In the annals of gaming history, few titles command the reverence and adoration as the legendary Doom franchise. Born from the minds of John Romero, John Carmack, Adrian Carmack, and Tom Hall, Doom would go on to lay the foundations for just about every modern video game that exists. It was a true tour de force, a success story few could scarce ever imagine.
Released in 1993, Doom was an immediate smash hit, thanks in no small part to its shareware format, which allowed users to experience the first few levels of Knee Deep In the Dead, and then order the full game via the phone number included. Players could then share the floppy disk with their friends, and so on, and so on. It was a truly revolutionary system, and within a single year, Doom had sold over 2 million copies.
The history of the Doom franchise is one of innovation, ultra violence, and controversy (1999's Columbine High School Massacre), and that reputation is one that continued with 2016's DOOM. DOOM was officially revealed at Quakecon 2014, ten years after Doom 3. Players had long resigned to Doom being considered a dead franchise. A reboot had been in the works for a number of years prior, but never got released, having been quietly cancelled by id in 2010. The future was bleak, but the 30 second long teaser ignited a spark that had been burning dimmer every passing year.
Then came E3 2015.
The hype was unreal. The trailer had everything that fans could possibly want. Gore, intense violence, insane run n gun gameplay, a rip-roaring soundtrack and the MFING CHAINSAW. But fans had been let down before. Would it really hold up its promises?
Yes. Yes, it would.
PART I: Presentation
When DOOM burst onto the scene in 2016, it did so with a visual and auditory spectacle that left players awestruck. From the moment the game boots up, players are made aware that this is not your average shooter. You are greeted with a deep, commanding voice. "Rip and tear, until it is DONE."
Immediately, players are greeted with a scene of carnage and the Doom Slayer chained to a table, which, of course, he instantly breaks free from. A zombie attempts to relieve the Slayer of his life but is beaten to the punch with a prompt skull smashing. After putting the other zombies to rest, he interacts with the panel in the corner, is greeted by one Dr. Samuel Hayden, who attempts to justify the outbreak, and decides he would rather kill shit than listen to excuses and destroys the monitor.
That is the introduction to this game. It never wastes the player's time. We aren't here to listen to long droning monologues or watch MGS style cutscenes. id Software knew their audience, and knew what that audience wanted, and they deliver in spades. This introduction sets the tone for the entire experience: relentless action, unapologetic violence, and a protagonist who is as unstoppable as he is uncompromising. The Doom Slayer's disdain for exposition and his single-minded focus on annihilating demons resonate with players who crave a pure, unadulterated gaming experience.
By eschewing lengthy cutscenes and exposition-heavy dialogue in favor of fast-paced gameplay and visceral action, id Software delivers a game that respects the player's time and delivers exactly what they came for: non-stop demon-slaying action. In an era where many games are criticized for padding their runtime with unnecessary filler, DOOM stands out as a shining example of how to create a focused and engaging experience that keeps players coming back for more.
Rather than bombarding players with lengthy exposition or intrusive cutscenes, DOOM opts for a more environmental storytelling approach. Throughout the game, players can discover audio logs, read text-based terminals, and observe environmental details that provide context and background to the events unfolding around them.
The story of DOOM revolves around the Doom Slayer's mission to stop a demonic invasion unleashed by the Union Aerospace Corporation (UAC) on their Martian facility. As players progress through the game, they uncover details about the UAC's experiments with Hell energy, the origins of the demonic invasion, and the Doom Slayer's own mysterious past.
While the story may not be front and center in DOOM, it nonetheless adds depth and richness to the game world, enhancing the overall experience for players who choose to engage with it. And for those who prefer to focus solely on the action, the story remains secondary, allowing them to enjoy the game on their own terms.
That's all well and good, but what about the actual gameplay? Simply put, it is exhilarating. From the moment you are given control of the Slayer, players are thrust into a frenzy of blood and violence, and it never lets up. At its core, DOOM is a first-person shooter that harkens back to the genre's roots while injecting it with a healthy dose of modern flair. The gameplay is fast-paced, frenetic, and utterly unapologetic in its brutality. You're not just a player – you're the Doom Slayer, a force of nature hell-bent on eradicating every last demon in your path.
Central to the gameplay experience is the game's combat loop, which revolves around a delicate balance of aggression and strategy. In DOOM, there's no hiding behind cover or waiting for your health to regenerate – you're constantly on the move, strafing, dodging, and leaping across the battlefield as you unleash a torrent of bullets, rockets, and plasma upon your enemies.
Weapons include the iconic shotgun, heavy assault rifle, plasma rifle, rocket launcher, and the devastating BFG 9000, among others. Each weapon offers different firing modes, such as single shot, burst fire, and continuous beam, providing players with tactical options in combat. A key aspect of combat is the Glory Kill system, which allows players to perform brutal finishing moves on staggered enemies. Glory Kills not only provide health and ammo but also contribute to the flow of combat by encouraging aggressive play. It is incredibly satisfying to watch the Slayer rip an imp in half or stomp their head into the pavement, and doing so rewards you with a large return of health.
The Chainsaw mechanic is another integral part of combat, allowing players to instantly kill most enemies and gain a large amount of ammo in return. However, Chainsaw fuel is limited and must be managed carefully. Like Glory Kills, watching the chainsaw tear demons apart is incredibly satisfying. Certain demons require more fuel but provide the player with more ammo in return. Balancing which demons you chainsaw and which ones you choose to Glory Kill is an important part of combat.
Exploration is key to progression and is rewarding to those players who choose to do. Hidden throughout the levels of the game are Argent Cells, Praetor Tokens, and Rune Trials. Each of these provide upgrades to your health/shield/ammo, suit, and passive abilities respectively. Also hidden throughout the game are levers that lead you to classic levels from Doom 1 and Doom 2, which then unlock the full level of its respective game, playable from the main menu. You can also find toy models of the Doom Slayer, which unlock various character models to view. On some of these models, the Doom Slayer will perform a unique action when picking it up, such as fist bumping the classic Doomguy. It's a nice and cute little touch added by the developers that does a little to add character to the Slayer, who is a silent protagonist.
id Software masterfully blends modern game design with a deep reverence for the classics, paying homage to the series' storied history while introducing new elements that propel the franchise forward. Central to this approach is the game's character design, which strikes a delicate balance between nostalgia and innovation. At its core is the iconic protagonist, the Doom Slayer, whose design pays homage to the original Doom Marine while incorporating modern updates that make him feel both familiar and fresh. With his battle-worn armor, imposing stature, and silent demeanor, the Doom Slayer is the embodiment of raw power and unrelenting rage.
The game's roster of enemies is a veritable who's who of classic Doom foes, reimagined for the modern era. From the lowly possessed soldiers to the hulking Cyberdemon, each enemy is lovingly crafted to capture the essence of its 1990s counterpart while introducing new mechanics and behaviors that keep players on their toes. Whether you're facing off against the agile Revenants, the relentless Hell Knights, or the grotesque Cacodemons, every encounter is a nostalgic trip down memory lane, punctuated by the satisfying sound of demon flesh being torn asunder.
