For example, if I’m writing a superhero project and the guy’s name is Bob. But his superhero name is Slob Man. The entire script should I just refer to him as Bob? Or when he’s in the superhero suit refer to him as Slob Man? Would that be confusing flip flopping? What if there’s a scene when he’s in the suit but the mask is ripped off? Would it be Bob or Slob Man? Thanks!

Currently, I'm using Godot 4. Been scratching my head here, but what I'm looking at, is I'm trying to instantiate a projectile from the player from two sources in a space shooteshmup style game. These sources are child nodes of a child node of the Player node, which is what the script is attached to. See the image attached for reference.
As you can see, the node "FiringPositions" is a child node of "Player."
This node gets associated with a variable with "@onready" at the top (firingpositions).
Commented out is what the ultimate goal is, but I'm getting my error with the "for" loop line.
My troubleshooting led me to add the func _ready() and put the print_tree() line
The result is in the console. It prints the tree, but it doesn't see the FiringPositions node, or its children. Nor will it see any new nodes I attach as a child to the Player node.
This has to be a bug... right? What do I do from here?
Forgot to add my code as text...

extends CharacterBody2D var plPlayerShot := preload("res://PlayerShot.tscn") u/onready var firingpositions = $FiringPositions const max_speed = 500 const accel = 5000 const friction = 4500 var input = Vector2.ZERO func _ready(): print_tree() func _process(_delta): if Input.is_action_pressed("fire"): var firingpositions = get_node("FiromgPositions") print(firingpositions) #for child in firingpositions.get_children(): #var playerShot := plPlayerShot.instantiate() #playerShot.position = firingpositions.position #get_tree().current_scene.add_child(playerShot) #print("pew pew") 

Please forgive me if cross posting isn't allowed, first timer. Surprised he didn't post it here.

These last few days have seen the most extreme price run since, arguably, the "Sneeze" of January 2021. There is a major difference, though, which is regarding the Regulation SHO Threshold List. To remind you, a stock is included in this list if meeting the below critieria:
https://www.sec.gov/investopubs/regsho.htm
"Threshold securities are equity securities that have an aggregate fail to deliver position for five consecutive settlement days* at a registered clearing agency (e.g., National Securities Clearing Corporation (NSCC)); totaling 10,000 shares or more; and equal to at least 0.5% of the issuer's total shares outstanding."*
So what happens if a stock makes it onto the Regulation SHO Threshold List?
"If a participant has a failure to deliver that the participant can demonstrate on its books and records resulted from a long sale, or that is attributable to bona fide market making activities, the participant must close out* the failure to deliver by no later than the beginning of regular trading hours on the third consecutive settlement day following the settlement date."*
What if they are unable to do so, and the FTDs continue for some time without resolution?
"if, for whatever reason, a participant of a registered clearing agency has a fail to deliver position at a registered clearing agency in a threshold security for 13 consecutive settlement days, the requirement to close-out such position under Rule 203(b)(3) remains in effect."
I still don't think anyone can precisely say what really happened behind the scenes in late 2020 and early 2021. But we do know certain facts:
▪︎ GME was added to the Regulation SHO Threshold List on 8th December 2020
▪︎ It continued to be on that list throughout the rest of December and early January 2021
▪︎ The share price remained relatively stable for more than 20 trading days during this period
▪︎ Only then on 13th January 2021 did the share price blow up to start the "Sneeze"
▪︎ Meaning that although the stock being placed on the list was undoubtedly causing some kind of intense pressure on failing-to-deliver institutions...it did not impact the share price for many weeks
So what is this key difference between those mechanics 3.5 years ago, compared to what may be happening with GME now? In my opinion, it is the continued absence (at least up until yesterday) from the Regulation SHO Threshold List:
https://www.nyse.com/regulation/threshold-securities
Since Monday 13th May, hundreds of millions (now billions?) of shares have been traded of this stock. But even before that, the price did nearly double from Tuesday 23rd April through to last Friday 10th May. This kind of volatility indicates that there has been a battle raging, most likely with nefarious parties continuing to use illicit methods to try and keep the price from exploding more than it already has. With almost all the methods they can employ, we know there is one result is: more FTDs.
My guess is that at some point - perhaps even this evening - GME gets added to the Regulation SHO Threshold List. Despite all the hoodwinking and crime they use to avoid these things, it would be surprising to me if the stock stays off the list indefinitely. Certainly the volume and pattern of trading over these last two weeks, and especially these last two days, would indicate there is a high probability of that happening.
But we know from 2020-21 that even after being added to the list, it still takes some time for that inclusion to have an impact on the share price. That is, until sufficient pressure through market and legal mechanics has built up, such that it "forces" some of these institutions to try and close out these FTDs. (We know that, sadly, nothing really can "force" them...but at least compelling some of them to do so, let us say...)
However this price run that started originally on Tuesday 23rd April has been occurring with the absence of GME from the Regulation SHO Threshold List. So quite possibly the very thing that triggered the massive price run-up in January 2021, has not even happened yet this time around. Hence if we are already on a 500% price run before possibly being added to the list...and that then this triggers additional intense pressure on the Hedge Funds and Market Makers...just imagine what could happens next???
TLDR: GME's recent price surge is unlike the January 2021 "Sneeze" in one key aspect: the Regulation SHO Threshold List. Back then, GME was on the list for weeks before probably causing the eventual price explosion. This time around, GME has not been placed on the list (yet), despite similarly very high trading volumes and likely additional FTDs. So could we then see an even bigger surge if GME gets added to the list? Only time will tell, but all this may just be an aperitif before we even get to the appetiser!

Does anyone know of any good (preferably long) fanfics where it starts off with the canon script of the show but then an identity reveal happens and it turns into a fanfic?
A specific episode i keep thinking about is transmission and the “I don’t care Marinette I love you just the way you are scene”, I keep thinking it would be such a cute episode to rewrite as a reveal to Adrien that she is ladybug
I love the idea of keeping the plot similar to what happens in the show consistent with fanfics but changing important things like identity reveals and what not. I don’t know if these exist or if it’s something I need to start writing myself
I’m not super fussy with fanfics but if you have any ones that you recommend (similar to what I described or not) I would love to read them

