and relationship with Roman. When deciding on Niko's background, the writers felt that being an immigrant could lead to more dangerous situations, and therefore more enjoyable missions; after discussions with criminal experts, Dan Houser found that "the real scary characters are not born in America anymore".[40] He felt that Niko's outsider view of American culture was "fun".[40] The team wanted Niko to be "more of an anti hero than a hero, capable of making positive actions within his criminal world".[46] They wanted his demeanour to reflect the weight of his past and choices.[46]
Niko's design underwent a few changes, but was finalised early in development.[47] His outfit underwent several changes based on Eastern Europeans, particularly photographs of men fighting in winter wars in Yugoslavia and Chechnya. The primary motivation for the design was a face to convey the appropriate emotions and a body that could move nicely with the new animations.[40] The in-game purchasable outfits were also designed to fit with the character.[33] The team ensured that the gameplay choices presented to the player were not too extensive, as they still had to make sense to the character, who is driven by the people around him. Dan Houser felt that the missions in San Andreas had become too linear, and wanted to present choices to the player in Grand Theft Auto IV.[40]
The writers found that Niko needed a motivation to come to America, so they created his cousin, Roman. Dan Houser felt that the two could not be brothers as there would be a deeper level of familiarity than necessary. He described the two as a double act, with Roman's fantasist charm playing off Niko's tough cynicism. The team gave other non-playable characters (NPCs) more definable behaviours and dialogue to make them feel more alive. The writers initially considered having a smaller group of characters, but found that the story became boring and that players were less likely to explore the world. The stranger characters found in the game world were based on the "crazy people" that populate New York, according to Dan Houser, which in previous games were only able to be captured through radio stations or mild pedestrian behaviours.[38] The team based the ethnicities, clothing, and behaviours of the NPCs on the photographs and videos that they captured around New York, divided into different areas;[40] they created mood boards for each location.[38] The NPCs also converse in different languages.[39]
Grand Theft Auto IV sees a shift in the series to a more realistic and detailed style and tone, partly a result of the transition to consoles which offered high-definition graphics and the new and improved capabilities of such consoles. The development team worked to represent the upgrade in quality across all design aspects while maintaining the coherence of the previous games.[32] The team took the game's development as an opportunity to "strip things back and start again", refining the art style without losing the style of the series;[40] they distanced the game from the "cartoon-like style" of its predecessors while creating a new style that was consistent across all aspects of the game.[48] Garbut found the increased demand of detail brought on by the advanced technology daunting.[49] A technique used to make the visuals look real was to avoid harsh edges, instead blending surfaces together to make the world look dirty and lived-in.[50] The props department created multiple variations of different objects to make the world more interesting and unique.[40]G
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This disambiguation page lists articles associated with the title Bliss. If an internal link led you here, you may wish to change the link to point directly to the intended article.
A traditional die is a cube with each of its six faces marked with a different number of dots (pips) from one to six. When thrown or rolled, the die comes to rest showing a random integer from one to six on its upper surface, with each value being equally likely. Dice may also have polyhedral or irregular shapes, may have faces marked with numerals or symbols instead of pips and may have their numbers carved out from the material of the dice instead of marked on it. Loaded dice are specifically designed or modified to favor some results over others for cheating or entertainment.
Composite image of all sides of a 12 mm (1⁄2 in) Roman die, found in Leicestershire, England
Dice have been used since before recorded history, and it is uncertain where they originated. It is theorized that dice developed from the practice of fortune-telling with the talus of hoofed animals, colloquially known as knucklebones.[2] The Egyptian game of senet (played before 3000 BCE and up to the 2nd century CE) was played with flat two-sided throwsticks which indicated the number of squares a player could move, and thus functioned as a form of dice.[3] Perhaps the oldest known dice were excavated as part of a backgammon-like game set at the Burnt City, an archeological site in south-eastern Iran, estimated to be from between 2800 and 2500 BCE.[4][5] Bone dice from Skara Brae, Scotland have been dated to 3100–2400 BCE.[6] Excavations from graves at Mohenjo-daro, an Indus Valley civilization settlement, unearthed terracotta dice dating to 2500–1900 BCE,[7] including at least one die whose opposite sides all add up to seven, as in modern dice.[8]
Games involving dice are mentioned in the ancient IndianRigveda, Atharvaveda,Mahabharata and Buddhist games list.[9] There are several biblical references to "casting lots" (Hebrew: יפילו גורלyappîlū ḡōrāl), as in Psalm 22, indicating that dicing (or a related activity) was commonplace when the psalm was composed. Knucklebones was a game of skill played in ancient Greece; a derivative form had the four sides of bones receive different values like modern dice.[10]
Roman wall painting showing two dice-players, Pompeii, 1st century
Although gambling was illegal, many Romans were passionate gamblers who enjoyed dicing, which was known as aleam ludere ("to play at dice"). There were two sizes of Roman dice. Tali were large dice inscribed with one, three, four, and six on four sides. Tesserae were smaller dice with sides numbered from one to six.[11] Twenty-sided dice date back to the 2nd century CE[12] and from Ptolemaic Egypt as early as the 2nd century BCE.[13]
Dominoes and playing cards originated in China as developments from dice.[14] The transition from dice to playing cards occurred in China around the Tang dynasty (618–907 CE), and coincides with the technological transition from rolls of manuscripts to block printed books.[15] In Japan, dice were used to play a popular game called sugoroku. There are two types of sugoroku. Ban-sugoroku is similar to backgammon and dates to the Heian period (794–1185 CE), while e-sugoroku is a racing game.[16]
Dice are thrown onto a surface either from the hand or from a container designed for this (such as a cup, tray, or tower). The face (or corner, in cases such as tetrahedral dice, or edge, for odd-numbered long dice) of the die that is uppermost when it comes to rest provides the value of the throw.