But the main story is not where it ends. DOOM has an arcade mode, where players can run through the levels again, this time trying for high scores and medals while collecting 1 Ups. It's important to move fast and have accurate aim; the more kills you chain together, the bigger your score is. Getting hit reduces your score. At the end of the level, your score is tallied against others on a leaderboard. It's a great way to incentivize players to keep playing, in order to get a better and better score.
There is also multiplayer, where players compete in various game modes such as classic deathmatch, warpath and free for all. Players can become demons by collecting runes on the battlefield and this gives them a distinct advantage; demons are larger, stronger and more resilient. Players are bizarrely restricted to only two weapons and a loadout in multiplayer, which blew my mind. Loadouts. In a DOOM game. The demons are also massively unbalanced and if one team manages to get a particularly powerful demon such as a baron of hell, then it's a guaranteed win. All in all, the multiplayer just isn't great. You are better off replaying the story or arcade mode, or even SnapMap.
SnapMap is id Software's proprietary level editor, and it puts every other editor on the market to shame. SnapMap is an incredible, intuitive, easy to learn system allowing players to create their own multiplayer, co-op and single player maps. There is an extensive tutorial system that teaches users the basics, and goes up in depth, covering how to use AI triggers, switches, combinations, object layering, actions, recalls, audio cues, etc. Never have I ever seen such an in-depth interface on a console game before. While it is only surface level in the grand scheme of things, SnapMap is a great introduction to teaching users how game development works, and I urge everyone to try it out at least once.
Part II: The Music
In DOOM, the music isn't just a background accompaniment – it's a driving force that propels players forward, electrifying every moment of the gameplay experience. Composed by the incredibly talented Mick Gordon, the soundtrack of DOOM is a relentless onslaught of metal and electronica that perfectly complements the game's fast-paced action and visceral combat. From the moment you boot up the game, you're greeted by the iconic strains of the main theme, a haunting melody that sets the tone for the epic journey that lies ahead. As you traverse the game's environments, the music shifts seamlessly between atmospheric ambience and pulse-pounding metal.
But it's not just the composition of the music that makes it so memorable – it's also the way it's integrated into the gameplay itself. Mick Gordon's dynamic scoring system ensures that the music evolves in real-time based on the player's actions, ramping up in intensity during combat encounters and dialing back during quieter moments of exploration. This creates a sense of momentum and flow that enhances the overall pacing of the game
One of the standout features of the soundtrack is its use of unconventional instrumentation and sound design. Mick Gordon's signature sound combines distorted guitars, pounding drums, and industrial noise to create a sonic palette that is as brutal and unforgiving as the game itself. From the deep, guttural growls of the synth bass to the ear-shredding shrieks of the guitar solos, every element of the music is designed to evoke a sense of chaos and destruction, mirroring the relentless carnage unfolding onscreen.
Of course, no discussion of the music in DOOM would be complete without mentioning the iconic tracks that have become synonymous with the game. From the adrenaline-fueled "Rip & Tear" to the bone-crushing "BFG Division," each track is a masterpiece of composition and production, perfectly capturing the essence of the DOOM experience and elevating it to new heights. Mick Gordon's composition for the DOOM soundtrack is a tour de force in heavy metal and industrial electronica, meticulously crafted to evoke the essence of the game's frenetic gameplay.
The backbone of the soundtrack is the distorted guitar, which provides the driving force behind many of the tracks. Gordon's use of extended-range guitars and custom-tuned instruments gives the music its signature low-end punch, while his aggressive playing style adds a raw, visceral energy to the sound. In addition to guitars, Gordon incorporates a wide range of electronic and synthetic elements into his compositions, including synthesizers, drum machines, and sampled sounds. These elements are used to create atmospheric textures, rhythmic patterns, and dynamic effects.
One of the most innovative aspects of Gordon's sound design is his use of audio manipulation techniques, such as granular synthesis and spectral processing. These techniques allow him to deconstruct and manipulate audio in real-time, creating complex textures and effects.
Perhaps the most revolutionary aspect of Mick Gordon's composition for DOOM is his dynamic scoring system, which adjusts the music in real-time based on the player's actions. This system, known as "MIDI-controlled dynamic music," allows the music to seamlessly transition between different layers and variations depending on the intensity of the gameplay. Gordon achieves this dynamic effect by dividing each track into multiple stems or layers, each representing a different element of the music (e.g., drums, guitars, synths). These stems are then triggered and mixed in real-time using MIDI data generated by the game engine, allowing the music to adapt and evolve dynamically as the player progresses through the game.
Part III: Building a Legacy
All too often in this industry, legacy franchises are either left in the dust to be forgotten, or brought back to a limp fanfare, only to be thrust back into the shadows of the past. This happens for a myriad of reasons, and I believe the biggest one is that they don't respect their legacy, and they don't respect the players who engage with them.
At its core, DOOM is a game that understands what players want: fast-paced action, engaging gameplay, and a sense of empowerment. By focusing on these core principles, id Software created an experience that resonated with players old and new, capturing the spirit of the original games while pushing the series forward. Central to this approach is the game's unwavering commitment to respecting the player. From its minimalist storytelling and streamlined level design to its intuitive controls and dynamic difficulty system, DOOM prioritizes the player's experience above all else, ensuring that every moment of the game is engaging, immersive, and satisfying.
One of the most notable ways that DOOM respects the player is through its approach to difficulty. Rather than imposing artificial barriers or punishing players for their mistakes, the game encourages experimentation and mastery through its responsive gameplay mechanics and adaptive enemy AI. Players are given the freedom to approach encounters in their own way, whether it's through brute force, cunning strategy, or a combination of both.
Another key aspect of DOOM's player-centric design is its emphasis on accessibility. From its difficulty settings and intuitive user interface to its robust accessibility features, such as colorblind modes and customizable controls, the game ensures that players of all skill levels and abilities can enjoy the experience without feeling excluded or overwhelmed.
But perhaps the most important way that DOOM respects the player is through its commitment to fun. At its core, DOOM is a game that prioritizes the player's enjoyment above all else, delivering a seamless and exhilarating experience that keeps players coming back for more. Whether you're blasting demons with a shotgun, exploring hidden secrets, or rocking out to Mick Gordon's pulse-pounding soundtrack, DOOM is a game that never stops prioritizing YOU.
DOOM's legacy is one of respect – respect for the player, respect for the franchise, and respect for the medium of video games as a whole. By prioritizing fun, accessibility, and player agency, id Software created an experience that not only honors the legacy of the original games but also sets a new standard for what a modern first-person shooter can be. And for that, we owe them a debt of gratitude.

