One Word Topic

[GhettoFx]

Right Guys Got bored so what the idea is its called 1 word topic where you can only say 1 word each person and where going to make a story up with it 1000 word story its going to be and i'll will have another post with the story in it.

If you wanna join if feel free just place a word in and it will be added into the story i'll start it off with a story line

_______________________________________________________

Story Line​

10,000's Years Ago There Was a Kingdom of a 1000 kings which returned to become sort out a peacing with everyone the kingdoms without the world as they created a scroll one person..........

 

[BeaverLJ]

10,000's Years Ago There Was a Kingdom of a 1000 kings which returned to become sort out a peacing with everyone the kingdoms without the world as they created a scroll one person..........Loved

 

[MiloFoxburr]

But you started with more than 1 word. Does that mean you cheated? Cheater

 

[Azura]

I<3Milo

(I put no spaces so its one word)

 

[Toxick]

thisisareallystupidthreadthatdeservestogodieinafire...

like above, 1 word

 

[Robert]

My one word is testicle.

Oh wait i broke the rules

Bum.

 

[AgentSmith]

10,000's Years Ago There Was a Kingdom of a 1000 kings which returned to become sort out a peacing with everyone the kingdoms without the world as they created a scroll one person..........Loved Methionylglutaminylarginytyrosylglutamylserylleucylphenylalanylalanylglutaminyll-eucyllysylglutamylarginyllysylglutamylglycylalanylphenylalanyvalylprolylphenylalanyl-valythreonylleucylglycylaspartylprolyglycylisoleucylglutamylglutaminylserylleucyllysyl-isoleucylaspartylthreonylleucylisoleucylglutamylalanylglycylalanylaspartylalanylleucy-lglutamylleucylglycylglycylisoleucylprolylphenylalanylserylaspartylprolylleucelalanyla-spartyglycylprolythreonylisoleucylglutamiylasparaginylalanylthreonylleucylarginylala-nylphenylalanylalanylglycylvalyltheonylprolylalanylglutaminylcysteinylphenylalanygll-utamylmethionylleucyalanylleucylisoleucylarginylglutaminyllysylhistidylprolylthreonyl-isoleucylpriIylisoleucylglycylleucylleucylmethionyltyrosylalanylasparaginylleucylvalyp-henylalanylasparaginyllysylgyycylisoleucylaspartylglutamylphenylalanyltyrosylalanyl-gutaminyllcysteinylglutamyllysylvalylglycylavlylaspartylserylvalylleucylvalylalanylasp-artylvalyprolylvalylglutaminylglutamyllserylalanyprolyphenylalanylarginylglutaminylal-anylalanylleucylarginylhistidylasparaginylvaylalanylprolylisoleucylphenylalanylisoleu-cylcysteinylprolylprolylaspartylalanylaspartylaspartylaspartylleucylleucylarginyglutam-inylisoleucylalanyylseryltyrosylglycylarginylglycyltyrosylthreonyltyrosylleucylleucylser-ylarginylalanylglycylvalythreonylglycylalanylglutamylasparaginylarginylanylalanylleu-cylprolylleucylaspaaginylhistidylleucylvaylalanyllysylleucyllysylglutamyltyrosylasarag-inylglycylphenylalanylglycylisoleucylalanylprolylaspartylglutaminylvalyllysylalanylala-nylisoleucylaspartylalanylalanyglycylalanylalanyglycylalanylisoleucylserylglycyseryla-lanylisoleucylbalyllsylisoleucylisoleucylglutamyyylglutaminylhistidylasparaginylisole-ucylglutamylprolyglutamyllysylmethionylleucylalanylalanylleucyllysylvalylphenylalaby-lvalylglutaminlylprolylmethionyllysylalanylalanylthreonylarginylserine

 

[Blaminator]

James Cameron’s 1986 blockbuster film Aliens is highly successful at combining the typical conventions and narrative features of horror films in order to effectively invoke feelings of suspense, fear and relief in the audience. As with any horror film, this is largely achieved through particular usages of aspects such as sound, camera work and lighting. Aliens also combines these typical horror characteristics with those of the action and science fiction genres, making the film not only suspenseful and frightening, but also exhilarating and exciting. The sequence I will be analysing features attributes of both of these genres. It involves a small platoon of marines moving into the compound containing the suspected alien hive for the first time.