The result of a die roll is determined by the way it is thrown, according to the laws of classical mechanics (although luck is often credited for the results of a roll). A die roll is made random by uncertainty in minor factors such as tiny movements in the thrower's hand; they are thus a crude form of hardware random number generator.
One typical contemporary dice game is craps, where two dice are thrown simultaneously and wagers are made on the total value of the two dice. Dice are frequently used to introduce randomness into board games, where they are often used to decide the distance through which a piece will move along the board (as in backgammon and Monopoly).
Common dice are small cubes, most often 1.6 cm (0.63 in) across, whose faces are numbered from one to six, usually by patterns of round dots called pips. (While the use of Arabic numerals is occasionally seen, such dice are less common.)
Opposite sides of a modern die traditionally add up to seven, requiring the 1, 2, and 3 faces to share a vertex.[17] The faces of a die may be placed clockwise or counterclockwise about this vertex. If the 1, 2, and 3 faces run counterclockwise, the die is called "right-handed". If those faces run clockwise, the die is called "left-handed". Western dice are normally right-handed, and Chinese dice are normally left-handed.[18]
The pips on standard six-sided dice are arranged in specific patterns as shown. Asian style dice bear similar patterns to Western ones, but the pips are closer to the center of the face; in addition, the pips are differently sized on Asian style dice, and the pips are colored red on the 1 and 4 sides. Red fours may be of Indian origin.[18][19]
Typical facets showing the more compact pip arrangement of an Asian-style die (top) vs. a Western-style die (bottom)
Non-precision dice are manufactured via the plastic injection molding process, often made of polymethyl methacrylate (PMMA). The pips or numbers on the die are a part of the mold. Different pigments can be added to the dice to make them opaque or transparent, or multiple pigments may be added to make the dice speckled or marbled.[20]
The coloring for numbering is achieved by submerging the die entirely in paint, which is allowed to dry. The die is then polished via a tumble finishing process similar to rock polishing. The abrasive agent scrapes off all of the paint except for the indents of the numbering. A finer abrasive is then used to polish the die. This process also produces the smoother, rounded edges on the dice.
Precision casino dice may have a polished or sand finish, making them transparent or translucent respectively. Casino dice have their pips drilled, then filled flush with a paint of the same density as the material used for the dice, such that the center of gravity of the dice is as close to the geometric center as possible. This mitigates concerns that the pips will cause a small bias.[21] All such dice are stamped with a serial number to prevent potential cheaters from substituting a die. Precision backgammon dice are made the same way; they tend to be slightly smaller and have rounded corners and edges, to allow better movement inside the dice cup and stop forceful rolls from damaging the playing surface.
While the terms ace, deuce, trey, cater, cinque and sice are generally obsolete, with the names of the numbers preferred, they are still used by some professional gamblers to designate different sides of the dice. Ace is from the Latin as, meaning "a unit";[23] the others are 2 to 6 in Old French.[24]
When rolling two dice, certain combinations have slang names. The term snake eyes is a roll of one pip on each die. The Online Etymology Dictionary traces use of the term as far back as 1919.[25]
The US term boxcars, also known as midnight, is a roll of six pips on each die. The pair of six pips resembles a pair of boxcars on a freight train. Many rolls have names in the game of craps.
