PS, on the List of games, both "Serious Sam: The First Encounter" and "Serious Sam: The Second Encounter" point to "serioussam-vk" on aur. I couldn't find "serious sam second encounter" on the aur, so I couldn't fix that.

The decrease of social investigations of adult rats during a second encounter session with the same juvenile was used as an index of social recognition or memory. Social recognition was present when the interexposure interval was 15 or 30 min, but not when this interval lasted 60 or 120 min. Animals treated with desglycinamide[Arg8]vasopressin (DGAVP) (6.0 micrograms.kg-1, SC) or [pGlu4,Cyt6]AVP-(4-8) (AVP-(4-8] (1.0 microgram.kg-1, SC), immediately after the first encounter, recognized the same juveniles still after 120 min, suggesting a facilitatory effect of these peptides on social recognition and that this effect of vasopressin is dissociated from the classical endocrine effects of this hormone. The decrease of social investigating behavior, in both placebo- and DGAVP-treated rats, was completely due to a decrease in anogenital exploration, indicating that the social recognition in rats is presumably based on odor cues from the anogenital part of the body.


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Detective Leonard Diamond (Wilde) has an axe to grind with mobster Mr. Brown (Conte) but lacks hard evidence to pin on him. Under pressure to wrap up the investigation, Diamond becomes more determined to nail Brown and resorts to harassment and false arrests, to which Brown responds with torture and murder. He sends his two hit men (Holliman and Van Cleef) over to Diamond's apartment with a machine gun, but they kill Diamond's part-time girlfriend instead. Ravaged by guilt ("I used her like a pair of gloves"), Diamond presses even harder on Brown's case. Director Lewis is usually remembered for the classic Gun Crazy in terms of his film noir output, but The Big Combo is an equally brilliant piece of work. As in that earlier film, sex and violence are inextricably linked; the themes give both films a feel that is far ahead of its time. In a subplot, Brown has captivated a young society woman (Wallace) who is also the object of Diamond's attentions. Despite her self-loathing at being involved with a mobster, she keeps coming back to his arms; the air of sexual frustration and guilt parallels that of Gun Crazy. There is one romantic encounter between them that is so suggestive, it's surprising it got past the censor. Husband Wilde was sent off by director Lewis to shoot second unit footage for this scene in which his real-life wife Wallace is seduced by Conde. The two hit men hint at a homosexual relationship that is sublimated in their brutal deeds. As a later-period noir, The Big Combo points toward themes that would prevail in Fifties TV cop shows and latter-day crime films, but the direction and camerawork point toward the earlier noir years. Cinematographer John Alton made nearly every shot into an expressionist classic, filled with oblique angles and shadows that fragment the frame; the extremes of Alton's work surpass his earlier films such as Border Incident (1949), T-Men (1947), or He Walked by Night (1948). Indeed, it's hard to think of a movie that points up the noir visual style more thoroughly than this one. The torture-by-hearing-aid (followed by torture-with-hair-tonic) scene in particular is one that shouldn't be missed. Lewis went on to direct a number of Westerns as well as episodes for the TV series Bonanza, The Rifleman, and Branded. -- Jerry Renshaw Truck Turner D: Jonathan Kaplan (1974)

Truck Turner (Hayes) is a skip tracer (aka bounty hunter) who, along with his partner Jerry (Weeks), is assigned to track down a pimp named Gator. After a lengthy car chase (filled with continuity glitches), Gator is killed by the pair, turning them into the sworn enemies of madam Dorinda (Nichols), who puts a price on their heads among the pimp world. After Turner's partner is gunned down, it's an all-out war between Turner and pimp kingpin Blue (Kotto). It's a shame that Hayes didn't have more leading roles over the years, because he excels in Truck Turner. Skip tracers are usually regarded as rather seedy characters, and Turner is no exception, coming across as a mixture of Phillip Marlowe and Jim Rockford. His on-again, off-again romance with his girlfriend (Chase) is interrupted by her stays in jail; to get her out of the picture when the going gets rough, he sets her up on a shoplifting charge! Partner Jerry, though not as big as Truck, does his part to kick asses and take names when the time comes, and the chemistry between the two is totally believable. There's no fancy kung fu here, though; the two just use some good old-fashioned fisticuffs. Crothers nearly steals the show as a semi-retired pimp and has some of the best lines in reference to Blue: "He's a dog among pimps"; "There's a pimp civil war comin'"; "They just don't make pimps like they used to." Hard-core Trekkies may never recover from seeing Nichols as a foul-mouthed, sexy madam, wearing low-cut halter jumpsuits and the like. This is a film that never takes itself too seriously and is a delight to watch. It should be included among blaxploitation classics but usually isn't. Director Kaplan, a student of Martin Scorsese, is another Roger Corman graduate who began with such exploitation fare as The Student Teachers, The Slams, and Night Call Nurses before graduating to such respectable second-string exploitation fare as the classic Over the Edge (1979), White Line Fever (1975), and Heart Like a Wheel (1983). He almost broke into the big time with a few films, most notably The Accused (1988), which won Jodie Foster an Academy Award. The mixed box office performance of films like Love Field and Bad Girls found him directing TV movies and multiple episodes of ER. He returns to the big screen this summer with Broke Down Palace. -- Jerry Renshaw All That Heaven Allows D: Douglas Sirk (1955) 17dc91bb1f

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