Aliens adheres to Todorov’s theory on narrative, albeit somewhat loosely. Although the film starts in a small, dark and menacing setting (much like that of the dystopias in many other sci-fi films), within the first few minutes we are transported to a spotless, clinical setting, creating the first equilibrium. This is shortly followed by an early disequilibrium when it is learned that contact has been lost with a small colony on a nearby planet. As with most action films, the narrative focuses largely on the disequilibrium before a simple re-equilibrium. Aliens follows a linear narrative, as events progress in sequence.

The sequence I am analysing starts in what could be described as a scaled down version of the typical sci-fi dystopia. That is, as opposed to hundreds of tall buildings there is just a network of smaller buildings. The setting is dark and chiefly grey in colour, with a sharp blue tinge. This same sort of lighting is used in many sci-fi films (for example Ridley Scott’s 1982 sci-fi thriller Blade Runner) as it gives the effect of darkness while maintaining a subtle glow of futuristic technology. As with most dystopias, we are reminded that the location is human by familiar objects or signs, in this case a red neon ‘bar’ sign (shot 5) and man-driven vehicles (shot 9). This iconography is an effective feature as it makes the audience feel somewhat remorseful that humans are living in such a location.

The low key lighting used in the sequence is, in general, a convention of horror. It is used to make the audience feel uneasy, as it is impossible to know what could be lurking in the areas of darkness, or when they might reveal themselves. The lighting changes little whether the setting is indoors or outdoors. The inside of the compound is lit by small and ineffective lights, such as the conical, almost noir-like beams coming from the marines themselves (shot 20). Even in the relative safety of the marine’s APC there is very little light (shot 7), suggesting nowhere is safe.

Close ups and tracking shots are used in this sequence almost ad nauseam, both of which are common in the horror genre. Close ups are used so that we can clearly see the facial expressions and reactions of characters, and so that we can share their emotions. The fear and tension on Ripley’s face is made very apparent by using this technique (shot 31). Tracking shots are used to smoothly and slowly move from one location to another, and allow us to see everything on the way as well. When used at higher speeds the fast moving camera can cause excitement in the audience (shot 10), however at slower speeds they are extremely effective at creating tension, as they allow the audience to focus on suspicious-looking areas of the set until they are out of the shot, and give the feeling that something could jump out at any time.

Point of view shots are also used briefly in this sequence in both conventional and abstract ways. An example of a conventional P.O.V shot is shot 23. This shot is used to put us in the marine’s shoes, and lets us see the setting from their perspective. The abstract way in which these shots are used is through the marines’ helmet cameras (shot 32). This means that an image of what the marine can see is projected onto a monitor so that the characters back in the APC are able to view the compound from their standpoint, giving both us and the characters a whole new perspective. The fuzzy graininess of these camera views adds distortion to the already darkened appearance of the film, making things yet more difficult to see as well as having the same effect as an ordinary P.O.V shot (shot 30). Both of these techniques make the audience feel anxious about what may be awaiting the marines.

In many horror movies, the characters will wonder heedlessly into danger, and typically the audience will want them to turn back as it can be easily predicted that danger is near. This is also true to this scene; however the audience also know that the marines are on a mission to eliminate the danger and so want them to carry on, thus generating a conflict of emotions, making the audience feel uneasy.

Many of the characters in Aliens follow the archetypal roles of action movie characters. The typical gung-ho, dry witted marines could even be described as action movie heroes in a horror setting, and indeed once they encounter the sci-fi horror aliens they know little about how to act or what to do. This could be seen a clash of genres.

The sequence in question leads up to and ends with a red herring. These are used extensively in the horror genre to draw away from the central issue at hand, and in this case to build up the tension in both the audience and film characters to great heights before instantly dropping it back down again. In the build up of the afore mentioned red herring tension is created using a modified form of the “countdown” widely used in action films (usually in conjunction with explosives or other such destructive objects): a blip appears on a marine’s motion tracker and it begins to bleep, signifying that there is a life form nearby (shot 40). As the marines approach the life form, the bleeping becomes progressively louder and more frequent, the distance readout on the tracker becomes shorter and shorter and the blip becomes bolder and more defined (shot 43). The increased rate of the bleeping, in a sense, mimics the heartbeats of the audience members. After the marines barge into the room containing the life form in a typical action movie fashion, it is discovered that the blip was caused by nothing but a pair of guinea pigs, and consequently tension is released for audience and characters alike (shot 47). This is a clever mix of the action film “countdown” and the classic horror film scene in which a character walks into certain death.