Through his business ventures, Jay-Z became the first hip-hop billionaire in 2019.[19][20] In 1999, he co-founded the clothing retailer Rocawear[21] and later founded the 40/40 Club, a luxury bar chain, in 2003. As both grew into multi-million-dollar businesses, he launched Roc Nation, a multi-disciplinary entertainment agency in 2008. In 2015, he acquired the technology company Aspiro and led the expansion of Tidal, the company's media streaming service.[22][23][24] As of 2024, he is the wealthiest musical artist in the world with a net worth of US$2.5 billion.[25]
Shawn Corey Carter was born on December 4, 1969, in Brooklyn, New York City.[30] He was raised in Marcy Houses, a public housing project in Brooklyn's Bedford–Stuyvesant neighborhood.[31] His father, Adnis Reeves,[32] abandoned the family, and Jay-Z and his three older siblings were raised by his mother, Gloria Carter. Reeves later met and reconciled with Jay-Z prior to his death in 2003. Jay-Z claims in his lyrics that in 1982, at age 12, he shot his older brother in the shoulder for stealing his jewelry.[33][34]
Jay-Z can be briefly heard on several of Jaz-O's early recordings in the late 1980s and early 1990s, including "H. P. Gets Busy", "The Originators" and "Hawaiian Sophie".[39][40] Jay-Z became embroiled in several battles with rapper LL Cool J in the early 1990s.[41] He first became known to a wide audience on the posse cut "Show and Prove" on the 1994 Big Daddy Kane album Daddy's Home. Jay-Z has been referred to as Big Daddy Kane's hype man during this period,[42] although Kane explains that he did not fill the traditional hype man role, and was instead basically making cameo appearances on stage. "When I would leave the stage to go change outfits, I would bring out Jay-Z and Positive K and let them freestyle until I came back to the stage."[43][44]
According to his second verse on "99 Problems", released in 2003, Jay-Z was allegedly stopped by an NYPD detective in 1994 while en route to I-95, possibly for a search of drugs in his car. Detection dogs were called, but another police car had passed; Jay-Z was let go soon after.[45] Jay-Z appeared on a popular song by Big L, "Da Graveyard", and on Mic Geronimo's "Time to Build", which also featured early appearances by his former Murder Inc. colleagues Ja Rule and DMX in 1995. His first official rap single was "In My Lifetime", which was released with an accompanying music video in 1995. An unreleased music video was also produced for the B-side "I Can't Get with That."[46]
1995–2000: Reasonable Doubt, In My Lifetime, Vol. 1, Vol. 2..., Vol. 3..., and The Dynasty[edit]
In 1998, Jay-Z released Vol. 2... Hard Knock Life which spawned the biggest hit of his career at the time, "Hard Knock Life (Ghetto Anthem)". He relied more on flow and wordplay, and he continued with his penchant for mining beats from the popular producers of the day such as Swizz Beatz, an upstart in-house producer for Ruff Ryders, and Timbaland.[48] Other producers included DJ Premier, Erick Sermon, The 45 King, and Kid Capri. Charting hits from this album included "Can I Get A...", featuring Ja Rule and Amil, and "Nigga What, Nigga Who", featuring Amil and Jaz-O. Vol. 2 would eventually become Jay-Z's most commercially successful album; it was certified 5× Platinum in the United States and has to date sold over five million copies.[47] The album went on to win a Grammy Award, although Jay-Z boycotted the ceremony protesting DMX's failure to garner a Grammy nomination and the academy's decision to not broadcast urban music categories.[49]
In 1999, Jay-Z collaborated with Mariah Carey on "Heartbreaker", a song from her seventh album, Rainbow. The song became Jay-Z's first chart-topper in the US, spending two weeks atop the BillboardHot 100.[50] In that same year, Jay-Z released Vol. 3... Life and Times of S. Carter. The album proved successful and sold over 3 million copies.[47]Vol. 3's most successful single was "Big Pimpin", featuring UGK.