I have a small YouTube channel about musicals (5 videos so far) and am thinking about switching to making a podcast because I like the audio-only aspect of it. I’m a walking encyclopedia of musicals and musical history, with a particular interest in lyrics and data; however, I was curious about what sorts of information you guys would like to hear in a musicals podcast. I want to make a podcast that you guys would find interesting. Would you be interested in deep dives into lyrical structure? Discussion of the evolution of musicals? Talk of stats and data - quantitatively looking at musicals? Reviews of live performances and/or cast albums? All of these?
I know there are some musicals podcasts out there, and I am curious as to what you guys feel is missing in your podcasts that you listen to.

Drake has made well over $200 million dollars off of his fans' gambling losses which we can easily assume are over $6 billion spent.
I posted yesterday interested to see what people think Kendrick should talk about if he drops again on Drake.
There is something I really want him to break down - Drake's involvement with a website that

1. Pays him $100m+ annually since 2022
2. He participates in public engagement media with, knowingly encouraging minors to gamble.

What is this?

(Overall scope of this website)
This website was officially formed in 2017 (7 years ago) for online crypto gambling. There was basically no verification at the very beginning of their launch, and to this day they have very, very flimsy protocols to identify/verify age of their players.
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Here are some dates and numbers relating to how many bets had been placed on the platform

• The red dot (just placed by hand) represent when Trainwreckstv officially became affiliated with the website (~June, 2022)
• The yellow dot represents when Drake made his first account (deeppockets6, Dec 2021)
• The orange dot represent when Drake officially became affiliated with the website (March 04, 2022)

In the 14 months leading up to January 2022, 39 Billion bets were placed on the website. 21 Billion of these bets came after trainwreckstv became affiliated.
I don't want to go into trainwreckstv. If you become interested in him, you can watch coffeezilla's video (coffeezilla 360 million dollars)
Some more numbers

Year	Bets Placed on the Website
2021 + 2 months	39,229,581,015
2022	62,418,061,486
2023	68,701,192,678

This website reported $2.6 billion in gaming revenue in 2022. Gaming revenue is the total amount wagered on the site minus the total amount paid out to players.^{Check footnotes for wagered}
If you'd like to get further into the numbers...^{Check footnotes for house edge} While some exceptions exist, classic table games typically have lower house edges (1-3%) than progressive jackpot slots , typically the games with the highest house edges (5-15%). Video slots sit somewhere in the middle (4-5%). ...and we take an completely rough, VERY generous, estimate that people are running on about a 3% house edge on average (it is likely much higher than this.)Check Footnote to see what house edge is (bottom)then we can approximate of the $86 billion that was wagered in 2022 on this website, $71 Billion was wagered while Drake was involved in 2022.

Drake's Involvement

Drake has been involved with this website for over two years, being paid NO LESS THAN $200 million for literally just being a poster boy. This is MOST LIKELY not including what he is paid for his streams (which appear to show him placing millions of dollars on single roulette spins). He is probably also given an amount to wager on his own as he, himself, is a gambling addict.
Why do they do this? How do they even have the money for this? Look at the numbers above, they are making an unbelievable fortune off of this and it's because of creators like trainwreckstv and Drake.
There are hundreds of affiliated creators operating through streams and youtube with communities of underage gamblers, a group that is trending up with gambling addictions. Each of these creators tend to make 3%-10% of affiliates^{Check footnotes for affiliates on their community member's deposits.}
Casinos are able to pay these dividends because they are making multiples of what these collaborators are making. Why else would they do it?

Why is this bad

These are children gambling on these sites. I have solid evidence of a user having wagered over $100,000 om this website without EVER having been verified for any age, ID, proof of address. NOTHING.
I have researched by going through multiple communities speaking to gamblers who were gambling for years by the time they turned 18 (among others of course). I do not have a large sample size, but my sample is just a few small gambling communities among hundreds of similar, larger and much larger communities.. I believe to be a largely unbiased sample (I know that sounds like an oxy moron "I believe it is unbiased" lol, but you know what I mean)
I have not performed interviews, just mostly got numbers from people. I'm sure many would come forward if asked though.

In conclusion, we can easily assume Drake has made well over $200 million dollars off of his fans' gambling losses which we can easily assume are over $6 billion.

I cannot stress this enough, these are such light numbers. It is probably much more, and the only defense Drake probably has is that he spent it all or lost it gambling too.
THIS IS ALL SOURCED INFORMATION. ASK ME FOR ANY PROOF AND I WILL POST IN COMMENTS.
Footnotes

• Some facts
  • "Before its first legal casinos opened their doors in 2012, research commissioned by the state found 0.4% of its people were problem gamblers, and 5.3% were at risk of developing issues; a decade later, the same survey identified a problem gambling rate of 2.8%, with 17% of the population at risk."
  • "In 2018, 11.5% of people who contacted New Jersey’s gambling support service and disclosed an age provided one under 25. During the first 10 months of 2023, this bracket accounted for 19.6% of calls, texts or chat messages in which an age was disclosed."
• House edge: The expected loss on any transaction/game/bet.
• Wager: The total amount bet on a site including re-bets. For example, if I have $100 and I bet it all on something and I win $200. I now have $200 and I have wagered $100. If I bet all of that $200 and win $400, I now have $400 and have wagered $300 ($200+$100). Now if I bet all of that $400 and lose it in one bet, I have wagered $700 ($200+$100+$400) but I have no money left.
• Affiliates: Collaborators are paid a percentage of the amount deposited by people using their code. For example if I use Drake's code, I may get a 5% bonus on my deposit (incentive for me) and he get's 10% added on from my deposit to his affiliates. If I deposited $100 in this situation, I have $105 ($100*1.05), Drake has $10 ($100*0.10).

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From water sports enthusiasts to leisure seekers, Pompano Beach offers a myriad of activities to suit every taste. Dive into the crystal-clear waters for a snorkeling adventure, try your hand at paddleboarding, or embark on a thrilling deep-sea fishing excursion. For those who prefer to stay on land, explore the scenic beachfront promenade, tee off at world-class golf courses, or discover the vibrant dining and entertainment scene just steps away from your rental.
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I was just rewatching amanda + shayne playing FNAF, and that got me thinking about what other horror games id like for them to play. I absolutely love them playing board games but them playing video games has a special place in my heart. I would personally LOVE a duo from the cast playing Fears To Fathom or another horror indie game. What do you guys wish they’d play?
(Secretly saving any replies i get to my own “to play” list hehe )

Welcome to 'Tuesday Tune Day 🎶'
Post one of your favourite Australian songs in the comments or as a standalone post.
If you're in an Australian band and want to shout it out then share a sample of your work with the community. (Either as a direct post or in the comments). If you have video online then let us know and we can feature it in this weekly post.
If you've heard an Australian song you like in another community then feel free to cross post it.
​
Here's our pick for this week:
“Laced Up” - Hilltop Hoods, 2023
Previous ‘Tuesday Tune Day 🎶’

Hey there, I'm a 37-year-old Long Islander riding the waves of life solo after navigating the choppy seas of marriage. My days are filled with the delightful chaos of raising identical twin girls, who keep me on my toes with their boundless energy and mischievous antics.
But amidst the whirlwind of parenthood, I always manage to carve out time for my passions. Whether I'm battling virtual foes in the latest video game or casting my line into the tranquil waters off Long Island's shores, I find solace in the thrill of the moment.
I'm a bit of a shutterbug, too, always on the lookout for the perfect shot to capture the beauty of the world around me. And when inspiration strikes, I channel my creativity into writing, spinning tales that transport both myself and my readers to new realms of imagination.
By day, I'm a marketing whiz, weaving strategies that captivate audiences and drive results. But when the sun sets, I transform into a musical maestro, serenading the night with the melodies of my piano, guitar, and bass. And as a die-hard Phish fan, there's nothing quite like losing myself in the groove of their tunes, letting the music carry me away on a journey of pure bliss.