In conclusion, James Cameron has successfully used the generic features of horror, sci-fi and action in his film Aliens to generate response from the audience. This is done partially through the cinematography with different styles of camera work, lighting and sound, and partly through the narrative itself, such as with a misleading red herring. These features have been used in such a way that the audience feel extreme tension, excitement and fear throughout the sequence, followed by momentary relief at the end.

 

[MiloFoxburr]

James Cameron’s 1986 blockbuster film Aliens is highly successful at combining the typical conventions and narrative features of horror films in order to effectively invoke feelings of suspense, fear and relief in the audience. As with any horror film, this is largely achieved through particular usages of aspects such as sound, camera work and lighting. Aliens also combines these typical horror characteristics with those of the action and science fiction genres, making the film not only suspenseful and frightening, but also exhilarating and exciting. The sequence I will be analysing features attributes of both of these genres. It involves a small platoon of marines moving into the compound containing the suspected alien hive for the first time.

Aliens adheres to Todorov’s theory on narrative, albeit somewhat loosely. Although the film starts in a small, dark and menacing setting (much like that of the dystopias in many other sci-fi films), within the first few minutes we are transported to a spotless, clinical setting, creating the first equilibrium. This is shortly followed by an early disequilibrium when it is learned that contact has been lost with a small colony on a nearby planet. As with most action films, the narrative focuses largely on the disequilibrium before a simple re-equilibrium. Aliens follows a linear narrative, as events progress in sequence.

The sequence I am analysing starts in what could be described as a scaled down version of the typical sci-fi dystopia. That is, as opposed to hundreds of tall buildings there is just a network of smaller buildings. The setting is dark and chiefly grey in colour, with a sharp blue tinge. This same sort of lighting is used in many sci-fi films (for example Ridley Scott’s 1982 sci-fi thriller Blade Runner) as it gives the effect of darkness while maintaining a subtle glow of futuristic technology. As with most dystopias, we are reminded that the location is human by familiar objects or signs, in this case a red neon ‘bar’ sign (shot 5) and man-driven vehicles (shot 9). This iconography is an effective feature as it makes the audience feel somewhat remorseful that humans are living in such a location.

The low key lighting used in the sequence is, in general, a convention of horror. It is used to make the audience feel uneasy, as it is impossible to know what could be lurking in the areas of darkness, or when they might reveal themselves. The lighting changes little whether the setting is indoors or outdoors. The inside of the compound is lit by small and ineffective lights, such as the conical, almost noir-like beams coming from the marines themselves (shot 20). Even in the relative safety of the marine’s APC there is very little light (shot 7), suggesting nowhere is safe.

Close ups and tracking shots are used in this sequence almost ad nauseam, both of which are common in the horror genre. Close ups are used so that we can clearly see the facial expressions and reactions of characters, and so that we can share their emotions. The fear and tension on Ripley’s face is made very apparent by using this technique (shot 31). Tracking shots are used to smoothly and slowly move from one location to another, and allow us to see everything on the way as well. When used at higher speeds the fast moving camera can cause excitement in the audience (shot 10), however at slower speeds they are extremely effective at creating tension, as they allow the audience to focus on suspicious-looking areas of the set until they are out of the shot, and give the feeling that something could jump out at any time.

Point of view shots are also used briefly in this sequence in both conventional and abstract ways. An example of a conventional P.O.V shot is shot 23. This shot is used to put us in the marine’s shoes, and lets us see the setting from their perspective. The abstract way in which these shots are used is through the marines’ helmet cameras (shot 32). This means that an image of what the marine can see is projected onto a monitor so that the characters back in the APC are able to view the compound from their standpoint, giving both us and the characters a whole new perspective. The fuzzy graininess of these camera views adds distortion to the already darkened appearance of the film, making things yet more difficult to see as well as having the same effect as an ordinary P.O.V shot (shot 30). Both of these techniques make the audience feel anxious about what may be awaiting the marines.