In 2000, Jay-Z released The Dynasty: Roc La Familia, which was originally intended to become a compilation album for Roc-A-Fella artists but Def Jam turned into a Jay-Z album.[51] The album helped to introduce newcomer producers The Neptunes, Just Blaze, Kanye West, and Bink, which have all gone on to achieve notable success. This is also the first album where Jay-Z utilizes a more soulful sound than his previous albums. The Dynasty sold over two million units in the U.S. alone.[47]
2001–2002: Feud with Nas, The Blueprint and The Blueprint2[edit]
In 2001, Jay-Z spoke out against Prodigy after he took an issue with a Jay-Z line from "Money, Cash, Hoes" that he felt alluded disparagingly to Mobb Deep and Prodigy's dispute with Tupac Shakur, Snoop Dogg, and Death Row Records. He later performed the song "Takeover", at Summer Jam 2001, which initially attacked Prodigy and revealed photos of Prodigy dressed like Michael Jackson.[52] A line at the end of "Takeover" referred to Nas, who criticized him on "We Will Survive".[53] Nas responded with a diss track called "Ether" and Jay-Z straightaway added a verse to "Takeover" which dissed Nas and would start a feud between the two rappers. The feud had ended by 2005; Jay-Z stated that record producer Mark Pitts had helped them settle their differences.[54]
In October 2001, Jay-Z pleaded guilty to aggravated assault for stabbing record producer Lance Rivera at the Kit Kat Klub in New York City in 1999.[59] Despite Jay-Z's sentence of three years probation for the crime, Rivera later recanted the allegations in 2023.[60][61]
Jay-Z then collaborated with Chicago singer R. Kelly to release collaborative studio album, The Best of Both Worlds in March 2002. In November of that year, Jay-Z released his seventh studio album The Blueprint2: The Gift & The Curse—a double album. The album debuted on the Billboard 200 at number one, selling over 3 million units solely in the U.S.[47] and surpassing The Blueprint.[62] It yielded a single-disc re-issue, The Blueprint 2.1, which retained half of the songs from the original. Its original release spawned two hit singles, "Excuse Me Miss" and "'03 Bonnie & Clyde", which features Jay-Z's then-girlfriend, Beyoncé, and contained the track "A Dream", featuring Faith Evans and the late Notorious B.I.G.; the re-issue spawned the single "La-La-La", which was a sequel to "Excuse Me Miss" and failed to match its commercial success.
2003–2005: The Black Album and initial retirement[edit]
Later in 2004, Jay-Z was named president of Def Jam Records, which led to Jay-Z, Dash and Biggs selling their remaining interests in Roc-A-Fella Records and Jay-Z taking control of both of the companies.[67] Reportedly this major industry move was prompted by disagreements between Jay-Z and Dash as to what direction Roc-A-Fella could undertake.[68]
2005–2007: Kingdom Come and American Gangster[edit]
Jay-Z performing in 2006
On October 27, 2005, Jay-Z headlined New York's Power 105.1 annual concert, Powerhouse. The concert was entitled the "I Declare War" concert leading to intense speculation in the weeks preceding the event on whom exactly Jay-Z would declare war. As he had previously "declared war" on other artists taking lyrical shots at him at other events, many believed that the Powerhouse show would represent an all-out assault by Jay-Z upon his rivals.[69] The theme of the concert was Jay-Z's position as president and CEO of Def Jam, complete with an on-stage mock-up of the Oval Office. Many artists made appearances such as the old roster of Roc-A-Fella records artists, as well as Ne-Yo, Teairra Marí, T.I., Young Jeezy, Akon, Kanye West, Paul Wall, The LOX, and Diddy.[70]
At the conclusion of the concert, Jay-Z put many arguments to rest to the surprise of hip hop fans. The most significant development in this show was closure to the infamous hip hop rivalry between Jay-Z and Nas. The two former rivals shook hands and shared the stage together to perform Jay-Z's "Dead Presidents" blended with Nas's song "The World is Yours".[71]
Jay-Z returned with his comeback album on November 21, 2006, titled Kingdom Come.[72] Jay-Z's comeback single, "Show Me What You Got", was leaked on the Internet in early October 2006, scheduled to be released later on that month, received heavy air-play after its leak, causing the FBI to step in and investigate.[73] Jay-Z worked with video director Hype Williams, and the single's video was directed by F. Gary Gray. The album features production from Just Blaze, Pharrell, Kanye West, Dr. Dre and Coldplay's Chris Martin (single entitled "Beach Chair").[74][75] The first week saw 680,000 sales of the CD, enough to be his "biggest sales week ever" as Billboard reported.[76] This album has sold 2 million copies in the U.S.[47]
Jay-Z released his tenth album entitled American Gangster on November 6, 2007. After viewing the Ridley Scott film of the same name, Jay-Z was heavily inspired to create a new "concept" album that depicts his experiences as a street-hustler.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
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After directing Finding Nemo, Stanton felt Pixar had created believable simulations of underwater physics and was willing to direct a film set largely in space. WALL-E has minimal dialogue in its early sequences; many of the characters in the film do not have voices, but instead communicate with body language and robotic sounds that were designed by Burtt. The film incorporates various topics including consumerism, corporatocracy, nostalgia, waste management, human environmental impact and concerns, obesity/sedentary lifestyles, and global catastrophic risk.[6] It is also Pixar's first animated film with segments featuring live-action characters. Thomas Newman composed the film's musical score. The film cost $180 million to produce, a record-breaking sum for an animated film at the time. Following Pixar tradition, WALL-E was paired with a short film titled Presto for its theatrical release.