Reflecting on 2021, truly marked the zenith of my young career. The pandemic was coming to an end, I was fresh from the hallowed halls of a prestigious but unheralded college, thrust into the corporate labyrinth where, as a mere sidekick to the big shots, I contributed to a deal of record-breaking magnitude. My modest corporate minion life was exaggerated into legend by my professors during an alumni reunion, leading to a rather embarrassing episode where I was paraded around as the poster child of their education career’s success. My parents, not ones to shy away from a bit of pomp, lauded my achievements to anyone within earshot.
But as 2022 unfurled its chaos with the epidemic, my professional life spiralled downwards as swiftly as it had risen. I was laid off, and replaced by a nepotistic hire—my boss's new mistress's nephew. During my dismal final days, my colleagues, once comrades became corporate sharks, whispers of them scheming to claim my last efforts as their own filled the empty office spaces.
Compelled by financial duress to abandon my central city dwelling, I relocated to the outskirts with two college mates, Jaz and Kath, who had similarly found themselves victims of the economic downturn. We settled into apartment 606, a unit with dubious charm, suspiciously affordable on the 13th floor of a dreary building, its corridor haunted by a flickering sensor light that was only designed to function on rare occasions. Yet, the apartment itself was surprisingly very well furnished, almost like something that jumped out from a design mag, out beating sample rooms in Ikea, boasting a spacious balcony, a living room ready for an impromptu soirée, a dining table that’s good enough to hold a banquet(became our co-working space) and a kitchen isle that became our sanctuary and curse.
When we first settled into our new abode, we discovered a trove of fine kitchen utensils, perfect for whipping up sophisticated cuisine and crafting cocktails worthy of a swanky soirée. Tucked away in the fridge, among the remnants of the previous tenants' life, was a quaint note: “The three of us really enjoyed our stay here, especially our meals and nights spent by the kitchen island. We hope you find as much joy in it as we did. Use it well.” With a casual flick of my wrist, I dismissed the note into the garbage can, oblivious to the depth of its seemingly innocuous message. Little did I know, that piece of paper was more a passing of the torch than a simple goodbye.
Our initial days in apartment 606 brimmed with camaraderie and impromptu celebrations: movie nights sprawled on the living room sofas, barbeque dinners under the stars on our balcony, and co-working sessions at the dining table, peppered with resume tweaks and contemplative conversations over cocktails. We even scored a second-hand karaoke machine, allowing me to channel my inner diva—a throwback to my musical theatre days in college and my stint as the voice of corporate presentations and negotiations at my previous job, where I was known for my resonant yet finely tuned voice.
Yet, as the months wore on and the job market remained unyielding, our early merriment slowly surrendered to a creeping anxiety. The kitchen island, once the heart of our home where laughter and shared meals flowed freely, gradually morphed into the epicenter of our collective unease, bearing silent witness to the quiet desperation settling over us.
One evening, in the suspiciously affordable yet stylish apartment, I sank into the sofa, my spirits dampened by my favorite team's disheartening loss. The mood was grim, mirroring my fears of my beloved player's potential retirement at season's end. Later, as we congregated around the kitchen island for dinner, I transformed into an impromptu sports commentator, passionately preaching about the game’s disappointing details that led to failure and my favorite player’s fine qualities. Meanwhile, Jaz updated us on a friend's melodramatic breakup, with guesses that something ugly must have happened behind the scenes. Kath, ever the culinary enthusiast, not only served up her delicious pasta but also dished out the latest celebrity gossip, each tidbit as spicy as her sauce.
The next day, during a late breakfast at the same kitchen island—our unwitting oracle—we were hit by a triple whammy of reality checks. The news of my favorite player's retirement broke, echoing my gloomy predictions from the night before. Jaz chimed in with an update that our friend had uncovered a cheating scandal worthy of its own reality TV special. And Kath, never one to be left out of the drama: her favorite celebrity was now the star of a scandal.
By the third morning, as we sipped our coffee, the newspaper slapped me with another bizarre twist. I was going through the devastating economics and politics sections, then I saw the sports section——featured an irate coach, hell-bent on convincing my favorite player to dismiss retirement plans and keep his jersey on a little longer. Meanwhile, Jaz had good news for a change: it turned out our friend's love story might have a second act after all, as misunderstandings were being cleared up. Amidst these revelations, Kath, who had been grumbling about the nearby supermarket’s inability to stock anything remotely gourmet, and hadn’t had a taste of her favorite Blue Mountain coffee since the beginning of that year, triumphantly found a can of Blue Mountain coffee, and it was on sale and therefore affordable—proof that miracles happen, and sometimes they even go on discount.
As I sat there, absorbing the serendipity of our discussions manifesting into real-world events, I couldn't help but marvel at the mysterious knack of our kitchen island. Was it merely a coincidence, or had this stylish piece of decor become the unlikely conductor of our lives symphony? One thing was certain: life in apartment 606 was never dull, and our kitchen island seemed to be more than just a place to eat—it was a place where, apparently, you could stir the pot of fate.
I decided to conduct a whimsical experiment with our now seemingly magical kitchen island. Clearing my throat theatrically, I declared, "I should be interviewed for a director position." To my sheer astonishment, the next day a headhunter rang me up, claiming I was the ideal candidate for a directorial role at a prestigious corporation in my field. Despite the other candidates possessing decades more experience which defeated me with no effort, and my own lingering self-doubt from months of unemployment, I sailed to the final interview round with the company's executives.
Upon returning to our apartment, I found Kath flaunting a chic dress from a designer brand brand she’d snagged on clearance—a little luxury courtesy of our wish-granting island. Inspired, I approached the island and cheekily requested, "Get us jobs. Something fun." Lo and behold, the following day was spent lounging and binge-watching Netflix, only to be interrupted by a call from a former bigwig at my old job. He was venturing into a more illustrious company and wanted me onboard. The informal chat that followed was a breeze, and just like that, I was back in the game with a fancier title and a fatter paycheck.
The subsequent week was a flurry of celebrations. Jaz secured a senior-level position, and Kath landed her dream job at an influencer management agency. Feeling triumphant, we decided to indulge in a night of fine dining—our first in months. That Friday evening when I went from office to restaurant, on a whim, stopped at a convenience store to grab snacks and cigarettes for our post-dinner revelry. Outside, I encountered a homeless person. After offering him a sandwich (which he traded for a cigarette instead), he took a drag, peered into my eyes, and ominously muttered, “Look, young lady, this isn’t my business, but be wary of what you wish for; everything comes with a price. Good luck and god bless you.”
His words barely registered until later that evening when a mishap occurred that seemed to underline his warning. As we enjoyed syphon coffee post-dinner, a barista accidentally tripped over Kath’s flowing dress. The resulting spill left her with first-degree burns, abruptly ending our night as we rushed to the emergency room. Though it was "just" a first-degree burn, the pain was significant enough to require several days off for Kath’s recovery. Amid the drama, I couldn't help but wonder about the cryptic caution from the man outside the store—had our fortunate streak come with a hidden cost?
We chalked up the coffee calamity to bad luck. The next month flowed smoothly: Kath's fingers healed, she returned to work, and I quickly found my groove at the new job. With all of us gainfully employed, our communal meals at the kitchen island became rare. My mornings were a whirlwind of grabbing breakfast and coffee on the go, followed by an hour's commute to a job that had me scarfing down instant noodles by nightfall, just in time for a quick shower.
As the busy season kicked in, my workload ballooned—not just from the seasonal uptick, but because I was hell-bent on proving my mettle. I quickly outshone most of my peers, and my employer, recognizing a budding overachiever, piled on major tasks, which I eagerly accepted. What started as the occasional hour of overtime soon devoured my weekends. Unpaid overtime, as the fine print in my contract gleefully noted, became my new norm. Driven by a mix of ambition and expectation, I had become the go-to young hotshot, the erstwhile record-breaker now expected to continually outdo myself.
Mentally, I was too swamped to entertain thoughts of anything beyond work, which, in a twisted way, felt like a break. Physically, however, the strain began to show. A bout of flu caught on a business trip escalated into a fever. Sick as I was, deadlines waited for no one, and I soldiered on medicated and miserable. By the time I made it home, my voice had abandoned me. Unable to utter a word the next morning, I resorted to emailing my manager about my sorry state.
That week, robbed of my voice, I mused that it was perhaps a well-deserved hiatus for my overworked vocal cords—a silent retreat if you will. But when my voice did return, it was as a raspy whisper, a shadow of its former crisp and melodious timbre. My doctor offered a grim prognosis: slight improvement might come, but the golden tones were gone for good—scarred by the relentless grind. Ah, the price of ambition—a scratchy throat as a permanent reminder of my corporate conquests.
It seemed I had unwittingly exchanged the clarity of my voice for the tumult of career success. In the midst of our domestic enchantment with the possibly mystical kitchen island, Kath unearthed the contact of a reputed psychic, hailed as the finest in the land. However, the consultation fee was nothing short of princely, and with Jaz vehemently dismissing anything that couldn't be explained by cold, hard science, she promptly opted out of splitting the bill. Kath and I, unwilling to drain our wallets on what could be mere phantasmagoria, reluctantly let the opportunity pass.
Meanwhile, I couldn’t help but notice a curious change in Jaz’s routine. She had ceased dining at the kitchen island, avoiding it as if it were cursed—or perhaps, in her view, simply out of style. The Saturday morning brought a particularly harsh twist: a murder of crows took to spiralling above our balcony, their cries as sharp as the plot of a Poe novel. We found ourselves drawn to the infamous kitchen island, lined up like the cast of a macabre play, silently praying for the birds to disperse. Kath, ever trying to restore some semblance of normalcy, offered up cups of Blue Mountain coffee. She absentmindedly inquired if I wanted cream or sugar in mine—a blunder that made me realize just how long it had been since our last coffee klatch at this very spot. My inner monologue couldn't resist a dark wish for the crows to scatter, perhaps too dark, for they began to dive bomb our balcony in a feathery kamikaze. The spectacle was enough to knock Jaz off her feet—literally—as her mug met its end on the floor. Kath, meanwhile, made a hasty retreat to worship the porcelain god, and I sat frozen, my brain offline, pondering the twisted power of our kitchen island's apparent wish-granting.
After the unnerving spectacle of crows turning our balcony into a scene straight out of a Hitchcock film, our first rational step—post-collective fainting, of course—was to summon cleaners to manage the feathery carnage. Then, still rattled but increasingly curious, we visited a psychic, who, contrary to the crystal-ball-gazer image, operated out of a posh boutique in a high-end mall and dressed more like she was headed to a fashion show than a séance. We laid bare our saga of the seemingly cursed kitchen island, complete with photographic evidence of where domestic bliss meets eerie phenomena.
The psychic introduced a term that chilled the air around us: “limbo,” the threshold between our world and the otherworldly, and she dubbed our kitchen island the "Devil’s Bargain Counter." According to her, our wishes came with a heavy and unpredictable price, because we have accidentally started trades with beings from the netherworld. Her advice was disarmingly simple: cease all trades on the island. To address the repercussions of past wishes, she advised us the first line of defence, which was an eclectic mix of offerings laid out on our cursed countertop: raw meat(rooster works the best), a cocktail of spices(coca and cinnamon preferably), liberal splashes of spirits(whiskey and rum ideally), and an eerie bouquet of black flowers(luckily I found some black roses at a flower shop of the mall). In a grander gesture of appeasement, Kath relinquished her shiny new diamond bracelet, Jaz her absurdly expensive headphones, and I parted with cash—— a hefty slice of my bonus in hopes of placating whatever capricious spirits we'd angered.
Our return to normalcy was brief but sweet, prompting us to plan a getaway, eager to forget about our nefarious kitchen island. Yet, the respite was merely a tease. Jaz, in a stroke of spectacular misfortune, narrowly dodged disaster twice in one day—first nearly becoming subway track fodder on her way back after work, and then almost getting knocked out by a rogue plant at our apartment building’s doorstep. Clearly, our previous offerings were mere appetizers to whatever forces we'd stirred. The psychic, summoned once again to our now-dubious sanctuary, decreed that the spirits had developed rather expensive tastes, unsatisfied by our initial gestures.
In a desperate bid for closure, we had the psychic over for a nighttime ritual, timed perfectly with Earth's closest approach to the netherworld, according to her. Our living room turned into a ritual chamber, with windows blacked out for days, to keep the otherworldly dealings strictly nocturnal. That night, we arranged ourselves around the island, now less a kitchen fixture and more an altar of last resort.
The psychic, amidst a chorus of Latin incantations, directed us through a chilling séance that included a mirror that reflected nothing but darkness and a burning black candle, the three of us sat in a row, joined hands, eyes closed. When the black candle was flickering at its last, the first eerie scratches heard prompted our eyes to open prematurely, we saw a command appear on the island, written by invisible hand and pen, in blood-red script, urging us to find the next "succeeder" before our lease on otherworldly disturbances could be terminated.
With bated breath, we agreed, and as if by magic, our signatures materialized on the countertop, then faded as the candle sputtered out. We tore off the black cardboard taped on the windows at dawn, the sunrise revealed a final message etched into the surface: "Debt cleared." As the daylight grew, the ominous inscription dissolved into nothingness, signalling the end of our spectral saga.
The ordeal, now officially behind us, left us enjoying a semblance of normalcy: life in 606 returned to its mundane rhythm, with dinners and movie nights back on our social calendar. Though not without its scars—literal and figurative.
It’s been two years since then, Jaz, in the throes of romantic bliss, is now gearing up for a new chapter waiting to be written alongside her soon-to-be spouse; Kath, her career finally taking a lucrative turn, was poised to upgrade her living situation, she secured a lease on a lavish serviced apartment in the city center—a place that matched her newfound financial swagger.
I’m not without my own leaps forward. With a modest boost from my parents, I took the plunge into homeownership, snagging a property within the city’s vibrant confines. The process was a whirlwind of paperwork and decorating decisions, culminating in a space I could truly call my own.
As we are packing up now, my last act is to type out our story, at the infamous island, and of course, I left a note in the fridge for the next tenants:
"Welcome to 606. We had a wonderful time here, especially at the kitchen island, filled with joy and unforgettable moments. We hope you find as much happiness as we did. Use the isle well. Warm wishes, the previous tenants."