Finally i've finished reading every volume and, as someone who loves writing, here i am writing this review just to share my thoughts.
So, it's undeniable that COTE is edgy as hell. Just take a look at Tsukishiro randomly talking about a guy he just killed, BUT at the same time i feel like it makes sense for the series to have edgy elements when you consider the target audience and the elements the story has. It's not an happy story if you dive deep enough in it and can be rather depressive at times. Either way it's better to fully embrace the edge and just enjoy the series how it is since it's a very enjoyable story if you turn off your brain
The characters are what i think is the main appeal of the series. The cast is huuuuuuge as frick and most of the characters, while not very developed, are each flashed out on their own way, which makes them and their interactions with others very enjoyable and fun to read. Just look at a character like Kito who went from a random dude with a scary face to a full-ass character in y2v8 who was a blast to read alongside his interactions with Ryuen. We have the same with other characters like Ishizaki who went from a random Ryuen's pawn to a whole bro, Sudo who went from the everage short-tempered guy to a chad and Ibuki who went from a girl with anger issues to still a girl with anger issues but entertaining to read with her intractions with Horikita and sometimes Kushida. I won't call the cast deep or amazingly written. The only characters who have a superior level of writing are probably Koji and Ryuen but even they aren't that amazing, but that's okay. You don't need to write Guts 2.0 to make an enjoyable character. But now, alongside the characters, two problems surface. One about the community and one about the author. The first one, the one about the community, is that people seem to care only about feats. No one is gonna talk about a character who doesn't outsmart everyone in a single volume just for him to get humbled by Koji five seconds later. And this is what i consider to be an huuuge problem. I get that they are less amazing inside the story but if they're fun to read then aren't they good characters? I get the shit with Yagatwink because he had a disastrous end but with the rest? Why call Nagumo a fraud in the end? The way he lost made sense with his character. I feel like the fact that people only care about feats is what makes more minor characters Kanzaki, Hashimoto or heck even Matsushita, Ibuki or Morishita to be less talked about. I get it when a character is straight up annoying like Ichinose, Yagatwink, Airi, Yagabitch, Ecchinose, Yagamid or Ichinose but the rest feels a bit unnecessary. The second problem lies in the author and his inability to focus on one character properly. I like a large cast, and it's normal not to develop every character but it doesn't make sense to have important characters like Ichika, Kei or even Fuka to not get development because they're important to the story and are even fam favourites. Ichika was abandoned and was left to be a simp, while there was an huge room for development when it comes to her inability to make friends. Kei will probably develop in year 3 but for now she's an NPC and Kiryuin sadly has few appearances and don't get me started on the first years. I'll leave characters like Ishigami, Tsubaki and Koenji out of the picture because it makes sense for them to be a mystery at this point in the story
I shall avoid talking about fanservice because i want to preserve the few mental stability that i currently have
COTE also does a good job with its antagonists. While sadly year 2 was a bit lacking with Tsukishiro amd Yagami, the rest were great. Ryuen was a threat and you wanted to see him continue and take Koji out in the open and GOSH that fight in y1v7 was amazing even in the light novel. Arisu was great with more of an anti-hero type of character? She'll clearly have more screentime as a villain in y3 but for now she still did a great job. Then we have Nagumo who, at least for me, was defeated almost perfectly for his character and it was even sad. You can see the difference from Nagumo in the beginning and in the end. Then there are other characters who will probably become antagonists. The one i'm looking forward the most is clearly Koenji, who's probably better than Koji physically, and could leave a mark. Then there's Ishigami who will absolutely be an antagonist even if not for long and they better not mess that up or istg. Then Tsubaki, the one who probably has the lowest chances to be an antagonist but someone who could still be interesting to see. And then Horikita who will be almost 100% an antagonist for Koji if he ever switches classes. Then there's Atsuomi who i don't wanna talk about because he's a bit disappointing unless he really doesn't wanna Koji to be expelled
I won't really focus on the special exams, not because they're bad but because even today i still don't understand how 90% of them work so bear with me
Going back to character interactions, i feel like that's something the anime, or at least season 1, kinda nailed. S1E7 is one of the main proves of this. I felt as if the pool scene was better in the anime (fanservice excluded) than in the light novel. That was one of the few times i felt the characters mostly acted like kids who wanted to have fun (fanservice excluded) and that small and faint smile they gave to Koji, even if technically nonsensical and not canon, felt great and feels even better the more i read and come to understand him more. Same thing for the time he smiled in y2v10. That scene was very short but it felt amazing to read nonetheless. Character interactions are also the reasons why i love volumes like y1v8, y2v8 or some scenes in the .5 volumes. They just feel fun to read. Seeing Koji skiing with Kushida and Ryuen, even if they wanna see him in the ground and then take a selfie on his grave, felt great and even more after reading about Ryuen chuckling after seeing Koji fall. Or even the scene with Arisu and Koji eating the cake, something so simple but great to me
Now i'd like to talk a bit about Koji's character because he's probably the deepest and most well written in the series. Due to the anime, those yt videos and the Ayanokoji wannabe he became the epitome of the "oh my god he's literally me" and the average edgy character, which i find to be horrendous. I like the jokes about that but i can't stand when one is serious. We all know Koji's main motive in that school is probably just live a quiet life in peace just like a normal high schooler and when you stop and think about him... Goddammit his story is depressing. He never had a normal childhood and he developed a toxic mindset while being in the WR which ruined his life. He's so depressed and traumatised he can't even smile properly and his normal and mundane happy life is constantly ruined by troubles and sabotages by his father (if he really wants to expel him). I know he clearly doesn't have a problem with any of that because he's perfect and all, but having to deal with all of that consistently must suck even for him. Dude can't catch a break and i won't be surprised if we see him breaking at some point in the story (something i'm looking forward to). I just want someone to defeat him just so his father could leave him the fuck alone
Now that we're here, i think i can finally end this. It was short, yeah, but it was fun. COTE is what i consider to be a flawed masterpiece due to the way it keeps you reading but also make you question what the author is doing at times. It's good but it's also bad and i expected much worse in y2. There are obviously many disastrous nitpicks in the series. Ichinose is a whole damn example, but other than those problems, this series is amazing to me. But maybe i have written all wrong stuff and i've completely missed the point in the story, but i don't mind viewing it like this. It's a fun story that i hope won't fall from grace

Well, that's a wrap! After a month with the Honor Magic 6 PRO, it's safe to say it didn't live up to its advertised hype. The inability to cast the camera to a 16:9 format and the disappointing battery life (especially considering my positive experiences with previous Honor devices) left me underwhelmed. Consequently, I've decided to make the switch to the Google Pixel. Interestingly, I had a brief stint with the Google Pixel 8 Pro last month while awaiting the arrival of my Honor Magic 6 Pro. Now, I've re-ordered the 8 Pro (at a €250 discount compared to before) along with the 8a to test both devices extensively over the next week. I'll ultimately return one of them for a refund.
What resonated with me most during my trial period was the stellar video output performance of the Google Pixel 8 Pro. Whether recording videos or snapping photos, the quality is simply incomparable. The colors are rich, the resolution is stunning, and the lighting is perfect, making the output visually striking. In contrast, the Honor Magic 6 Pro tends to produce lackluster, "flat" images and videos. Its AI functions also fall short, especially when compared to Google's offerings. Ultimately, the price tag of the Honor Magic 6 Pro just doesn't align with its performance when stacked against the competition from Google.