In 2021, WALL-E became the second Pixar feature film (after Toy Story) to be selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[16] In September 2022, at the request of Stanton, Disney licensed WALL-E to The Criterion Collection, who re-released the film as a special edition 4K Blu-Ray-standard Blu-ray combo pack on November 22, 2022, marking the first Pixar film to ever receive such an honor.[17][18]
In the 29th century, Earth is a garbage-strewn wasteland due to an ecocide, caused by rampant consumerism, corporate greed, and environmental neglect.[19]
Humanity is nowhere to be seen, having been evacuated by the megacorporation Buy n Large (BnL) to space on giant starliners, leaving trash compacting robots to clean up the planet, seven hundred years prior. All the robots on earth have since stopped functioning and the last remaining active robot, a Waste Allocation Load Lifter: Earth-class (WALL·E), has developed a personality. WALL·E remains active by salvaging parts from other inactive robots and lives with his pet cockroach as his only companion in a large robot carrier truck.
One day, WALL·E's routine of compressing trash and collecting interesting objects is broken by the arrival of an unmanned rocket probe carrying an egg-shaped robot called an Extraterrestrial Vegetation Evaluator (EVE), which is sent to scan the planet for signs of sustainable life. WALL·E is smitten by the sleek, otherworldly robot, and the two begin to connect, until EVE goes into standby mode when WALL·E shows her his most recent find: a living seedling. The probe ship eventually returns and collects EVE and the plant, with WALL·E clinging on in fear of losing her. The probe ship then returns to its mothership, the starliner Axiom.
In the centuries since the Axiom left Earth, its passengers have degenerated into helpless obesity due to microgravity and laziness, with robots catering to their every whim. Even Captain B. McCrea is used to sitting back while his robotic AI autopilot helm, nicknamed AUTO, pilots the ship. McCrea is unprepared to receive the positive probe response, but discovers that placing the plant in the ship's Holo-Detector will trigger a hyperjump back to Earth so that humanity can begin recolonization. When McCrea inspects EVE's storage compartment, the plant is missing, with EVE blaming WALL·E for its disappearance.
EVE is deemed faulty and taken to diagnostics. Mistaking the process for torture, WALL·E intervenes and inadvertently releases all the other faulty bots, causing him and EVE to be designated as rogue robots. Frustrated, EVE tries to send WALL·E home in an escape pod, but before she can, the two witness McCrea's first mate robot, GO-4, stowing the plant in a pod set to self-destruct, revealing that WALL·E did not steal the plant. WALL·E enters the pod to retrieve the plant just as it launches, but both he and the plant survive unscathed. EVE catches up to him and they reconcile, celebrating with a dance in space around the Axiom.
EVE brings the plant back to McCrea, who watches her recordings of Earth, concluding that they can and must save it. However, AUTO reveals that he has been ordered to not return to Earth by a secret no-return directive A113, issued by BnL CEO Shelby Forthright, also revealing that GO-4 attempted to dispose of the plant on AUTO's instruction. When McCrea goes against the directive, AUTO and GO-4 electrocute WALL·E, forcefully puts EVE into standby, throws them both down a garbage chute and confines McCrea to his quarters. EVE (having been reactivated by a mouse-like robot) and WALL·E are nearly ejected into space with the ship's refuse, but Microbe Obliterator (M-O), a cleaning robot who had been following WALL·E's dirt trail across the ship since his arrival, inadvertently jams the door and saves the two, prompting the Waste Allocation Load Lifter: Axiom-class (WALL·A) garbage bots to abort the ejection. As humans and robots help in securing the plant, McCrea and AUTO fight for control of the Axiom. AUTO crushes WALL·E using the Holo-Detector in a last-ditch attempt to keep the human passengers in space; McCrea eventually overpowers and deactivates AUTO by switching him to manual mode, and EVE successfully inserts the plant, initiating the hyperjump.
Arriving back on Earth, EVE quickly repairs WALL·E, but finds that his memory and personality have been erased. Heartbroken, EVE gives WALL·E a goodbye "kiss", which releases a static electricity shock, restoring him to his normal self. WALL-E and EVE reunite as the Axiom inhabitants take their first steps on Earth. Humans and robots turn the ravaged planet into a paradise, and the plant grows into a mighty tree, which WALL·E and EVE rest beneath.
Ben Burtt as WALL·E (Waste Allocation Load Lifter: Earth-class),[20] a compactor robot who has achieved sentience, he is the only one still functioning on Earth. He is a small mobile compactor box accompanied by his cockroach friend Hal. He collects trinkets from the garbage and displays them at his home, where he watches a video cassette of 20th Century Studios' Hello, Dolly!, mimicking the dance sequences.