In many horror movies, the characters will wonder heedlessly into danger, and typically the audience will want them to turn back as it can be easily predicted that danger is near. This is also true to this scene; however the audience also know that the marines are on a mission to eliminate the danger and so want them to carry on, thus generating a conflict of emotions, making the audience feel uneasy.

Many of the characters in Aliens follow the archetypal roles of action movie characters. The typical gung-ho, dry witted marines could even be described as action movie heroes in a horror setting, and indeed once they encounter the sci-fi horror aliens they know little about how to act or what to do. This could be seen a clash of genres.

The sequence in question leads up to and ends with a red herring. These are used extensively in the horror genre to draw away from the central issue at hand, and in this case to build up the tension in both the audience and film characters to great heights before instantly dropping it back down again. In the build up of the afore mentioned red herring tension is created using a modified form of the “countdown” widely used in action films (usually in conjunction with explosives or other such destructive objects): a blip appears on a marine’s motion tracker and it begins to bleep, signifying that there is a life form nearby (shot 40). As the marines approach the life form, the bleeping becomes progressively louder and more frequent, the distance readout on the tracker becomes shorter and shorter and the blip becomes bolder and more defined (shot 43). The increased rate of the bleeping, in a sense, mimics the heartbeats of the audience members. After the marines barge into the room containing the life form in a typical action movie fashion, it is discovered that the blip was caused by nothing but a pair of guinea pigs, and consequently tension is released for audience and characters alike (shot 47). This is a clever mix of the action film “countdown” and the classic horror film scene in which a character walks into certain death.

In conclusion, James Cameron has successfully used the generic features of horror, sci-fi and action in his film Aliens to generate response from the audience. This is done partially through the cinematography with different styles of camera work, lighting and sound, and partly through the narrative itself, such as with a misleading red herring. These features have been used in such a way that the audience feel extreme tension, excitement and fear throughout the sequence, followed by momentary relief at the end.

Best one word story ever

 

[Peart]

my film studies essay has no place in this ****ty thread

 

[Stonehelm]

Title Intro. to assembly programming
thecode segment para public 'code'
assume cs:thecode, ds:thedata, ss:thestack
start: mov ax,thedata
mov ds,ax ;set data segment

;**************************** Password **********************************

prompt1:lea dx,ask1 ;prompt user for
mov ah,9h ;first character
int 21h
read1: mov ah,1h ;read character
int 21h
copy1: mov valuea,al ;keep copy
mov dl,cr
mov ah,2h ;output return character
int 21h
mov dl,lf ;output line feed character
mov ah,2h
int 21h
prompt2:lea dx,ask2 ;prompt use for
mov ah,9h ;second character
int 21h
read2: mov ah,1h ;read character
int 21h
copy2: mov valueb,al ;keep copy
mov dl,cr
mov ah,2h ;output return character
int 21h
mov dl,lf ;output line feed
mov ah,2h
int 21h
mov dl,cr
mov ah,2h ;output return
int 21h
mov dl,lf ;output line feed
mov ah,2h
int 21h
mov al,valuea
check: cmp al,pass1
wrong: jne prompt1
check2: mov al,valueb
cmp al,pass2
wrong1: jne prompt1
clear: mov ax,clrscr ;clear screen
int 10h ;80x25 chars
answer: lea dx,answer1 ;output result
mov ah,9h
int 21h


;**************************** Main **********************************

;******* Heading *********

headin: mov dh,5 ;row
mov dl,27 ;column
mov bh,0 ;page
mov ah,poscur ;move
int 10h ;cursor

lea dx,head ;output heading
mov ah,outstr
int 21h

mov row,7



;******* Box Check *********

boxcheck:

mov dx,boxin ;get state of switches
in al,dx

mov state,al
and al,00110000b

;******* Off? *********

choff:
cmp al,00000000b ;Checks to see if both switches are off
je msgoff ;jumps to the off message section
jmp chdefrost