These last few days have seen the most extreme price run since, arguably, the "Sneeze" of January 2021. There is a major difference, though, which is regarding the Regulation SHO Threshold List. To remind you, a stock is included in this list if meeting the below critieria:
https://www.sec.gov/investopubs/regsho.htm
"Threshold securities are equity securities that have an aggregate fail to deliver position *for five consecutive settlement days** at a registered clearing agency (e.g., National Securities Clearing Corporation (NSCC)); totaling 10,000 shares or more; and equal to at least 0.5% of the issuer's total shares outstanding."*
So what happens if a stock makes it onto the Regulation SHO Threshold List?
"If a participant has a failure to deliver that the participant can demonstrate on its books and records resulted from a long sale, or that is attributable to bona fide market making activities, the participant must *close out** the failure to deliver by no later than the beginning of regular trading hours on the third consecutive settlement day following the settlement date."*
What if they are unable to do so, and the FTDs continue for some time without resolution?
"if, for whatever reason, a participant of a registered clearing agency has a fail to deliver position at a registered clearing agency in a threshold security for *13 consecutive settlement days*, the requirement to close-out such position under Rule 203(b)(3) remains in effect."
I still don't think anyone can precisely say what really happened behind the scenes in late 2020 and early 2021. But we do know certain facts:
▪︎ GME was added to the Regulation SHO Threshold List on 8th December 2020
▪︎ It continued to be on that list throughout the rest of December and early January 2021
▪︎ The share price remained relatively stable for more than 20 trading days during this period
▪︎ Only then on 13th January 2021 did the share price blow up to start the "Sneeze"
▪︎ Meaning that although the stock being placed on the list was undoubtedly causing some kind of intense pressure on failing-to-deliver institutions...it did not impact the share price for many weeks
So what is this key difference between those mechanics 3.5 years ago, compared to what may be happening with GME now? In my opinion, it is the continued absence (at least up until yesterday) from the Regulation SHO Threshold List:
https://www.nyse.com/regulation/threshold-securities
Since Monday 13th May, hundreds of millions (now billions?) of shares have been traded of this stock. But even before that, the price did nearly double from Tuesday 23rd April through to last Friday 10th May. This kind of volatility indicates that there has been a battle raging, most likely with nefarious parties continuing to use illicit methods to try and keep the price from exploding more than it already has. With almost all the methods they can employ, we know there is one result is: more FTDs.
My guess is that at some point - perhaps even this evening - GME gets added to the Regulation SHO Threshold List. Despite all the hoodwinking and crime they use to avoid these things, it would be surprising to me if the stock stays off the list indefinitely. Certainly the volume and pattern of trading over these last two weeks, and especially these last two days, would indicate there is a high probability of that happening.
But we know from 2020-21 that even after being added to the list, it still takes some time for that inclusion to have an impact on the share price. That is, until sufficient pressure through market and legal mechanics has built up, such that it "forces" some of these institutions to try and close out these FTDs. (We know that, sadly, nothing really can "force" them...but at least compelling some of them to do so, let us say...)
However this price run that started originally on Tuesday 23rd April has been occurring with the absence of GME from the Regulation SHO Threshold List. So quite possibly the very thing that triggered the massive price run-up in January 2021, has not even happened yet this time around. Hence if we are already on a 500% price run before possibly being added to the list...and that then this triggers additional intense pressure on the Hedge Funds and Market Makers...just imagine what could happens next???
TLDR: GME's recent price surge is unlike the January 2021 "Sneeze" in one key aspect: the Regulation SHO Threshold List. Back then, GME was on the list for weeks before probably causing the eventual price explosion. This time around, GME has not been placed on the list (yet), despite similarly very high trading volumes and likely additional FTDs. So could we then see an even bigger surge if GME gets added to the list? Only time will tell, but all this may just be an aperitif before we even get to the appetiser!

So I'm currently re-reading RI for like the 10th time or something (I've been reading RI since 2016 or when only 58 translated chapters were out). I'm currently again at chapter 1870. It's still funny to me how LXB is forced to bed by SQH for three days and three nights and all the words and expression used in the chapter indicates how manly SQH's actions are and how feminine LXB is like he is weak and faints lmao 🤣🤣 And the last scene when he wakes up and sees LXB casually dressing herself up reminds me of the meme where the girl pays the sexworker and goes away while the man on the bed looks bewildered 🤣🤣🤣

I was born in 1999, so I am nearly 15 years younger than Lilly, and I also was born and raised in the States, specifically in Westchester County, New York as well as in and around the NYC Metro Area.
So, I was only 7 years old when Alright, Still came out, and It’s Not Me It’s You came out when I was 9. Sheezus came out when I was 15, and when No Shame came out I was 19. She hasn’t released any other albums since then, though I believe she said that she still is writing songs, so there’s hope!
Thing was, Lilly I don’t think was as big of an artist when she first hit the scene here in the States, so I don’t think I paid as much attention to her as I could have, despite me being a big music fan for as long as I can remember.
So, the first time she came near me was when she did a concert at the Hiro Ballroom at the Maritime Hotel in NYC on October 10th, 2006, with Mark Ronson as her supporting act, and it was probably during her touring period for Alright, Still. I was only 7 years old at the time of that concert, so I was too young to go, plus it was during a school night anyway. Then the next time she played near me was when she did a concert at Webster Hall in NYC on February 10th, 2007, again probably during the same tour. I was 7 years old at the time of that concert, so again, too young to go, though it wasn’t during a school night. Then the next time she played near me was when she did a concert at the Irving Plaza in NYC on April 11th, 2007, again touring Alright, Still. At the time of that concert, I was 8 years old, so again, still too young to go, and it was yet again during a school night. She then came back to do a concert at the Roseland Ballroom in NYC on May 30th, 2007 (again touring Alright Still), but again, I was just 8 years old at the time of that show, so again I was too young to go and it was again during a school night. She then returned to the Roseland Ballroom in NYC on June 12th, 2007, and gave a concert there during the Alright, Still tour. So again I was 8 years old at the time of that show, so I was again too young to go, and I believe it was during a school night. She then returned to NYC and gave a concert at the Warsaw in Brooklyn on June 17th, 2007 (again touring for Alright Still), supported by Aaron LaCrate and Kevin Michael. At the time of that show, I was (surprise, surprise!) 8 years old, so again I was too young to go, though it was not during a school night. She then didn’t come back to NYC for 2 years, and then after 2 years, she gave a concert at the Bowery Ballroom in NYC on February 10th, 2009, during her It’s Not Me It’s You tour, and she was supported by Matt and Kim and Trouble Andrew. At the time of that show, I was 9 years old, so I was still too young at the time to go, and again, it was during a school night. She then came back to NYC during that same tour and gave a concert at the Roseland Ballroom in NYC on April 20th, 2009, supported by a band called Natalie Portman’s Shaved Head. At the time of that show I was 10 years old, so I was getting there in terms of maturity for concerts, but still too young to go and again, it was during a school night. She then didn’t play near me for the next 5 years, but she returned to New York for her Bangerz tour (supporting her Sheezus album) and played a show at the Highline Ballroom in NYC on May 15th, 2014. The next day after that, she did a show at the Grand Ballroom at the Manhattan Center in NYC on May 16th, 2014, and then she did a show at the Nassau Veterans Memorial Coliseum in Uniondale in Nassau County on August 1st, 2014, where she supported Miley Cyrus, Icona Pop and Sky Ferreira. She then returned and did two shows during the Bangerz tour at Terminal 5 in NYC on September 23rd-24th, 2014, where she was supported by Lolawolf. At the time of these shows, I was 15 years old, so I was finally old enough to go, but three of those dates fell on a school night, another fell on a family member’s birthday party and the Nassau one was a LONG drive away and I was away at sleepaway camp in the Catskills. Then, she didn’t play in the US for 4 more years, and during that time, I graduated from high school & went to college/uni at McDaniel College in Westminster, Maryland, from late August 2017 to late May 2022. The next time she came to the states and played a show near my hometown and near my college was during the No Shame tour when she did a show at the Music Hall of Williamsburg in Brooklyn on April 23rd, 2018, and then during that same tour she did a show at Terminal 5 in NYC on October 20th, 2018, then she did come near me the next day when she did a show at the Fillmore Silver Spring in Silver Spring, Maryland on October 21st, 2018. At the time of those shows, I was 19 years old, so again I was old enough to go, but I was broke and two of those dates were a long drive away from me (and I didn’t drive either) and I had a lot of homework to do, and one of those dates fell on a day when I had classes, so I couldn’t go. Then the next time to see her happened when she did two dates on June 2nd and 3rd, 2019 at Governor’s Ball in Randall’s Island, where she followed The Strokes, Nas, Charli XCX and SZA. At the time of these shows, I was 20 years old and I had come back home for summer vacation, so I could have gone, but there were family events happening at the same time, so I couldn’t go. She has not played another show near me since then in the past 4 years.

I have a pretty organized beat board that connects to acts, sequences and scenes on the beat board, but only the 2 outlines lanes are sent when I select "send outline to script"
I'd like to get the whole thing onto my script for a more complete outline but not sure how, is there a shortcut I'm missing?