Burtt also voices M-O (Microbe-Obliterator), a cleaning robot.
Elissa Knight as EVE (Extraterrestrial Vegetation Evaluator),[20] a glossy white egg-shaped probe robot with blue LED eyes, whose directive is to verify the habitability of planets for humans. She moves using antigravity and is equipped with scanners, specimen storage, and a cannon which she is quick to use.
Jeff Garlin as Captain B. McCrea, the captain of the Axiom. (While McCrea's name was never spoken, it does appear on a portrait of him in his quarters. He is only ever referred to as the Captain.)
MacInTalk, the text-to-speech program for Apple Macintosh computers, is the voice of AUTO, the Axiom's villainous AI autopilot which handles command functions of the ship. Loyal only to directive A113, he and GO-4 are the only computers not influenced by WALL-E.
John Ratzenberger and Kathy Najimy as John and Mary, who live on the Axiom, so dependent on their automatic services as to be oblivious to their surroundings. They are brought out of their trances by encounters with WALL-E and fall in love with each other.
Sigourney Weaver as the Axiom's computer. Stanton joked to Weaver: "You realize you get to be 'Mother' now?"[21][22] referring to the ship's computer in the film Alien, starring Weaver.[22]
Fred Willard as Shelby Forthright, CEO of the Buy n Large Corporation and President of Earth. The only major live-action character, appearing only in videos recorded around the time of the Axiom's launch in the 22nd century. Forthright proposed the plan to evacuate Earth's population and then clean up the planet so they could return within five years. Discovering that Earth had become too toxic to support life, the cleanup and recolonization were abandoned. Forthright issued directive A113 preventing anyone from returning to Earth. As of 2024, Forthright is the only live-action character with a speaking role in any Pixar film.
M-O just finishes cleaning the floor.
Wally is fascinated.
Impishly makes another mark.
M-O compulsively cleans it. Can't resist.
M-O (bleeps): [Look, it stays clean. You got that?]
Wally wipes the bottom of his tread on M-O's face.
M-O loses it.
Scrubs his own face.
—Stanton wrote the screenplay to focus on the visuals and as a guide to what the sound effects needed to convey[23]
As depicted in the teaser trailer, Andrew Stanton conceived WALL-E during a lunch with fellow writers John Lasseter, Pete Docter, and Joe Ranft in 1994. Toy Story was near completion and the writers brainstormed ideas for their next projects—A Bug's Life, Monsters, Inc., and Finding Nemo—at this lunch. Stanton asked, "What if mankind had to leave Earth and somebody forgot to turn off the last robot?"[21] Having struggled for many years with making the characters in Toy Story appealing, Stanton found his simple Robinson Crusoe-esque idea of a lonely robot on a deserted planet strong.[24][25] Stanton made WALL·E a waste collector as the idea was instantly understandable, and because it was a low-status menial job that made him sympathetic.[26] Stanton also liked the imagery of stacked cubes of garbage.[27] He did not find the idea dark because having a planet covered in garbage was for him a childish imagining of disaster.[28]
Stanton and Docter developed the film under the title of Trash Planet for two months in 1995, but they did not know how to develop the story and Docter chose to direct Monsters, Inc. instead.[29][30] Stanton came up with the idea of WALL-E finding a plant, because his life as the sole inhabitant on a deserted world reminded Stanton of a plant growing among pavements.[31] Before they turned their attention to other projects, Stanton and Lasseter thought about having WALL-E fall in love, as it was the necessary progression away from loneliness.[28] Stanton started writing WALL-E again in 2002 while completing Finding Nemo.[32] Stanton formatted his script in a manner reminiscent of Dan O'Bannon's Alien. O'Bannon wrote his script in a manner Stanton found reminded him of haiku, where visual descriptions were done in continuous lines of a few words. Stanton wrote his robot "dialogue" conventionally, but placed them in brackets.[25] In late 2003, Stanton and a few others created a story reel of the first twenty minutes of the film. Lasseter and Steve Jobs were impressed and officially began development,[33] though Jobs stated he did not like the title, originally spelled "W.A.L.-E."[34]