New Features and enhancements
New AI-enhanced tools join Smart Tempo and the Pitch Correction plug-in to augment your artistry.
Bass Player and Keyboard Player join Drummer to complete a set of Session Players — all built with AI making it easy to create performances that respond to your direction.
Session Players can follow the same chord progression using Global chord track.
Add warmth to any track with ChromaGlow, an advanced plug-in with five saturation models designed to simulate the sound of vintage analog hardware.*
Separate a stereo audio file into stems for vocals, drums, bass and other parts with Stem Splitter.*
Session Players, ChromaGlow, and Stem Splitter also come to Logic Pro for iPad 2 — making it simple to move between projects created in Logic Pro for Mac.
Play any of six deeply-sampled acoustic and electric basses with Studio Bass.
Perform any of three meticulously-sampled pianos with Studio Piano.
Loops that contain chord tags will automatically populate the chord track when added to a project.
Three new Producer Packs are available: Hardwell, The Kount, and Cory Wong.
Original multi-track project of Swing! by Ellie Dixon available as in-app demo song.
Downmix and trim options allow custom mixing for non-Atmos channel configurations.
Exported ADM BWF files have been expanded beyond Dolby Atmos and can contain settings for stereo and other multi-channel formats.
Bounce in place adds automatic real-time recording for External Instrument regions or tracks that utilize external hardware using the Logic Pro I/O plug-in.
Route MIDI signals generated by supported software instruments and effects to the input of other tracks for creative layering during playback or recording.
Edit more efficiently using key commands for moving, extending, or resizing marquee selections.
The Nudge Region/Event Position key commands now also nudge Marquee selections.
The Transpose Region/Event key commands now also move or expand the Marquee selection up/down.
Pattern regions can now be created on Drummer tracks, and Drummer regions can be converted to Pattern regions.
New key commands include Trim Note End to Following Notes (Force Legato) With Overlap and Trim Note End to Selected (Force Legato) With Overlap.
Bounce in Place and Track Freeze can now be performed in real time, allowing for use of external instruments, I/O plug-ins, and external inserts.
Mastering Assistant analysis now can be performed in real time, allowing for use in projects that incorporate external I/O or instruments.
The Dolby Atmos plug-in now offers Downmix and Surround/Height Trim controls.
The Recent Projects list can now be configured to show up to 50 projects.
* Requires a Mac with Apple silicon.
Stability and reliability
Scripts with 1071 characters or more in Scripter no longer cause Logic Pro to quit unexpectedly.
Fixes an issue where creating a an event in a lane assigned to Note off in Step Sequencer could cause Logic Pro to quit unexpectedly.
Fixes an issue where Logic Pro could fail to launch with an Error Initializing Core MIDI message when the system is under heavy load performing other tasks.
Resolves an issue where Logic Pro could quit unexpectedly when a 64-bit floating point IR file is loaded into Space Designer.
Fixes an issue where Logic Pro could hang when opening a project while the Project Settings > MIDI window is displayed.
Logic Pro no longer quits unexpectedly when creating multiple Aux tracks with multiple existing Aux tracks selected.
Improves stability when bypassing control surfaces with Musical Typing open when EuControl software is installed.
Fixes an issue where Logic Pro could hang when quitting a project containing a large number of instances of Sampler.
Fixes an issue where Logic Pro could quit unexpectedly when replacing a playing Live Loops cell with another loop.
Performance
The UI is now more responsive when adjusting Flex Pitches directly on regions in Deviation mode.
Performance is improved when editing Transient Markers in Take regions with Flex enabled.
Performance is improved when making Flex Pitch edits in the Tracks area with a large number of selected regions.
Alchemy's Performance is improved.
Performance is improved when moving regions in projects with a large number of tracks and regions.
Projects containing a large number of flex-pitched regions now open more quickly.
Resolves an issue where loading a project saved with a Summing stack selected that contains Software Instruments that have no regions and/or with the tracks turned off could load the Software Instruments into memory.
Accessibility
VoiceOver now announces the state of Automation mode buttons on channel strips.
VoiceOver now announces the status of the Pause button in the LCD.
VoiceOver no longer announces hidden controls in the Smart Controls view.
VoiceOver no longer reads the values of pan knobs that are currently hidden in Sends on Faders mode.
VoiceOver now announces the state of the Details button and the Follow button in the Drummer Editor.
VoiceOver now announces left-click and Command-click Tool selections in the Control Bar.
VoiceOver now announces the name of the Time Quantize button in the Piano Roll.
VoiceOver now announces changes in value when the Next/Previous key commands are used to change Quantize values.
VoiceOver now announces state of key commands for Cycle, Mute, Track Solo, Input Monitoring, Track On/Off, and Lock/Unlock Track.
VoiceOver now announces the selection state of focused tracks.
Spatial Audio
Fixes an issue where adding a new 3D Object track for the first time to a Spatial Audio project could cause the Renderer to switch from the current model to the Apple renderer.
The Dolby Atmos plug-in now offers a 5.1.2 monitoring option.
Fixes an issue where setting a project to Dolby Atmos could output to 7.1.4 even when the mode defaults to Apple Renderer.
It is now possible to monitor Dolby Atmos projects directly via HDMI to a surround capable receiveamplifier.
The metering for Height channels now shows as post-fader on the Master channel as expected.
Loading a Master Bus channel strip setting in the 7.1.4 channel format now preserves the 7.1.4 channel layout as expected.
Session Players
Resolves an issue where loading a user-created Drum Machine Designer patch could set the input to a bus and fail to load the Drum Machine Designer instrument.
Using the Create Drummer Region command in a Marquee selection now creates a region that corresponds to the Marquee.
Smart Tempo
In cases where there is not an existing Smart Tempo Multitrack Set, selecting an audio file in the Smart Tempo Multitrack Set window and disabling the “Contribute to analysis” check box now causes the Update button to change to Analyze as expected.
Pressing the Space bar now immediately stops a Free Tempo recording.
Fixes an issue where projects previously open in the same Logic Pro session could unexpectedly affect “Contribute to Analysis” in the Smart Tempo editor.
Recording
Audio regions recorded to unnamed tracks now include the project name and track number in their name.
Mixer
The channel strip Stereo Pan control and the Pan menu now can be adjusted when Caps Lock is enabled.
Creating a single Multi-timbral Software Instrument in the New Track Sheet no longer creates two Software Instrument instances in the All view of the Mixer.
Resolves an issue where remaining tracks in a Multitimbral Software Instrument Track Stack could unexpectedly rename the channel strip.
Adjusting the activity status of a speaker in the Surround panner no longer causes the signal to unexpectedly mute.
Groups now immediately show as inactive when switched off for a selected set of channels in the Mixer.
Metering now correctly works on individual channel strips with plug-ins that send to more than two channels and are routed to a surround bus.
Option-clicking on a send in a selected group of channel strips now sets all corresponding sends to 0 dB as expected.
Fixes an issue where performing Undo after adjusting the fader values of grouped channels with Group Clutch enabled and then disabled could cause the faders to jump up to +6 dB when one member of the group is touched.
Setting multiple selected channels to No VCA now works as expected
Alchemy
The oscillator section in Alchemy offers a new Wide Unison mode.
All controls for Additive Effects now accept typed-in values as expected.
Values typed into parameters related to milliseconds (MS) in Acoustic Reverb are no longer interpreted as full seconds.
Resolves an issue where performance control destinations for modulation could show as duplicated.
Sampler, Quick Sampler, and Quick Alchemy
The Playback direction button in Quick Sampler now immediately updates when clicked.
The view now scrolls correctly when dragging the Trim marker in Sample Alchemy.
It is now possible to adjust the level of a group in Sampler up to +24 dB.
The Up/Down buttons for navigating zones in Sampler now remain available after adjusting the start or end positions of samples.
The general Zoom/Scroll key commands now can be used to trim the current view in Sample Alchemy.
Handles and Trim Handles in Sample Alchemy behave correctly when click-dragged, even when the plug-in window does not have focus.
The Ancient Vocal Chop and Baily Glide plug-in settings for Quick Sampler now open in Classic mode, as expected.
Plug-ins
The MIDI Scripter plug-in now shows in Logic Pro when running in dark mode.
Fixes an issue where clicking on Sampled IR in Space Designer could activate Synthesized IR mode unexpectedly.
Resolves an issue where repositioning the playhead could cause audio to cut out on channel strips that use Step FX.
The preset Note Repeater in Scripter now works as expected.
The wet/dry setting on Ringshifter is now always set to 100% wet when inserted on an Aux.
There's now a DI Delay Compensation switch in Bass Amp Designer to improve phase correlation when blending between Amp and Direct Box in the plug-in.
StepFX now includes presets using Sidechain.
The Beat Breaker preset called “Basic / 2 Slices, Speed 66%” no longer plays the slices at 50% speed instead of 66%.
Resolves an issue where ES2 could produce glitching sounds when using Sine Level or Poly Voice mode on Apple Silicon computers.
Mono > Stereo instances of Console EQ no longer can cause unexpected feedback.
Using the Delete all Automation key command while an Audio Unit window has key focus no longer causes the Audio Unit window to go blank.
The menu for the compression section of Phat FX can now be opened by clicking on the Up/Down arrows.
Beat Breaker now offers new default patterns divided evenly into 2, 4, 8, 16, and 32 slices.
Mastering Assistant
There is no longer unexpected latency with bounces from projects that use the Clean or Clean + Excite mode in Mastering Assistant.
Mastering Assistant analysis is no longer incorrectly triggered in projects that contain no regions, but are previewing audio from Ultrabeat, etc.
Mastering Assistant no longer allows the -1 dBFS peak limit to be exceeded in certain cases.
Automation
The Consolidate Relative and Absolute for Visible / Automation menu item now only displays when automation types that support relative automation are active in the lane.
Region-based Automation is now pasted as Track-based Automation when pasted to an area of a track that does not contain regions.
Pitchbend now works as expected with zones in Sampler that do not have Flex Pitch enabled.
Selecting Region-based automation points on a region now deselects previously selected automation points on other regions
Disabling Region-Based Automation no longer dims the Power button for MIDI CC data lanes in the Piano Roll.