"Plankton's Epiphany" Script

**Title Card: "Plankton's Epiphany"**
**Act 1: Introduction**
**Scene 1: Krusty Krab**
*SpongeBob is happily cooking Krabby Patties, and Mr. Krabs is counting money.*
**SpongeBob**: (singing) ♪ Flippin' patties, making dreams come true! ♪
**Mr. Krabs**: (laughing) Ah, another day of profits!
*Plankton peeks in from a window.*
**Plankton**: (determined) Today, I get that formula!
**Scene 2: Plankton’s Latest Attempt**
*Plankton uses a small robot to sneak into the Krusty Krab. It gets caught in a mousetrap.*
**Plankton**: (angry) Why does nothing ever work?!
**Scene 3: Plankton's Chum Bucket Laboratory**
*Plankton is at his desk, surrounded by failed plans to steal the Krabby Patty formula.*
**Plankton**: (frustrated) Another day, another failed attempt. How can I ever compete with that greedy crab?
*Karen the Computer appears on a screen.*
**Karen**: Plankton, you have a letter. It’s from Dr. Karen.
**Plankton**: Dr. Karen? My old college friend? (opens letter)
**Letter Voiceover**: "Dear Plankton, we're having a college reunion. Everyone has moved on and found their own path. I hope you can join us and share your successes. Best, Dr. Karen."
*Plankton's face shows a mix of nostalgia and sadness.*
**Plankton**: (sighs) Success... (crumples letter) What success?
**Act 2: Conflict and Realization**
**Scene 4: Plankton's Decision**
*Back at the Chum Bucket, Plankton is sitting alone.*
**Plankton**: (reflective) Maybe...maybe it's time to stop trying to steal the formula. Maybe I should create something of my own.
*Plankton starts sketching new recipe ideas.*
**Scene 5: Plankton’s Struggle**
*Plankton is in the kitchen, experimenting with different ingredients. Every attempt ends in disaster.*
**Plankton**: (frustrated) This is impossible! Why can’t I get it right?
*SpongeBob enters, holding a Krabby Patty.*
**SpongeBob**: Hi, Plankton! Need some help?
**Plankton**: (sighs) Sure, SpongeBob. I need all the help I can get.
**Scene 6: SpongeBob Helps**
*SpongeBob and Plankton work together in the kitchen. Plankton starts to enjoy the process.*
**SpongeBob**: (smiling) Cooking is all about love and creativity, Plankton. You can do it!
**Plankton**: (determined) You're right, SpongeBob. Let's try one more time.
**Act 3: Resolution**
**Scene 7: Plankton’s Success**
*Plankton creates a new, delicious recipe. SpongeBob takes a bite and smiles.*
**SpongeBob**: Plankton, this is amazing! You did it!
**Plankton**: (proudly) I did, didn't I? This is my own creation!
**Scene 8: Mr. Krabs’ Appreciation**
*Mr. Krabs enters the Chum Bucket.*
**Mr. Krabs**: (surprised) I heard you made somethin' special, Plankton. Let me try.
*Mr. Krabs tastes the new dish and nods appreciatively.*
**Mr. Krabs**: Well, I’ll be. This is pretty good. Good job, Plankton.
**Plankton**: (smiling) Thanks, Krabs. Maybe I don't need your formula after all.
**Closing**
**Scene 9: Plankton Reflects**
*Plankton stands outside the Chum Bucket, looking at the sunset.*
**Plankton**: (to himself) I’ve spent so long chasing someone else’s dream. It's time to build my own.
*SpongeBob joins him.*
**SpongeBob**: What are you thinking about, Plankton?
**Plankton**: Just that...maybe there's more to life than stealing that formula. Maybe I can make something great on my own.
*They both smile, looking forward to new beginnings.*
**End Title Card: "The End"**
**Lesson**: True success comes from originality and persistence, not from taking shortcuts.

Just rewatched the finale 2 parter on sky for probably like the 10th time and honestly still feels like there's a whole 30 mins to a full episode's worth of story missing. I can't remember if there was sudden script change cos they weren't renewed for another season or not.
Anyone else felt this?

Localbitcoins shut down last year. Now LocalMonero and AgoraDesk just announced they're shutting down. It has me wondering what the future holds and what the local scene is like now. Not too many people directly in Wichita sold on there (less than localbitcoins anyway) but I have Monero from back when it was almost 1/10th the price it is now and was planning on selling it on LocalMonero at some point. Does everyone just use exchanges now? I know Wichita never had much of a cypherpunk scene (or maybe I just need to makerspace more) but I remember there being a decent number of in-person bitcoin sellers in town in 2012-2016.

I'm using the Steam Valheim Dedicated Server, and before update worked just fine. The world I'm trying to use on the server works just fine with Ashlands, but when trying to utilize the server I just get this in the Command Window (scroll all the way down once you've read a dozen or so shader warnings). I truly have no idea what to make of this, I don't know anything about coding. I figured out just enough to get the server running in the first place. No mods.
​
"Starting server PRESS CTRL-C to exit"
[UnityMemory] Configuration Parameters - Can be set up in boot.config
"memorysetup-bucket-allocator-granularity=16"
"memorysetup-bucket-allocator-bucket-count=8"
"memorysetup-bucket-allocator-block-size=4194304"
"memorysetup-bucket-allocator-block-count=1"
"memorysetup-main-allocator-block-size=16777216"
"memorysetup-thread-allocator-block-size=16777216"
"memorysetup-gfx-main-allocator-block-size=16777216"
"memorysetup-gfx-thread-allocator-block-size=16777216"
"memorysetup-cache-allocator-block-size=4194304"
"memorysetup-typetree-allocator-block-size=2097152"
"memorysetup-profiler-bucket-allocator-granularity=16"
"memorysetup-profiler-bucket-allocator-bucket-count=8"
"memorysetup-profiler-bucket-allocator-block-size=4194304"
"memorysetup-profiler-bucket-allocator-block-count=1"
"memorysetup-profiler-allocator-block-size=16777216"
"memorysetup-profiler-editor-allocator-block-size=1048576"
"memorysetup-temp-allocator-size-main=4194304"
"memorysetup-job-temp-allocator-block-size=2097152"
"memorysetup-job-temp-allocator-block-size-background=1048576"
"memorysetup-job-temp-allocator-reduction-small-platforms=262144"
"memorysetup-allocator-temp-initial-block-size-main=262144"
"memorysetup-allocator-temp-initial-block-size-worker=262144"
"memorysetup-temp-allocator-size-background-worker=32768"
"memorysetup-temp-allocator-size-job-worker=262144"
"memorysetup-temp-allocator-size-preload-manager=262144"
"memorysetup-temp-allocator-size-nav-mesh-worker=65536"
"memorysetup-temp-allocator-size-audio-worker=65536"
"memorysetup-temp-allocator-size-cloud-worker=32768"
"memorysetup-temp-allocator-size-gfx=262144"
Mono path[0] = 'C:/Program Files (x86)/Steam/steamapps/common/Valheim dedicated servevalheim_server_Data/Managed'
Mono config path = 'C:/Program Files (x86)/Steam/steamapps/common/Valheim dedicated serveMonoBleedingEdge/etc'
[Physics::Module] Initialized MultithreadedJobDispatcher with 15 workers.
Initialize engine version: 2022.3.17f1 (4fc78088f837)
[Subsystems] Discovering subsystems at path C:/Program Files (x86)/Steam/steamapps/common/Valheim dedicated servevalheim_server_Data/UnitySubsystems
Forcing GfxDevice: Null
GfxDevice: creating device client; threaded=0; jobified=0
NullGfxDevice:
Version: NULL 1.0 [1.0]
Renderer: Null Device
Vendor: Unity Technologies
Begin MonoManager ReloadAssembly
- Loaded All Assemblies, in 0.092 seconds
- Finished resetting the current domain, in 0.001 seconds
ERROR: Shader Sprites/Default shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
Microsoft Media Foundation video decoding to texture disabled: graphics device is Null, only Direct3D 11 and Direct3D 12 (only on desktop) are supported for hardware-accelerated video decoding.
ERROR: Shader Sprites/Mask shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
There is no texture data available to upload.
UnloadTime: 0.447400 ms
Privilege Multiplayer is not known on this platform. Privilege therefore is granted without check...
Privilege UserGeneratedContent is not known on this platform. Privilege therefore is granted without check...
Privilege CrossPlay is not known on this platform. Privilege therefore is granted without check...
05/14/2024 10:41:39: Set background loading budget to Low
ERROR: Shader TextMeshPro/Mobile/Distance Field shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'TextMeshPro/Distance Field' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader TextMeshPro/Distance Field shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'TextMeshPro/Distance Field' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader GUI/Text Shader shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
Unloading 5 Unused Serialized files (Serialized files now loaded: 9)
UnloadTime: 0.117500 ms
05/14/2024 10:41:39: Fetching PlatformPrefs 'GuiScale' before loading defaults
05/14/2024 10:41:39: Fetching PlatformPrefs 'GuiScale' before loading defaults
Unloading 172 unused Assets to reduce memory usage. Loaded Objects now: 2502.
Total: 1.355700 ms (FindLiveObjects: 0.106300 ms CreateObjectMapping: 0.053500 ms MarkObjects: 1.114900 ms DeleteObjects: 0.080700 ms)
​
05/14/2024 10:41:39: Starting to load scene:start.unity (169d7618616154c03be07e9ad3af5893)
05/14/2024 10:41:39: Set background loading budget to Normal
05/14/2024 10:41:43: Set background loading budget to High
The referenced script on this Behaviour (Game Object '') is missing!
The referenced script on this Behaviour (Game Object '') is missing!
Couldn't create a Convex Mesh from source mesh "default" within the maximum polygons limit (256). The partial hull will be used. Consider simplifying your mesh.
Couldn't create a Convex Mesh from source mesh "default" within the maximum polygons limit (256). The partial hull will be used. Consider simplifying your mesh.
The referenced script on this Behaviour (Game Object '') is missing!
Unloading 1 Unused Serialized files (Serialized files now loaded: 1133)
ERROR: Shader Legacy Shaders/Particles/Alpha Blended Premultiply shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
ERROR: Shader Legacy Shaders/VertexLit shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Legacy Shaders/Diffuse' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Legacy Shaders/Diffuse shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Legacy Shaders/Diffuse' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
WARNING: Shader Unsupported: 'Custom/Heightmap' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/Heightmap shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Heightmap' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Unlit/Lighting shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Trilinearmap' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/Trilinearmap shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Trilinearmap' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
WARNING: Shader Unsupported: 'Custom/Bonemass' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/Bonemass shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Bonemass' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
WARNING: Shader Unsupported: 'Custom/Distortion' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/Distortion shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Distortion' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
WARNING: Shader Unsupported: 'Particles/Standard Unlit' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Particles/Standard Unlit shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Particles/Standard Unlit' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
WARNING: Shader Unsupported: 'Custom/Blob' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/Blob shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Blob' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
WARNING: Shader Unsupported: 'Standard (Specular setup)' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Standard (Specular setup) shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Standard (Specular setup)' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
WARNING: Shader Unsupported: 'Standard' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Standard shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Standard' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
WARNING: Shader Unsupported: 'Custom/SkyObject' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/SkyObject shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/SkyObject' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Unlit/Invis shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/WaterMask' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/WaterMask shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/WaterMask' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
WARNING: Shader Unsupported: 'Custom/LitParticles' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/LitParticles shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/LitParticles' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/ParticleDecal shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Autodesk Interactive' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Autodesk Interactive shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Autodesk Interactive' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/Particle (Unlit) shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
ERROR: Shader Custom/Decal shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Particles/Standard Unlit2' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Particles/Standard Unlit2 shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Particles/Standard Unlit2' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Legacy Shaders/Particles/Alpha Blended shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
ERROR: Shader UI/Heat Distort shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
ERROR: Shader Custom/AlphaParticle shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
ERROR: Shader Custom/Piece shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
ERROR: Shader Custom/Tar shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Water' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/Water shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Water' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
WARNING: Shader Unsupported: 'Custom/Vegetation' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/Vegetation shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Vegetation' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Lux Lit Particles/ Tess Bumped shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
ERROR: Shader Custom/FlowOpaque shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
ERROR: Shader Custom/Mesh Flipbook Particle shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Player' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/Player shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Player' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
WARNING: Shader Unsupported: 'Custom/ShadowBlob' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/ShadowBlob shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/ShadowBlob' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Unlit/Color shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
ERROR: Shader Legacy Shaders/Particles/Additive shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Standard TwoSided' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Standard TwoSided shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Standard TwoSided' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/StaticRock shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Grass' - All subshaders removed
WARNING: Shader Did you use #pragma only_renderers and omit this platform?
WARNING: Shader If subshaders removal was intentional, you may have forgotten turning Fallback off?
ERROR: Shader Custom/Grass shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
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ERROR: Shader Custom/Gradient Mapped Particle (Unlit) shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
WARNING: Shader Unsupported: 'Custom/Clouds' - All subshaders removed
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ERROR: Shader Custom/Creature shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
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ERROR: Shader Unlit/WeaponGlow shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
05/14/2024 10:41:56: Set background loading budget to Low
UnloadTime: 5.545900 ms
Only custom filters can be played. Please add a custom filter or an audioclip to the audiosource (Amb_MainMenu).
HDR Render Texture not supported, disabling HDR on reflection probe.
05/14/2024 10:41:57: Missing audio clip in music respawn
05/14/2024 10:41:57: Get create world TreeGenocideIsReq
ERROR: Shader TextMeshPro/Mobile/Distance Field shader is not supported on this GPU (none of subshaders/fallbacks are suitable)
05/14/2024 10:41:57: Using environment steamid 892970
05/14/2024 10:41:57: Using steam APPID:892970