msgoff: mov dh,row ;row
mov dl,30 ;column
mov bh,0 ;page
mov ah,poscur ;move
int 10h ;cursor

lea dx,msgmicroff ;Outputs Off message
mov ah,outstr
int 21h

mov dx, boxout ;address of box
mov al,01001001b ;three lamps on
OUT dx, al ;send to lamps

jmp chdefrost


;******* Defrost? *********


chdefrost:
cmp al,00010000b ;Checks if spst2 is on
je msgdef ;Jumps to the defrost message section
jmp chlow

msgdef: mov dh,row ;row
mov dl,30 ;column
mov bh,0 ;page
mov ah,poscur ;move
int 10h ;cursor

lea dx,defrost ;Outputs defrost message
mov ah,outstr
int 21h

mov dx,boxout
mov al,0
out dx,al

mov al,20
call d120

mov dx, boxout ;address of box
mov al,10100100b ;three lamps on
OUT dx, al ;send to lamps

mov al,20 ;wait again
CALL d120

jmp chlow

;******* Low power? *********

chlow:
cmp al,00100000b ;Checks if spst1 is on
je msglow ;jumps to the low power messag section
jmp chmedium

msglow: mov dh,row ;row
mov dl,30 ;column
mov bh,0 ;page
mov ah,poscur ;move
int 10h ;cursor

lea dx,lowcook ;Outputs Low power message
mov ah,outstr
int 21h

mov dx,boxout
mov al,0
out dx,al

mov dx, boxout ;address of box
mov al,00000001b ;three lamps on
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,00000010b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,00000100b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,00001000b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,00010000b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,00100000b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,01000000b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al, 10000000b
OUT dx, al

jmp chmedium

;******* Medium power? *********

chmedium:
cmp al,00110000b
je msgmed
jmp akey

msgmed: mov dh,row ;row
mov dl,30 ;column
mov bh,0 ;page
mov ah,poscur ;move
int 10h ;cursor

lea dx,msgmedium ;Outputs medium message
mov ah,outstr
int 21h

mov dx,boxout
mov al,0
out dx,al

mov dx, boxout ;address of box
mov al, 00000011b ;6+7
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 00000110b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 00001100b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 00011000b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 00110000b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 01100000b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 11000000b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 10000001b
OUT dx, al

mov al,10
call d120

jmp akey


;**************************** Check for keypress **********************************

akey: mov ah,keypres ;check if keypressed
mov dl,0ffh
int 21h
jnz exit
jmp boxcheck ;no key pressed


;**************************** Exit **********************************

exit: mov ax,4c00h ;return to DOS
int 21h ;gracefully

;**************************** Light Delay **********************************

d120 proc ; delay al * 1/20th second
push ax ; save registers
push bx
push cx
push dx
pushf

push ax
tock: mov ah,2ch ;get initial time
int 21h

mov bx, dx
tick: mov ah,2ch
int 21h ;get time again

cmp bx, dx
je tick ;clock not advanced 1/20th

pop ax
dec al ;one more 1/20th elapsed
push ax
jne tock

pop ax
popf
pop dx ;restore registers
pop cx
pop bx
pop ax
ret
d120 endp

thecode ends

 

[Blaminator]

Title Intro. to assembly programming
thecode segment para public 'code'
assume cs:thecode, ds:thedata, ss:thestack
start: mov ax,thedata
mov ds,ax ;set data segment

;**************************** Password **********************************

prompt1:lea dx,ask1 ;prompt user for
mov ah,9h ;first character
int 21h
read1: mov ah,1h ;read character
int 21h
copy1: mov valuea,al ;keep copy
mov dl,cr
mov ah,2h ;output return character
int 21h
mov dl,lf ;output line feed character
mov ah,2h
int 21h
prompt2:lea dx,ask2 ;prompt use for
mov ah,9h ;second character
int 21h
read2: mov ah,1h ;read character
int 21h
copy2: mov valueb,al ;keep copy
mov dl,cr
mov ah,2h ;output return character
int 21h
mov dl,lf ;output line feed
mov ah,2h
int 21h
mov dl,cr
mov ah,2h ;output return
int 21h
mov dl,lf ;output line feed
mov ah,2h
int 21h
mov al,valuea
check: cmp al,pass1
wrong: jne prompt1
check2: mov al,valueb
cmp al,pass2
wrong1: jne prompt1
clear: mov ax,clrscr ;clear screen
int 10h ;80x25 chars
answer: lea dx,answer1 ;output result
mov ah,9h
int 21h