The movie window now updates to show the correct frame when moving Region-based automation points.
The Autoselect automation parameter now works as expected when clicking any plug-in control.
Automation of the Gain plug-in no longer exhibits unexpected latency.
Region-based automation is now drawn correctly when recorded into projects that start earlier than 1 1 1 1.
Automation lane views for all tracks are now maintained when switching into Flex view and then back to Automation view.
Flex Time and Flex Pitch
Flex Pitched notes now play as expected when clicked while Record or Input Monitoring is active on the track.
Flexed audio tracks using Monophonic or Slicing mode no longer produce clicks at tempo changes.
Takes and comping
Fade-ins are now applied when flatten and merge is performed on Comps.
Renaming a take that encompasses the entire length of an audio file no longer unexpectedly changes the file name.
Comps in Take Folders are now preserved when performing Cut Section Between Locators on a section that includes the end of one Take folder and the beginning of another, with a gap in-between.
Track Stacks
Record-arming a Track Stack now arms grouped audio tracks in a Track Stack it contains.
Dragging a subtrack out of a Track Stack that is assigned to a VCA now removes the assignment for the subtrack.
Fixes an issue where Track Stacks could sometimes be dimmed when some, but not all, subtracks are muted or off.
It's now possible to replace stacked instrument patches that are inside a Summing Stack with single track patches.
Track Alternatives
Loading a patch on a Summing Stack containing sub-tracks with Track Alternatives no longer causes inactive alternatives to be deleted.
Track Alternatives can now be created for the Stereo Output track.
Selection-Based Processing
Using Selection-Based Processing on a Marquee selected section within a Take Folder no longer creates an unexpected comp.
Selection-Based Processing on a comp now retains the comp.
Score
The spacing of notes is improved in cases where there is a dotted note on a line with the stem is pointing upward.
Command + Z to undo now works after deleting a Score Set.
Upward bends in TAB staves now display correctly.
Importing an instrument track no longer can cause Score Sets in the current project to disappear.
Imported Score Sets can now be deleted from a project.
Live Loops
“Join Region and Fill Cell” now works as expected.
Recording a performance in Live Loops now temporarily puts all tracks into Automation: Latch mode.
Fixes an issue where changing patches for a Live Loop track could cause the length of cells to change unexpectedly.
It's now possible to paste MIDI notes into a Live Loops cell.
Step Sequencer
It's now easier to use the disclosure triangle to open sub-rows in Step Sequencer.
Pattern regions now play back correctly immediately after being nudged.
Pattern Regions now immediately play as expected after using the Slip/Rotate tool to drag their contents to the left.
The “Separate pattern region by kit piece” command on Drum Machine Designer tracks is now applied to the correct area of the Pattern Region, in cases where the left border of the region has been moved to the right.
The length and number of steps of a newly created Pattern Region accounts for Time Signature changes correctly.
The maximum possible pattern length of a Pattern region is now 4 bars of the current time signature.
Step Sequencer now allows pattern lengths to be added based on 5/4 and 7/8 time signatures.
The Step Sequencer Inc/Dec controls now work in Loop Edit mode.
Fixes an issue where Pattern Regions on frozen tracks be edited unexpectedly.
Region-based automation now displays properly on Pattern regions in tracks that have been partially frozen, and on regions that have been frozen and then unfrozen.
It's now possible to assign MIDI channels per step in a Pattern Region.
MIDI
Reset messages for Software Instruments now work correctly.
Sustain messages are now sent correctly when playing back regions with Clip Length enabled in cycle mode.
There is now an “Internal MIDI in” setting in the Track Inspector to allow for recording MIDI from any other software instrument or External MIDI Instrument track.
The “Send all MIDI settings” key command now sends program changes to external devices assigned to empty tracks.
Resolves an issue where 3 bytes of random MIDI data would be sent when playing back regions containing SysEx data with MIDI 2.0 disabled
New 'internal MIDI in' feature allows recording of MIDI from other tracks, including MIDI FX plug-in output and 3rd party MIDI generators.
The “Delete MIDI events outside region boundaries" key command now correctly creates a starting CC event in the region to match the last matching CC of the same type in the track.
Fixes an issue where Chase could cut off notes that are preceded by notes of the same pitch on tracks with third-party instrument plug-ins.
Editing
The Humanize transform set now works as expected when the Randomize functions for Position, Length, or Velocity are set to very small values.
The menu item Delete and Move in the Event List is now only displayed if regions are displayed in the window.
When MIDI 2.0 is selected in the Settings, clicking on an Event in the Event List no longer plays events back with MIDI 1.0 resolution.
Fixes an issue where using the Cut command in the Audio Track Editor could switch the view to another editor.
When a region in the Project Audio window is double-clicked, the Audio Track editor now opens as expected.
The content link buttons for the Piano Roll and Score show the correct color as expected when toggled using the mouse.
The Event List correctly updates to reflect changes made by using key commands to select notes in other editors.
Resolves an issue where the Velocity tool in the Piano roll could affect the values of non-note events.
Fixes an issue where applying the Transform set Double Speed could cause the notes to disappear from the Piano Roll.
Step Input
Extending the length of note entered using Step Input now works correctly.
Global Tracks
Adding multiple audio Apple Loops of the same key to different tracks of a new project now changes the project key as expected.
Clicked in Tempo points are now placed at their correct positions in projects that start earlier than 1 1 1 1.
Share and export
When No Overlap is enabled, regions bounced onto existing regions no longer overlap them.
Audio files bounced from Logic Pro now include the proper Encoded Date in the metadata.
Fixes an issue where MIDI regions could be truncated when bounced in place.
Fixes an issue where audio files including Volume/Pan automation exported from mono tracks that use plug-ins could export as stereo files.
It is now possible to bounce sub-channels of multitimbral instrument tracks as individual files.
Import
Resolves an issue when dragging multiple audio files into a project, choosing the “Place all files on one track” option could create a second track and places the first file on one track, and the rest on the second.
Output channels in the Mixer can now be imported from other Logic Pro projects.
Apple Loops
The Loops browser now correctly shows the same enharmonic key an Apple Loop was tagged with.
Apple Loops now preview using the Key Signature active at the current position of the playhead.
It's now possible to add Aliases to bookmarks and untagged loops.
Dragging an Apple Loop from the loop browser to an existing track no longer changes the input for the track.
Fixes an issue where MIDI Apple Loops could jump to the start of the nearest bar position when dragged from the Loop Browser to the middle of a bar.
Video Support
A secondary screen that is running a full screen video with Show Animations off will no longer remain black after closing the project.
Key Commands
The “Increase (or Decrease) last clicked parameter” key commands now work for controls in the LCD.
The “Record off for all” key command now works on Software Instrument tracks in cases where one or more audio tracks are also record-enabled.
There is now a key command to add to the current selection of regions or cells that are assigned to a toggle solo group.
The Zoom Toggle key command now works in the Step Editor.
Compatibility
GarageBand projects that use Pitch Correction now sound the same when opened in Logic Pro.
Undo
If Undo is used immediately after creating a project, the New Track Sheet is displayed as expected rather than leaving a project with no tracks.
Undo/Redo now works as expected with Audio Unit v3 plug-ins.
Changing the Automation Mode, or changing a Track On/Off state now creates an Undo step.
Performing Undo after adding a surround track no longer corrects Drummer tracks in the project.
Logic Remote
Logic Remote immediately updates to show time and signature changes made in Logic Pro.
Control Surfaces and MIDI controllers
Controls on Control Surface devices that use Lua scripts now provide feedback when learning assignments for them in Logic Pro.
Illuminated buttons on control surfaces now show the correct state for Show/Hide Track Editor.
General
The LCD now displays the Cycle start and end times in both SMPTE time and Bars/Beats when the secondary ruler is displayed.
Search in the All Files browser now finds matching items in bookmarked folders.
Fixes an issue where the visible editor in the Main window could unexpectedly switch when rubber-band selecting regions.
Audio Take folders created in Cycle mode now loop as expected after recording when Loop is enabled in the Region Inspector.
It's now possible to create external MIDI tracks when Core Audio is disabled in Logic Pro.
Resolves an issue where deleting a Flex marker from an audio region while a Marker List is visible could switch the key focus to the Marker List.
Track information pasted into a text editor now includes the TIME position when the Use Musical Grid setting for the project is not enabled.
Input monitoring buttons are now displayed on audio tracks when Logic Pro has fallen back to an alternate audio device because the selected device is not available.
Previewing an audio region in the Project Audio window no longer causes it to jump to the top of the window.
Command+Option clicking on the On/Off button of a track now toggles the button for all tracks, as expected.
Copy/paste of regions now works when Automation view is enabled.
Right-clicking on a looped segment of a region now opens the contextual menu as expected.
It's now easier to see when black keys are depressed in the Musical Typing window.
The right arrow key now reliably moves the text cursor in the Bounce > Save As file name panel.
Groove Templates created from audio regions now work in Smart Quantize mode.
Dragging multiple regions from the same audio file from the Project Audio browser to the Tracks area now works correctly.
Audio regions are no longer moved to unexpected positions when trimming, if absolute Snap mode is on, and the region anchor is moved away from the start of the region
Fixes an issue where pasting a Marquee selection with No Overlap and Snap Edits to Zero Crossings mode enabled could delete a non-overlapping part of an existing region.
Autozoom now triggers when a region's upper right corner is dragged in the Main window, or the Audio Track Editor.
The Playhead no longer may briefly appear to be in the wrong position when zooming horizontally.
The Time Ruler now immediately updates to reflect changes made to the “Bar Position [bar position] plays at SMPTE” setting.
The File browser correctly shows the full path when using Save As.