For some reason godot will not acknowldge the player speed if in the func _set_turn_order. I don't know why does array.max() not work if the array.size =1? But if the player is faster than any other enemy it doesn't work extends Node

This is going to be a test of the battle system

This script will be entirely self contained

All variables will exported for easy editing

I will add the armor system later

Player Stats

@export var player_health = 30 @export var player_health_max = 30 @export var basic_attack_damage = 15 @export var player_speed = 9 #Default 9 var player_turn = -2 #turn order

Enemy Stats

@export var enemy_left_health = 45 @export var enemy_left_health_max = 45 @export var enemy_left_speed = 11 #defualt 10 var enemy_left_turn = -1 @export var enemy_right_health = 45 @export var enemy_right_health_max = 45 @export var enemy_attack_damage = 10 @export var enemy_right_speed = 10 #defualt 10
var enemy_right_turn = -1

Ally Stats

@export var ally_health = 10 @export var ally_health_max = 10 @export var ally_damage = 20 @export var ally_speed = 15 #default 15 var ally_turn = -1

Battle Stats

var number_of_enemies = 2 var flee_chance = 33 var flee_roll = 0 var turn_decide_array = [player_speed,ally_speed,enemy_left_speed,enemy_right_speed] var total_number_of_turns = 4 #the total number of turns per round, one per player var assigned_turns = 0 #used to set the turn order
func _ready(): _set_turn_order() if turn_decide_array.size() == 0: print("Turn Decide Array Clear") print("Player Turn: ", player_turn) print("Ally Turn: ", ally_turn) print("Left Enemy Turn: ", enemy_left_turn) print("Right Enemy Turn: ", enemy_right_turn)
func _process(delta): pass

Each enemy on the field adds 33% to the players ability to flee so more enemies, less likely to escape

func _on_flee_button_button_down(): if number_of_enemies == 2: flee_chance = 33 flee_roll = randi()%100 print(flee_roll) if flee_chance >= flee_roll: get_tree().quit() #I can change this to reload the last scene else: print("Player Did Not Escape") elif number_of_enemies == 1: flee_chance = 66 flee_roll = randi()%100 print(flee_roll) if flee_chance >= flee_roll: get_tree().quit() #I can change this to reload the last scene else: print("Player Did Not Escape")

I need to set the turn order at the start of the battle,

the below function doesn't work if the player is faster than any enemy

func _set_turn_order(): for assigned_turn in range(total_number_of_turns): turn_decide_array.sort() #print("Assigned Turns/total number of turns", assigned_turns," / ",total_number_of_turns) #print(turn_decide_array, " Turn Decide Array Max: ", turn_decide_array.max())

 if player_speed == turn_decide_array.max() and player_turn < 0: player_turn = assigned_turn #print("Player Goes ", assigned_turn) elif (ally_speed == turn_decide_array.max()) and (ally_turn < 0): ally_turn = assigned_turn #print("Ally Goes ", assigned_turn ) elif (enemy_left_speed == turn_decide_array.max()) and (enemy_left_turn < 0): enemy_left_turn = assigned_turn #print("Left Enemy Goes ", assigned_turn) elif (enemy_right_speed == turn_decide_array.max()) and (enemy_right_turn < 0): enemy_right_turn = assigned_turn #print("Right Enemy Goes ", assigned_turn) else: #print("No more turns can be decided") pass turn_decide_array.erase(turn_decide_array.max()) 

I need the turn repeating

func new_turn(): var current_turn = 0 #start the turn count as zero #since the the turn order has already been decided I can use a switch statement for each turn #turns out godot calls them match statements

Introduction

ASIAN KUNG-FU GENERATION, Zepp Tokyo for \"Quarter-Century Tour\"

^(\This article is an updated version of my "Sound Like" article from 2021. I have reposted this article due to difficulties editing the original version*, and have included additional information and recommendations based on the increased popularity of amp simulator pedals*)*

Hello fellow musicians and Ajikan fans!
I have been a fan of ASIAN KUNG-FU GENERATION for roughly 16 years and as a guitarist was greatly inspired by the band's alt rock sound.
After a few years of research I have written a series of "sound like" articles for ASIAN KUNG-FU GENERATION. The purpose of these articles is to provide context on how the band create their signature sound, and to support beginning musicians or tribute acts who may wish to replicate it.
At the end of each article I have drafted a Budget Rig, which you could use for both at home and in a live environment. I have also provided some general amp settings to tweak and try, which are based on the band's live sound and be can used to help replicate their tones.
This is a 3-part series and if you enjoy this article I would recommend checking out the other articles:
Sound Like ASIAN KUNG-FU GENERATION Pt.2: Kensuke Kita (2024 version) : AsianKungFuGeneration (reddit.com)
ASIAN KUNG-FU GENERATION Sound Like Part 3: Yamada : AsianKungFuGeneration (reddit.com)

^{Please note that the article focuses on the band's live sound, which will be different to the albums and can vary depending on the venue. Also (and is a cliché} every musician and instrument will have small differences, so bear that in mind!)

To help you recognise the individual guitar tones, Gotch's guitar parts are normally panned to the left earphone and Kita's are panned to the right earphone on the band's albums. (On 2016's Sol-Fa, Hometown and some of the Planet Folks singles the panning was swapped, with Gotch instead in the right ear and Kita on the left)

Masafumi Gotoh

Gotch live at the 02 Islington, London, 2013
Let's start off with lead singer and rhythm guitarist Masafumi Gotoh, or "Gotch" for short. Gotch's was massively influenced by the 90's alternative rock, Power Pop and the Britpop scene, and has previously highlighted Oasis, Weezer and Number Girl as key inspirations.
As Ajikan's main songwriter, Gotch follows the principle of "less is more" - keeping the arrangements simple for listeners, but combining pop hooks & traditional Asian melodies with the band's punk rock and indie influences.
Gotch's playing style follows this principle, as he primarily uses chord shapes, bar chords or repeated phrases to anchor the band. (The simple approach also makes it easier for Gotch to sing while performing)
Occasionally, Gotch will use "octave chords" (more on octave chords below) or play riffs with open strings notes, to add further depth. A good example of this is the opening riffs to Easter, where he plays an open D string while also playing the 3rd and 5th fret of the A string.