While the first act of WALL-E "fell out of the sky" for Stanton,[28] he had originally wanted aliens to plant EVE to explore Earth and the rest of the film was different. When WALL-E comes to the Axiom, he incites a Spartacus-style rebellion by the robots against the remnants of the human race, which were cruel alien Gels (completely devolved, gelatinous, boneless, legless, see-through, green creatures that resemble Jell-O). James Hicks, a physiologist, mentioned to Stanton the concept of atrophy and the effects prolonged weightlessness would have on humans living in space for an inordinately extended time period.[21][35][36] Therefore, this was the inspiration of the humans degenerating into the alien Gels,[37] and their ancestry would have been revealed in a Planet of the Apes-style ending.[38] The Gels also spoke a made-up gibberish language, but Stanton scrapped this idea because he thought it would be too complicated for the audience to understand and they could easily be driven off from the storyline.[39] The Gels had a royal family, who host a dance in a castle on a lake in the back of the ship, and the Axiom curled up into a ball when returning to Earth in this incarnation of the story.[39] Stanton decided this was too bizarre and unengaging, and conceived humanity as "big babies".[38] Stanton developed the metaphorical theme of the humans learning to stand again and "grow[ing] up",[38][40] wanting WALL-E and EVE's relationship to inspire humanity because he felt few films explore how utopian societies come to exist.[41] The process of depicting the descendants of humanity as the way they appear in the movie was slow. Stanton first decided to put a nose and ears on the Gels so the audience could recognize them. Eventually, fingers, legs, clothes, and other characteristics were added until they arrived at the concept of being fetus-like to allow the audience to see themselves in the characters.[39]
In a later version of the film, AUTO comes to the docking bay to retrieve EVE's plant. The film would have its first cutaway to the captain, but Stanton moved that as he found it too early to begin moving away from WALL·E's point-of-view. As an homage to Get Smart,[42] AUTO takes the plant and goes into the bowels of the ship into a room resembling a brain where he watches videos of Buy n Large's scheme to clean up the Earth falling apart through the years. Stanton removed this to keep some mystery as to why the plant is taken from EVE. The captain appears to be unintelligent, but Stanton wanted him to just be unchallenged; otherwise he would have not been sympathetic.[37] One example of how unintelligent the captain was depicted initially is that he was seen to wear his hat upside-down, only to fix it before he challenges AUTO. In the finished film, he merely wears it casually atop his head, tightening it when he really takes command of the Axiom.[39]
Stanton also moved the moment where WALL-E reveals his plant (which he had snatched from the self-destructing escape pod) from producing it from a closet to immediately after his escape, as it made EVE happier and gave them stronger motivation to dance around the ship. Originally, EVE would have been electrocuted by AUTO, and then be quickly saved from ejection at the hands of the Waste Allocation Load Lifter: Axiom-class (WALL·A) robots, by WALL-E. He would have then revived her by replacing her power unit with a cigarette lighter he brought from Earth. Stanton reversed this following a 2007 test screening, as he wanted to show EVE replacing her directive of bringing the plant to the captain with repairing WALL-E, and it made WALL-E even more heroic if he held the holo-detector open despite being badly hurt.[37] The idea of WALL-E losing his memory and personality came after the braintrust team abandoned a scene where EVE had been shot in her heart battery and WALL-E gave her his own battery instead.[43] Stanton felt half the audience at the screening believed the humans would be unable to cope with living on Earth and would have died out after the film's end. Jim Capobianco, director of the Ratatouille short film Your Friend the Rat, created an end credits animation that continued the story—and stylized in different artistic movements throughout history—to clarify an optimistic tone.[44]
WALL-E was the most complex Pixar production since Monsters, Inc. because of the world and the history that had to be conveyed.[24] Whereas most Pixar films have up to 75,000 storyboards, WALL-E required 125,000.[45]Production designerRalph Eggleston wanted the lighting of the first act on Earth to be romantic, and that of the second act on the Axiom to be cold and sterile. During the third act, the romantic lighting is slowly introduced into the Axiom environment.[21] Pixar studied Chernobyl and the city of Sofia to create the ruined world; art director Anthony Christov was from Bulgaria and recalled Sofia used to have problems storing its garbage.[46][47] Eggleston bleached out the whites on Earth to make WALL-E feel vulnerable. The overexposed light makes the location look more vast. Because of the haziness, the cubes making up the towers of garbage had to be large, otherwise they would have lost shape (in turn, this helped save rendering time). The dull tans of Earth subtly become soft pinks and blues when EVE arrives. When WALL-E shows EVE all his collected items, all the lights he has collected light up to give an inviting atmosphere, like a Christmas tree. Eggleston tried to avoid the colors yellow and green so WALL-E—who was made yellow to emulate a tractor—would not blend into the deserted Earth, and to make the plant more prominent.[48]
WALL·E finds a bra. Roger Deakins and Dennis Muren were consulted on realistic lighting including backgrounds that are less focused than foregrounds.