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Email: [intclairvoyant@gmail.com](mailto:intclairvoyant@gmail.com) [spellsherb22@gmail.com](mailto:spellsherb22@gmail.com)

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https://preview.redd.it/n62i59gnb90d1.png?width=3840&format=png&auto=webp&s=c5b5234ce1c79f9b89895980d65c62571da91c5e
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Good Timezones everyone!

I am Paladin- a Game Master of 12 years (Professional for 2) and all around goofball and a source for hilarious and viewer involved TTRPG entertainment and a source of learning.
If we never met before- "Hello!"If we have met before- "Hello! (Again)"
I have changed my content this week to focus more on giving high quality insight and learning that you can watch and gain a lot of knowledge from my 12 years of being in the TTRPG space. I want to give YOU a lot of great information and entertainment to enrich your lives and grow towards your goals.

🥛 The Milk Wars Saga: Rappan Athuk Episode 15 - TRUE TERROR

Mondays - 8 PM to Midnight EST

Have you ever seen D&D played with milk magic before? And, no, this is not a trick quest nor a hypothetical one. I created a series of code to work along with this massive sandbox Megadungeon adventure where the players cannot beat the dungeon without the viewer's help. Twitch viewer points can be exchanged to get cows, milk maidens, and more to generate passive milk by the hour which can be used to cast spells, give inspiration, and summon minotaur skeletons to aid the party.
Today: The party takes their first few steps into The Tunnels of Terror- a place of extreme danger that won't be possible to get through without your help!