;**************************** Main **********************************

;******* Heading *********

headin: mov dh,5 ;row
mov dl,27 ;column
mov bh,0 ;page
mov ah,poscur ;move
int 10h ;cursor

lea dx,head ;output heading
mov ah,outstr
int 21h

mov row,7



;******* Box Check *********

boxcheck:

mov dx,boxin ;get state of switches
in al,dx

mov state,al
and al,00110000b

;******* Off? *********

choff:
cmp al,00000000b ;Checks to see if both switches are off
je msgoff ;jumps to the off message section
jmp chdefrost

msgoff: mov dh,row ;row
mov dl,30 ;column
mov bh,0 ;page
mov ah,poscur ;move
int 10h ;cursor

lea dx,msgmicroff ;Outputs Off message
mov ah,outstr
int 21h

mov dx, boxout ;address of box
mov al,01001001b ;three lamps on
OUT dx, al ;send to lamps

jmp chdefrost


;******* Defrost? *********


chdefrost:
cmp al,00010000b ;Checks if spst2 is on
je msgdef ;Jumps to the defrost message section
jmp chlow

msgdef: mov dh,row ;row
mov dl,30 ;column
mov bh,0 ;page
mov ah,poscur ;move
int 10h ;cursor

lea dx,defrost ;Outputs defrost message
mov ah,outstr
int 21h

mov dx,boxout
mov al,0
out dx,al

mov al,20
call d120

mov dx, boxout ;address of box
mov al,10100100b ;three lamps on
OUT dx, al ;send to lamps

mov al,20 ;wait again
CALL d120

jmp chlow

;******* Low power? *********

chlow:
cmp al,00100000b ;Checks if spst1 is on
je msglow ;jumps to the low power messag section
jmp chmedium

msglow: mov dh,row ;row
mov dl,30 ;column
mov bh,0 ;page
mov ah,poscur ;move
int 10h ;cursor

lea dx,lowcook ;Outputs Low power message
mov ah,outstr
int 21h

mov dx,boxout
mov al,0
out dx,al

mov dx, boxout ;address of box
mov al,00000001b ;three lamps on
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,00000010b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,00000100b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,00001000b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,00010000b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,00100000b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al,01000000b
OUT dx, al

mov al,20
call d120

mov dx, boxout
mov al, 10000000b
OUT dx, al

jmp chmedium

;******* Medium power? *********

chmedium:
cmp al,00110000b
je msgmed
jmp akey

msgmed: mov dh,row ;row
mov dl,30 ;column
mov bh,0 ;page
mov ah,poscur ;move
int 10h ;cursor

lea dx,msgmedium ;Outputs medium message
mov ah,outstr
int 21h

mov dx,boxout
mov al,0
out dx,al

mov dx, boxout ;address of box
mov al, 00000011b ;6+7
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 00000110b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 00001100b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 00011000b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 00110000b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 01100000b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 11000000b
OUT dx, al

mov al,10
call d120

mov dx, boxout ;address of box
mov al, 10000001b
OUT dx, al

mov al,10
call d120

jmp akey


;**************************** Check for keypress **********************************

akey: mov ah,keypres ;check if keypressed
mov dl,0ffh
int 21h
jnz exit
jmp boxcheck ;no key pressed


;**************************** Exit **********************************

exit: mov ax,4c00h ;return to DOS
int 21h ;gracefully

;**************************** Light Delay **********************************

d120 proc ; delay al * 1/20th second
push ax ; save registers
push bx
push cx
push dx
pushf

push ax
tock: mov ah,2ch ;get initial time
int 21h

mov bx, dx
tick: mov ah,2ch
int 21h ;get time again

cmp bx, dx
je tick ;clock not advanced 1/20th

pop ax
dec al ;one more 1/20th elapsed
push ax
jne tock

pop ax
popf
pop dx ;restore registers
pop cx
pop bx
pop ax
ret
d120 endp

thecode ends

. .