^{Octave Chords: Octave chords is famously used in punk rock and alt rock riffs, and is when you play the same note in two different octaves. Try play a bar chord on the 4th fret of the A string, and lifting your ring finger off the D string. You should get a "C# octave chord" and will recognise it from the intro of Haruka Kanata. Octave chords are used in many Ajikan songs and by many bands, so they are good to practice!}

In more recent albums, Gotch has also experimented with moving chord shapes across the fretboard. For good examples, check out the opening of Caterpillar or the bridge section of Kouya Wo Aruke.
Gotch's guitar tends to be lower in the overall mix, with Kita acting as the band's lead guitarist and Gotch as the anchor for each song. However, Gotch tends to improvise with ambient sounds during live performances and occasionally will take on the lead role in songs like Hold Me Tight.

GUITARS:

When it comes to guitars Gotch almost exclusively plays Gibson Les Paul Jr's with P-90 pickups, and has been his preferred guitar since 2004. The P-90 pickups have a bright midrange sound in comparison to the muddier humbucker sound, which makes them better suited for Gotch's focus on chords.
Gotch main guitar is the 1959 Gibson Les Paul Special
The Les Paul Jr is also lighter and have less sustain and power compared to a normal Les Paul, which leaves space for the other instruments to stand out in the mix.
Gotch's main guitar is a 1959 Gibson Les Paul Special, which he plays in E Standard tuning and uses for both recording and live performances. Gotch also uses a 1961 Gibson Les Paul Jr (with the pickguard missing) or a 2000 Gibson Les Paul DC (with a gloss yellow finish) for songs in Eb/D# tuning, such as After Dark or Soredewa, Mata Ashita.
Gotch's is also famous for using a 1975 Gibson Marauder during the band's early years. Gotch has mostly retired the guitar (due to the "lack of volume" for larger venues), but it regularly appears in MV's, band merchandise and occasionally during special events, such as the 10th anniversary shows in Yokohama.
Gotch's Gibson Marauder
Gotch occasionally uses a few rarer guitars live, such as the Gibson Custom Les Paul Junior John Lennon model (Gotch has number 54 of 300 such guitars made), and is normally played with a capo for songs such as Maigo Inu To Ame No Beat.
Gotch has also used a Gibson Hummingbird for acoustic numbers, and can be seen used in Eizo Sakushin Shu Vol.6 for the band's performance of Kaigan Doori. Gotch likes to use Tortex Flex .88mm & Tortex Flex Triangle .88mm guitar picks, which he swaps between depending on the song.
If you are looking to sound like Gotch, the best place to start would be a Les Paul Jr guitar with P-90 pickups.

AMPLIFIERS:

After originally touring with a Roland JC-22, Gotch has almost exclusively played Fender amplifiers since 2004. Gotch uses two amps when playing live, one for his "clean" sound and the other for his "heavy" sound.
The band's often implement a "quiet/loud" dynamic into their song writing, so Gotch will often switch between his amps during live performances, using a custom made footswitch on his pedalboard. (A good example of this is Mustang or Solanin)
For his clean tone, Gotch uses a Fender 65' Twin Custom Twin 15. It can be heard on Korogaru Iwa, Kimi ni Asa Ga Furu, Solanin and Wonder Future. Occasionally, Gotch will combine the Twin Reverb with a boost pedal or overdrive pedal for more clarity, with Wonder Future a good examples of this.
(1) Fender '65 Twin Custom 15 (clean tone), (2) Fender Vibro-King Custom, (3) Fender Super-Sonic 60 Head (which uses the Vibro-King as a speaker), (4) Fender '63 Spring Reverb (which runs in between the pedal board and the Super-Sonic 60, and is toggled on or off by a switch)
For his heavier tone, Gotch primarily uses a Fender Vibro-King Custom for recording and appears in most of the band's MV's. The Vibro-King/Twin Reverb was Gotch's main setup during the 2000's and can be seen together on Eizo Sakushin Shu Vol. 6.
In 2009 Gotch started to use a Fender Super-Sonic 60 Amp Head and still uses it now. Until 2022, Gotch would use Vibro-King as a "cabinet", acting as the speaker unit for the Super-Sonic. Gotch now uses a Shinos & L Rocket Head for live shows, but has kept the Vibro-king for recording sessions and MVs.
Since 2022 Gotch has used Shinos & L Rocket amp & cabinet instead of the Fender Vibro-King
Gotch "heavy" amps for songs such as Re:Re:, Haruka Kanata and Rewrite. It is important to note that Gotch prefers to use his amps to create his distorted tone, but will occasionally add an overdrive pedal for heavier tracks such as Blood Circulator & Easter.
Alongside the Twin Reverb and Super-Sonic, Gotch is known to use a Fender 63' Spring Reverb Unit. This unit only runs into the Super-Sonic and is used for additional reverb to "thicken the sound". Gotch can control the 63' Reverb with a on/off switch on his pedal board.
Other notable amps that Gotch has used are the Matchless C30 & Bad Cat 30R Head. Both have been used exclusively for recording, most notably on Wonder Future. Gotch is also known to use VOX AC15 amps for recording.
Gotch's '63 Spring Reverb Unit, along with a selection of Vortex Flex .88m picks

In terms of mics, Gotch seems to use a Shure SM57 for his Fender Twin Reverb and a Shure SM58 on his Vibro-King or Shinos Rocket. When you are trying to emulate his sound with modelling or profiling amps, it is worth experimenting with mic positioning and different mics.

If you want to replicate Gotch's amp sound then you should look to replicate his Fender amps. However the Vibro-King is a key component and are unfortunately rare, notoriously loud and expensive. For that reason, I have put together some alternatives that should get you close.

PEDALS & EFFECTS:

During Ajikan's early years, Gotch combined a Roland JC-22 with a ProCo RAT to create the "quiet/loud" dynamic of the band's early records. After buying the Fender Vibro-King in 2004, Gotch no longer required the RAT, but kept a simplified pedalboard to achieve certain tones for live performances.
Gotch's 2004 pedalboard, which includes the ProCo RAT and Ibanez TS9 Tube Screamer
We will cover two different pedalboards that Gotch has used during the band's career. Regardless of which pedal board you look at, Gotch's has always included an overdrive or boost pedal, a phase pedal and a delay pedal.
The boost/overdrive is used to "lift" his clean sound during ballads (Solanin, Wonder Future) or to thicken his sound for heavier tracks. (Senseless, Dororo) Gotch will normally set the drive or gain low and the volume high.
The phaser is a more sparingly used pedal to add texture and colour, but can be heard on Shinkokyū, Blue Train and Rewrite. I will include more detail on Gotch's use of delay in the sections below.
Gotch's "Classic" Pedalboard
Gotch \"classic\" pedalboard, used between 2006-2013, with Gotch's custom made footswitch on the bottom left to control the amps
Gotch started to use this "classic" board during the Fanclub tour and continued to do so until the 10th Anniversary shows in 2013. This would be the easier and more affordable board to replicate for newcomers.
Gotch's setup started with a BOSS TU-3 tuner, which he also used as a "mute" pedal in between songs. From there, his chain would run into the Ibanez TS808 Tube Screamer, the BOSS PH-2 Super Phaser and the BOSS DD-20 Giga Delay. During the Magic Disk tour, Gotch also added a Custom Audio Tremolo.

^{The BOSS DD-20} *^{has been Gotch's main delay pedal for twenty years and is set to "warp". On the warp setting, Gotch can keep his foot on the pedal to create swells of delays. Gotch's standard setting is 173-179bpm (beats per minute} on 1/4 notes and then he has 4 presets. These are 137bpm on 1/4 (for) ^Blackout, 154bpm on 1/4 (for) ^{Kakato de Ai o Uchinarase}, 177 on 1/2 (for) ^{Solanin and the intro of Siren} and 177bpm on 1/4 (for the 2nd half of) ^Siren)

Gotch also included two footswitches for his board; The first one was a handmade footswitch, which he used to swap between the Twin Reverb and the Vibro-King/Super-Sonic. The other footswitch was a BOSS FS-5L, which he used to control the '63 Spring Reverb Unit.
Gotch's "Modern" Pedalboard
Gotch's \"modern\" pedal board.【Pedal List】(1) api/TranZformer GT (compressoequalizer) (2) BOSS/TU-3 (tuner) (3) Spaceman Effects/Atlas III (preamp) (4) BOSS/DD-6 (delay) (5) Spaceman Effects/Voyager I (tremolo) (6) EarthQuaker Devices/Avalanche Run (delay/reverb) (7) Mu-Tron/Mu-FX Phasor 2X (phaser) (8) Caroline Guitar Company/KILOBYTE (9) BOSS/DD-20 (delay) (10) Handmade/Line Selector (11) FAT/514.D (booster)(12) strymon/Zuma R300 (power supply) (13)BOSS/EV-30 (Expression Pedal) (14) BOSS/FS-5L (foot switch)
During the recording of Wonder Future and his first solo album (Can't Be Forever Young), Gotch began to experiment more with boutique pedals, and has resulted in a more complex board since 2014, allowing more ambient experiments on the band's records and during live performances.
Gotch has added a API Tranzformer GT to the start of his chain, only using the E.Q. section and tweaking the settings for each venue.
Gotch's "Modern" board now includes a variety of delay and reverb pedals, such as the Earthquaker Device Avalanche Run and the Caroline Kilobyte Lo-Fi Delay. These are combined with his DD-20 to create the ambient sounds heard on Empathy & the outro of Demachiyanagi Parallel Universe.
The BOSS DD-6 Digital Delay is set to the "reverse" mode and is used during the intro of Re:Re: and the bridge of Rewrite. Gotch has removed the Tube-Screamer from his board and has experimented with multiple alternative pedals, which includes the Xotic Effects AC Plus and JHS Superbolt.
He currently uses the Atlas III Preamp Booster and the FAT 514.D for his overdrive sounds. The 514.D only runs to the Super-Sonic to help "thicken" the distorted tone of the Super-Sonic.
Gotch has also replaced the Super Phaser with the MU-FX Phasor 2x and is using a Voyager I Spaceman for his tremolo. (UCLA & No Name are good references for the tremolo) Finally, Gotch has added an BOSS EV-30 expression pedal, which he uses to control the delay of the Avalanche Run.
If you are looking to replicate Gotch's pedalboard, the best place to start would be a phaser, delay and a boost/overdrive pedal, which would cover most of Ajikan's Discography.

