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#KAI`S POWER TOOLS 3.0 SOFTWARE#
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#KAI`S POWER TOOLS 3.0 SERIAL#
Twin Serial Killers Elmira Ny on this page. It was the sort of thing I associated with mysterious, enigmatic machines with Silicon Graphics emblems on the front. Oh sure, by default you were working with tiny 360×360 pixel images, and the interface was locked inside a 640×480 window which looked a bit pokey even then, but I still remember thinking “I can’t believe I can do this on my Mac!” when I first used it.
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It was’t just easy, either, it was smooth and powerful. You got an “In” room for loading files, an “Out” room for saving and exporting, a “Goo” room for liquified smearing, and a “Fusion” room for creating collages from two files. And it was easy-easy like Photoshop never was, easy even like Photoshop’s supposedly easy versions never have been. It was a future that lots of people thought was horrendous, of course-silly Fisher Price exuberances getting in the way of your work-but after decades of the command line and the established modern GUI conventions, it was at the very least new, and I’d argue intoxicating too.
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It really felt for a few years that this was how software might look in the future: not staid, rectilinear, essentially monochrome buttons and menus, but big, juicy, floating 3D buttons and big, exciting levers that you pull to change variables. Just look at that interface! That’s the thing I remember about Power Goo at least as much as the images you could create with it. Power Goo’s features-the ability to smear regions of an image around and paint bits of one photo onto another to create composites-seem unexceptional today, but in the ’90s, this was mind-meltingly exciting stuff, not in and of itself maybe, but in how easy and fun Power Goo made the process. I really did look like that when I was using it again for this column. If, like me, you remember Kai’s Power Goo with affection and delight, you’ll know that the image of me you see above has only been lightly manipulated.