Stanton also wanted the lighting to look realistic and evoke the science fiction films of his youth. He thought that Pixar captured the physics of being underwater with Finding Nemo and so for WALL·E, he wanted to push that for air. While rewatching some of his favorite science fiction films, he realized that Pixar's other movies had lacked the look of 70 mm film and its barrel distortion, lens flare, and racking focus.[24] Producer Jim Morris invited Roger Deakins and Dennis Muren to advise on lighting and atmosphere. Muren spent several months with Pixar, while Deakins hosted one talk and was requested to stay on for another two weeks. Stanton said Muren's experience came from integrating computer animation into live-action settings, while Deakins helped them understand not to overly complicate their camerawork and lighting.[41] 1970s Panavision cameras were used to help the animators understand and replicate handheld imperfections like unfocused backgrounds in digital environments.[21] The first lighting test included building a three-dimensional replica of WALL-E, filming it with a 70 mm camera, and then trying to replicate that in the computer.[49] Stanton cited the shallow lens work of Gus Van Sant's films as an influence, as it created intimacy in each close-up. Stanton chose angles for the virtual cameras that a live-action filmmaker would choose if filming on a set.[28]
Stanton wanted the Axiom's interior to resemble Shanghai and Dubai.[24] Eggleston studied 1960s NASA paintings and the original concept art for Tomorrowland for the Axiom, to reflect that era's sense of optimism.[21] Stanton remarked "We are all probably very similar in our backgrounds here [at Pixar] in that we all miss the Tomorrowland that was promised us from the heyday of Disneyland," and wanted a "jet pack" feel.[24] Pixar also studied the Disney Cruise Line and visited Las Vegas, which was helpful in understanding artificial lighting.[21] Eggleston based his Axiom designs on the futuristic architecture of Santiago Calatrava. Eggleston divided the inside of the ship into three sections; the rear's economy class has a basic gray concrete texture with graphics keeping to the red, blue, and white of the BnL logo. The coach class with living/shopping spaces has "S" shapes as people are always looking for "what's around the corner". Stanton intended to have many colorful signs, but he realized this would overwhelm the audience and went with Eggleston's original idea of a small number of larger signs. The premier class is a large Zen-like spa with colors limited to turquoise, cream, and tan, and leads on to the captain's warm carpeted and wooded quarters and the sleek dark bridge.[48] In keeping with the artificial Axiom, camera movements were modeled after those of the steadicam.[50]
The use of live action was a stepping stone for Pixar, as Stanton was planning to make John Carter of Mars his next project.[24] Storyboarder Derek Thompson noted introducing live action meant that they would make the rest of the film look even more realistic.[51] Eggleston added that if the historical humans had been animated and slightly caricaturized, the audience then would not have been able to recognize how serious their devolution was.[48] Stanton cast Fred Willard as the historical Buy n Large CEO because "[h]e's the most friendly and insincere car salesman I could think of."[38] The CEO says "stay the course", which Stanton used because he thought it was funny and a "natural thing to say at the time".[52]Industrial Light & Magic did the visual effects for these shots.[21]
WALL·E went undeveloped during the 1990s partly because Stanton and Pixar were not confident enough yet to have a feature-length film with a main character that behaved like Luxo Jr., the Pixar lamp or R2-D2.[25] Stanton explained there are two types of robots in cinema: "human[s] with metal skin", like the Tin Man, or "machine[s] with function" like Luxo and R2. He found the latter idea "powerful" because it allowed the audience to project personalities onto the characters, as they do with babies and pets: "You're compelled ... you almost can't stop yourself from finishing the sentence 'Oh, I think it likes me! I think it's hungry! I think it wants to go for a walk!'"[53] He added, "We wanted the audience to believe they were witnessing a machine that has come to life."[21] The animators visited recycling stations to study machinery, and also met robot designers, visited NASA's Jet Propulsion Laboratory to study robots, watched a recording of a Mars rover,[32] and borrowed a bomb detecting robot from the San Francisco Police Department. Simplicity was preferred in their performances as giving them too many movements would make them feel human.[21]
Stanton wanted WALL·E to be a box and EVE to be like an egg.[54] WALL·E's eyes were inspired by a pair of binoculars Stanton was given when watching the Oakland Athletics play against the Boston Red Sox. He "missed the entire inning" because he was distracted by them.[55] The director was reminded of Buster Keaton and decided the robot would not need a nose or mouth.[56] Stanton added a zoom lens to make WALL-E more sympathetic.[56]Ralph Eggleston noted this feature gave the animators more to work with and gave the robot a childlike quality.[48] Pixar's studies of trash compactors during their visits to recycling stations inspired his body.[21] His tank treads were inspired by a wheelchair someone had developed that used treads instead of wheels.
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