Sound Like Gotch...On a Budget

Now that you are up to speed on what Gotch uses for his guitar rig, we can start to look at replicating his sound. The idea of this section is to offer affordable suggestions to replicate Gotch's tone that can be used for home use and for small live venues.
I would like to highlight that I am just writing as a fan and the equipment I recommend are purely my own recommendations. I do not have any sponsors (I wish I did sometimes) and if you find alternatives that work for you, go for it!
Gotch performing in 2022, during the Quarter Century shows in Yokohama
To buy Gotch's current pedal board alone would cost roughly £2,500 and would be unrealistic for most readers to purchase, however there are options that can get us close to Gotch's tone without breaking the bank.
The key elements to this rig are:

• A Gibson style guitar with P-90 pickups
• A Fender amp with decent distortion
• A Tube-Screamer style overdrive
• A flexible Delay pedal

Let's start with the guitar, which is both important for the P-90 tone. You should always feel comfortable when playing the guitar you pick, so I recommend trying out the guitar when possible before buying.
GUITARS
As an affordable guitar, I would suggest looking at the Epiphone Les Paul Jr. It is the entry level price for Gibson guitars (Epiphone would be the equivalent to "Squier" for Fender) and includes P-90 pickups as the standard setup. You can buy one for around £380 and should also be fairly easy to modify & similar to Gotch's sound.
Epiphone Les Paul Junior
If you do have a higher budget to work with, I would recommend the Gibson Les Paul Special Tribute DC. These were released in 2019 and you can normally find a 2nd hand version for roughly £650 - £800. (It is also the guitar I currently use!) Failing that, you can also look at the Gibson Les Paul Special for around £800.
Gibson Les Paul Special Tribute DC
AMPLIFIERS
We are looking to replicate Gotch's Fender amps, so the affordable option to start with would be the Fender Mustang GTX. The newer Mustang amps are an improvement on the original and have simulations of the Twin Reverb, the Vibro-King and the Super-Sonic.
The GTX 50 (which has a smaller speaker) is roughly £390 and the GTX 100 (which includes a footswitch) is about £510, but you should be able to find both versions for a reduced cost second hand.
Fender Mustang GTX 100
If you do have a higher budget or prefer to use a tube amp, I would recommend going for the Fender Super-Sonic Combo or the Fender Hot Rod Deluxe for a solid distorted Fender tone.
Alternatively, you could consider the Fender Blues Junior, Fender Tone Master Twin-Reverb or Roland JC, and combine them with a ProCo RAT to replicate the tones from Houkai Amplifier and Kimi Tsunagi Five M.
PEDALS
To keep the list of suggestions short and simple, we will use Gotch's "classic" board as a reference and will cover most of the band's discography.
For a budget rig, I would recommend the Ibanez Tube-Screamer Mini, which is a miniature version of the standard Ibanez Tube-Screamer and sound great for the price. You could pair this up with a Boss Phase Shifter and a BOSS DD-6 Delay for around £309 brand new to get a very similar Gotch board. (You could buy them for as low as £110 combined on the 2nd hand market)
The Tube Screamer Mini is a cheap, effective overdrive pedal based on the classic TS808
For a more expensive pedalboard, the JHS Superbolt V2 was used by Gotch extensively between 2015-2019 and was once described by Gotch as "the Ajikan sound" on his blog. You could also buy the TS808 Tube Screamer that Gotch actually used for many years or the JHS Bonsai 9 which emulates multiple tube screamers.
For modulation sounds (phase, tremolo) the AmpliTube X-Vibe is one of many great multi-effect pedal on the market. If you have the money for it, you could buy a BOSS DD-20 second hand or the BOSS DD-200 to emulate Gotch's delay sound.
If you decided to go with the Mustang GTX, you would also have a selection of effects built into the amp.
THE TONE MASTER PRO? (and amp simulators)
As a final recommendation, Fender have recently released the Tone Master Pro (TMP), which is a multi effects and amp simulator.
It can be used as a device for home recording, but also as multi effects pedal in front of a standard amp or as your main amplifier when played through a IR cabinet. (I'll go into more detail in a bit!) The TMP are not cheap at £1400, so I would only advise buying one if you plan to use it as your main amp and effects board.
If you have the budget and was starting your rig from scratch I would consider checking it out, as it includes great simulations of the Twin Reverb and Vibro-King. They are also easy to transport & the Fender IR cabinets only weigh 12.5kg. (For comparison, my VOX AC15 weighs 30kg and is a nightmare to transport for shows)
The TMP is Fender's first amp simulator pedal and from what I understand the Quad Cortex DSP, the Line 6 Helix series and the Headrush Pedalboard are more popular choices. However, for the purpose of "sounding like Gotch", I would start with the TMP for its Fender selection and simplicity
The Fender Tone Master Pro can be used to simulate multiple amps & as a pedalboard for live performances

^{If you decide to buy a Amp Simulator Pedal, there are 3 common ways to use it for band practices & live settings. (Outside of just using headphones or running straight to front of house at a venue:
Option 1: Only use the effects on the Amp Simulator and run it into a standard amp. (Make sure to not use the cabinets settings within the pedal when doing this. You could still use the amp settings, however they may clash with the physical amps and do not always sound great
Option 2: Use the Amp Simulator as your main amp and combining with a standard guitar cabinet. In order to do this, you will need to buy a separate power amp pedal to run in between the amp simulator and the guitar cabinet. (Otherwise you will not have any volume or oomph when you play through the cabinet}\*)*
^{Option 3: Buy a IR Cabinet. The difference between this and Option 2 is that you would not need to buy a separate power amp pedal to run into the speaker. The Fender FR-10/12 & Line 6 Powercab are good examples.}

Recommended Amp Settings

The following amp settings are based on photos gathered from live performances or from photos of Gotch's social media. Every amp will slightly differ based on your guitar or playing style, so you may need to tweak with your settings to find the right blend.
My personal advice is to not put the gain too high and to start with getting the treble and bass settings where you feel comfortable, before tweaking the mids. The P-90s have a strong midrange attack, so bear that in mind as well.
Gotch's Vibro-King and Super-Sonic
Fender '65 Twin Custom 15:
(Plugged into Vibrato 1) Vol: 3, Treble: 3.5-4, Mid: 6.5, Bass: 3.5
Fender Super-Sonic 60 Head:
Channel 1: Vol: 3.5, Treble: 4-4.5, Bass: 5
Channel 2: Vintage setting ON, Gain 1: 4, Gain 2: 0, Treble: 5-5.5, Bass: 4.5-5, Mid: 5.5, Vol: 5.5-6
Fender Vibro-King Custom (as cabinet):
Plug into the speaker input at the back of the amp, with FAT switch on.
Fender Vibro-King Custom (as amplifier):
(FAT ON) Vol: 3, Treble: 4.5, Bass: 4, Mid: 5.5 (Based on Eizo Sakushin Shu Vol.6 settings)
OR
(FAT ON) Vol: 4.5 Treble: 4 Bass: 5 Mid: 4.5
Shinos & L Rocket Head:
Gain: 7, Treble: 8, Bass: 3, Reverb: 0, Master: 7

Conclusion

I hope this has been helpful for you guys, as it has been on my bucket list for some time! Please provide some feedback as it is always appreciated and if you would like more details about the effect settings let me know.

The lilac's sweet serenade stirs memories buried deep,
Of stolen moments where two souls entwined, a bond to keep.
Beneath that endless azure sky, our haven fringed in green,
I basked in your radiant smile that warmed my world's scene.
Those halcyon days now fade like whispers on the wind,
While I'm left wrestling the ephemeral nature we're living in.
For you were the other half that made me truly whole,
Your essence intertwined with mine, two pyrities of soul.
At night I'm haunted by your phantom caress,
That smile still blazing through the darkness I possess.
No waking moment lets me escape your memory's grip,
For our love was cosmic, written in the stars' calligraphic script.
Though shattered, I'm grateful for those times we laughed and loved,
You showed me the boundless depths a connected spirit could.
We were soulmates transcending the physical plane,
Your light illuminated my life, made the colors richer than Crayolas' reign.
If I could rewrite destiny's pen, you'd be by my side for life,
For losing you has been a searing laceration with grief's knife.
Perhaps we were written to be companions for just one act,
Before the curtain fell on that scene, a tragic fact.
But know that you were, are, and will forever be,
The greatest love my heart will ever blissfully see.
This world's a little darker without you.
May you find the peace and joy you've deserved, my sweet babe.

Hello! I wanted to share my analysis on how Cloud & Aerith represent the Ancient Greek legend of Orpheus & Eurydice, one of the most well known tragic love stories. There have been many different variations of this story from Hadestown to Moulin Rouge. I will reference the broadway show Hadestown a lot, because I’m a huge fan of the show and it represents Orpheus & Eurydice’s story very well. With this analysis, I’m going in with the belief that Hollow and No Promises to Keep are Cloud and Aerith’s songs that are about each other, who those songs are about is a whole different argument, but to ME, it’s obvious who they’re about and I’m using them to push this analysis further.
In the Greek legend, Orpheus & Eurydice fell in love, and one day Eurydice died from the bite of a viper. Orpheus was so ruined by grief that he traveled to the underworld itself to find Eurydice and bring her back. Orpheus sang about his love for Eurydice to Hades and Persephone, who were so moved by it that Hades gave him the opportunity to bring Eurydice out of the underworld, he just has to take the long walk out of the underworld with Eurydice behind him, and he cannot look back at her the entire walk until they are out of the underworld, or else she will be sent back down. Towards the end of their walk, Orpheus is worried that Hades had tricked him because he could not hear Eurydice behind him. He loves her so much that he is driven mad by the fear and doubt that enter his mind. So much so that he ends up looking back at her, and she is sent back to the underworld.
Now for the comparison to Cloud and Aerith. Obviously, we see their relationship become a precious and cherished thing, until Aerith is suddenly killed.
Now Cloud is not a singer or a poet, but he does have a song, called Hollow, in the FF7 Remake. This song is heavily theorized to be about Aerith, and makes the most sense to be about her. It describes how lost and hollow he feels without her, which is so unbelievably Orpheus of him. In the lines;
“Bloody and bruised, Brought to my knees, When beaten down, When broken up, You would appear, Reach out to me, Heal every wound, And make me whole”
It makes me think of a scene in Hadestown, where Orpheus gets beaten up while in the underworld trying to get Eurydice back. Persephone is inspired by Orpheus’ determination to get Eurydice back, she keeps him going even when he’s beaten down.
Throughout Hollow, he says a lot of words like “Guide me to you” “I’ll never let you go”. He still wants to find her somehow after feeling so empty from her death. Again, very Orpheus.
Let’s look at the lyrics for Wait for Me that Orpheus sings in Hadestown;
“Wait for me, I’m coming Wait, I’m coming with you Wait for me, I’m coming too I’m coming too”
Before Aerith even dies, she is kidnapped by Shinra, and Cloud makes it his personal mission to go get her back. After she is kidnapped in Remake, he has a vision of her, where he tells her, “I’m coming for you” In Rebirth, after she “dies” he tells her “I’ve got this” in English, but in the Japanese version, guess what he really says?
“Wait for me”
There’s also the Loveless play in Rebirth, where Cloud and Aerith play Alphreid and Rosa, whose story is very reminiscent of their real story. (I’m aware of how Rosa’s part can also be played by Tifa and Yuffie, but the story of this play fits Cloud and Aerith the most, as well as Rosa’s character fits Aerith the most. I could go into more evidence as to why the whole gold saucer section and Loveless play is very Aerith-leaning even while its player-choice but that is besides the point)
There is a line that Alphreid tells Rosa;
“You needn’t promise that you’ll wait. For I know that I will find you here”
Key words: Wait and Find
In Hadestown, Eurydice sings a song called Flowers. And guess who in FF7 is a flower girl? Aerith. The song talks about how Eurydice regrets becoming a worker for Hades (in this version she is very poor and hungry, and Hades convinced her to sell her soul for the safety of it all) but she misses the world above and remembers Orpheus and her happiness with him in the fields of flowers. Aside from the obvious flower connection, this almost makes me think of how while Aerith had a responsibility in dying and saving the world, she may have regrets since all she wants is to be happy with Cloud (we see her wishes on her dream date with him, spending time with him is how she wishes her life would be without the burden) and in the Advent Children script, when Cloud rides his motorcycle by a field of flowers where her ghost is standing and watching over him, it describes her feeling lonely.
Another thing to note, in Hadestown, a flower is used a symbol for the whole show. Most notably for this analysis, Orpheus uses it as a reminder of her as he travels to the underworld and tries to give it back when they REUNITE. And guess what happens when Cloud and Aerith meet? She gives him a flower that represent REUNION of lovers.
In Aerith’s song, No Promises to Keep, Aerith describes this burden while also saying lines like,
“Till the day that we meet again Where or when? I wish I could say But believe know that you'll find me“
Also:
“Take my hand And believe We can be Together evermore”
And don’t forget:
“Still I hope someday you'll come and find me“
This just screams Eurydice waiting for Orpheus in the underworld, knowing he’ll come find her. Shes saying, come and find me, while he’s saying, guide me to you. Pair that with how Cloud keeps saying Orpheus lines like “Wait for me” and “I’m coming for you”
In the original FF7, Cloud gets a glimpse of Aerith after the final battle, and that’s when he says:
“the Promised Land... I think I can meet her...there.”
Now we don’t have a clear answer as to what exactly the Promised Land is. Since Aerith is dead at this point when Cloud says this, it makes you wonder if it’s related to where you go when you die, or maybe just where Aerith goes since she is a Cetra. Regardless, she is still dead and Cloud still wants to find her, much like Orpheus when Eurydice dies.
In the Advent Children film that takes place two years after Aerith dies, Cloud himself is dying from geostigma, and sadly enough, is pushing away his friends, accepting death rather than fighting it, seemingly searching for Aerith amongst it all with how he sleeps in her church. Orpheus was known to have never been the same after Eurydice died, completely swallowed up with grief until he had the idea to see her again in the underworld.
Another interesting detail in AC, when he has visions of her, Cloud cannot LOOK at Aerith because of his guilt until the very end where he decides to keep living on. Sound a bit familiar?
In the FF7 Remake, it takes a little different approach than the original FF7 did. There are multiversal aspects that have made people question if Aerith’s fate is final this time. Since we don’t know how Part 3 of the trilogy will play out, some of this is theorizing. But what I believe is that there was a new timeline where Cloud saved Aerith, it’s not the current timeline that Cloud and the rest of the party are in, but Cloud knows of this other timeline where Aerith is alive because he is the only one that can see into that timeline.
No Promises to Keep plays when they part at the very end of the game, the same song that talks about how she wants him to come and find her, just like he did when she was kidnapped by Shinra. This makes me wonder if maybe he will try to cross between different worlds (much like Orpheus with the underworld) to try and get her back. If this will be successful or not, we will see, he is Orpheus after all.
I am one that does not mind either way if Aerith lives or dies by the end of this new trilogy. Simply because the tragedy of their romance was already great, it would be emphasized even more with this hope that maybe we can get her back. Both we and Cloud actually see a possibility of her being alive with these parallel worlds. There’s a chance he can get her back. And if he in fact still does not get her back, it would hammer in their original idea of this tragedy even more, making it more tragic. And if he does get her back, I feel like It the original idea would still be there (since we DID still see her die) but it would transcend both OG and remake that after all this time he finally found her, and maybe he’d finally be happy for it, I know people would be mad and say that it cheapens the purpose of her death or whatever but personally it would be beautiful to me. Getting that hope then getting the same result is very reminiscent of Orpheus and Eurydice. But I will say I am hopeful that Cloud can defy fate and get his Eurydice back, I would love to see them happy together by the end.
And that is the end of my analysis, Cloud and Aerith’s romance were always my favorite not just because of their great dynamic but their story represents a beautiful ancient Greek Tragedy that shows how much a man can love a woman.

I've been on a rollercoaster ride for the past year and a half working on my first longfic. It's a shipfic and pretty early on, I decided I wanted the ship to get in a fight towards the end and then make up. As I've gone along, I sort of "outline" the future chapters with a script/all of the planned dialogue. It often ends up changing when I get to actually writing it, but maintains the original tone. Outlining/writing their fight dialogue took a few revisions but overall I'm satisfied with what I have right now.
Their argument gets heated really fast because, in my opinion, neither of the characters are known for being nice. Even up until they fight, they love bantering and bickering and teasing like a married old couple, but they both take it a little too far on accident sometimes and hurt the other's feelings. As such, when they actually want to hurt each other's feelings because they're mad, they know exactly what to say to piss each other off. But it's a romance, and they really do love each other even while they fight, so I don't think they go so far as to make their relationship irreprable. They do avoid each other for a few weeks until the "nicer" of the two of them decides to give up his pride and apologize first.
But,
I cannot, no matter how hard I've tried, write their reconciliation dialogue.
I've written out the scene a million different ways, and each has at least one line that I love, but I'm struggling to tie those lines together. Sometimes it sounds too melodramatic or too clinical or too relaxed.
So how do you strike the right balance when writing reconciliation scenes?

I was taking a first look into how to create a custom inspector tool using plugins last night (which, I found actually really simple thanks to the fact that the editor uses the same UI tools as the engine itself), but I was having a strange issue when it came to calling functions on the object within the _parse_begin EditorInspectorPlugin function. Even though the object did indeed contain the function in question, I'd get an 'Nonexistent function' error thrown when trying to call it. I've trimmed down the functionality to just the issue in question for brevity.
Here's the code for the plugin:

# plugin.gd extends EditorInspectorPlugin func _can_handle(object): return object is CustomNode func _parse_begin(object): var label = Label.new() label.text = str(object.get_test_name()) + " Editor" add_custom_control(label) 

Here's the code for my custom node file that is in the scene:

# custom_node.gd extends Node class_name CustomNode var name = "Test" func get_test_name(): return name 

So, when I open the CustomNode in the inspector, it throws an error in the console:
res://addons/test/plugin.gd:11 - Invalid call. Nonexistent function 'get_test_name' in base 'Node (CustomNode)'.
Clearly, it doesn't think that the object parameter has this function when it tries to call it, but when I print out the results of object.get_method_list(), I can see it right there in the output list that the function exists. object is just an Object type, so I was considering that maybe it only provided a top-level version of the parameter, but when I attempt to read or write values on object directly (such as by replacing the erroneous line with label.text = object.text_name + " Editor") then it works without issue!
So, clearly it's passing the proper object through, but there's something I must be missing about why it can't call functions when it can still access variables from the object. Of course, I could write any code that interacts with these values within the function file, but that's not the best code practice to alter variables of a class like that outside of the class in question. I'm sure there must be some way to get the functions running properly.
Anyone have any ideas for what I might be doing wrong?
UPDATE: Figured out the problem, so I'm adding what I learned here to save any future Googlers (this post is already popping up at the top of the search results when I look for it).
Basically, the script in question must be a tool script in order for the functions to be able to be run. Adding @tool to the top of the custom_node.gd file (and then reloading the scene, since it didn't work immediately) seemed to make it work. This does appear to be intended behavior, as indicated by the GitHub issue I've linked below.
https://github.com/godotengine/godot/issues/43853