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🐲 Game Master Academy

Disclaimer: This is not a LFG stream. It is purely learning.
Sundays: 10 AM EST

I have finally come around to setting up a series of 12 lessons regarding the arts of Game Mastering, learning, and how to accelerate any starting Game Master's skills forward 2-3 years. There is a lot of information that will be jampacked into these weekly learnings, but if you miss it, no worries, you can always keep an eye out for the YouTube videos to come much later.

Come on by and let's learn how to master the art of game mastering together!
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🐲 Paladin's Tavern Talk

Disclaimer: This is not a LFG stream. It is purely learning.
Sunday May 19: 2 PM EST

The Paladin's Archives monthly Patreon stream is this weekend! Join us to talk about major events, ask us questions, and have some good fun! There will also be a giveaway along with this Tavern Talk for a copy of Paladin's Tome of Many Treasures!

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A Personal Note To the Moderators:

I'm very thankful the moderators of this subreddit allow me the privilege to be able to tell you what sort of crazy things I put together for everyone to be able to watch in this space- so thank you again moderators for approval of this post! 🔥🔥🔥

So watching streams on Twitch, I've come across a beat or sound effect that's sorta used often. I think its from a video game but I'm not 100% sure
When Shazaming it, This song comes up. It is the sample! But no instrumental and the artist is what I think to be is Russian.
https://www.youtube.com/watch?v=8GunULbfvEg
If anyone could help, it could be great. Thank you

Hello, I am following a unity tutorial for a horror game (link is here: https://www.youtube.com/watch?v=YcYvjMd3g34&list=PLWI8H56cvVoLoN7XikREtg2q_IVmyj1Zy&index=4 ). This is my code: (BTW I have a cube that is invisible and is named scare trigger) this is what the scare trigger has:
https://preview.redd.it/vmhtolxn990d1.png?width=1920&format=png&auto=webp&s=cba38347168fb8215f67387e1f7d8d8f13f193a6
Please someone help me
https://preview.redd.it/1q2ih8yd990d1.png?width=463&format=png&auto=webp&s=f46b960fcc8026adb1a7d140d86f777a67b7a0f3

It worked for a week, then showing up this error at start. Is there a fix yet? I reinstalled, checked for file integrity, ran as admin, downloaded xbox accessories apo and changed a key in the registry. Nothing worked.

Wasn't able to find one post that summarized 2nd year ELEC before I did it so I thought I'd make one. This is my personal opinion and an average student's perspective (sometimes even below average lol). 2nd year is a lot of mixed opinions about everything.
You want to have MATH 101, PHYS 158, APSC 160 and MATH 152 completed before starting 2nd year. Standardly you'll be taking 39 credits in the winter session. Although it's very common to take fewer (in fact I'd recommend it) credits.
Term 1 looks like: ELEC 201(4), CPEN 211(5), MATH 253(3), MATH 256(3), CPSC 259(4). Term 2 looks like: ELEC 202(4), ELEC 211&MATH264 (3), ELEC 221(4), ELEC 281(3), ELEC 291(6). You could take MATH 253 in the summer before 2nd year, take ELEC 281 before 2nd year after you've been placed in ELEC or also take it the summer after 2nd year. Utilize your summers to complete as many complimentary studies, free, impact requirement electives as you can. There is an option to take ELEC 291 in the summer after 2nd year as well but I wouldn't recommend that as it's a very time consuming design course and I've heard it's run differently in the summer and isn't as worthwhile in terms of what you learn.
ELEC 201: One of the harder courses in term 1, isn't very time consuming but isn't easy either. First time you'll be giving WebWork exams so the average is low but you'll be fine. Do the homework and attend class. I took it with Alireza Nojeh who was a good prof. Lectures were very organized and he writes and explains everything as he goes which is nice. Isn't scaled or scaled very slightly. Practice the WebWorks and lecture notes and also follow Linares's YouTube channel regardless whether he teaches it or not. Difficulty: 3.75/5.
CPEN 211: Hardest course in term 1 imo. Very time consuming, especially the labs, which would sometimes take entire weekends and eat time out of other courses and aren't even worth 2% each. So find a good lab partner. There's a lot to cover so be up to date. Although the lectures aren't very helpful. I'd suggest keeping up with the slides and making notes and GOING TO ANY TUTORIAL AND LECTURE where he/the TAs solve problems. Took it with Tor who teaches it almost every year. Too much content to be covered in lectures but he is helpful in office hours/after lectures. Do as many problems as you can find and try and understand every concept. Difficulty 4.5/5.
MATH 253: One of the easier courses in 2nd year. In a non-ideal situation can be done in a short time as well. Easier compared to MATH 100 and 101. In math practice is very useful so try and do as many problems be it before the exams or throughout the term. The course is taught online so is easily procrastinated but Professor Leonard and Alexandra Niedden on YouTube are very good resources. Took it with Mark MacLean who is a GOATED math prof. Clear communication from him about what's expected and needs to be done. Difficulty: 2.5/5
MATH 256: Easiest course in 2nd year imo (partially because of the prof). Cannot be done in a short time but is easily followed throughout the term. As usual practice is key. Took it with Neil Balmforth who is also GOATED. He makes the course much easier, the other section didn't have as nice of a time. His midterms and finals were basically identical to the sample midterms and finals. Difficulty: 2/5
CPSC 259: It's a much more theoretical than APSC 160. The only nice parts were the labs because they were coding and not theory. The quizzes and final were mostly theory and on PraireLearn so limited attempts (usually 2) which made the tests very very hard. Took it with Geoffery Tien who usually teaches it. He's a nice guy but okayish at teaching. Very monotonous. I read the textbook and did it's problems which really helped. Difficulty: 3.5/5.
ELEC 202: A hard course but Linares makes you spend so much time on it, it doesn't feel as difficult as the other courses by the end. Another course graded by WebWork so marks aren't easily obtained. Make sure you understand all the WebWorks, TopHat and questions from the slides. Linares imo is one of the best teachers I've had and is very knowledgeable about EE. But his personality takes a lot away from him as a professor. This course will solidify a lot of basics for you, some that you might have overlooked in 201 but they way he runs the course does make it unnecessarily time consuming and challenging. I'd say do take the course with him regardless of the horror stories, you'll be glad you did later on but be ready for having a weird time in this course. And yeah follow his YouTube channel like your life depends on it. Difficulty: 4/5
ELEC211 & MATH264: These 2 are run together as a one 3 credit course ELEC 211(2) and MATH 264(1). I pretty much had to do this course on your own. It isn't very time consuming but the term that it's in and the way it's taught will make it feel challenging. Took it with Carol Jaeger who taught the 211 part and Professor Demirbas who taught the 264 part. I don't mean to be rude but both were basically useless. I don't know if Professor Jaeger tried to teach because I stopped going after a few weeks that's how bad it was. It felt like she was just there because she has to be. For Professor Demirbas the way he teaches was very weird. Read a few nice things about him but didn't have the same experience. He speaks and teaches too fast for anyone to be able to learn anything but that might be because they're making him teach most of a 3 credit course (MATH 317-Calculus IV) as a one credit course in about 6-7 lectures all this along with a theory driven electromagnetics course. I'd recommend watch the last 4-5 lecutures of Professor Leonard's Calc III YouTube playlist right in the beginning of the course. That'll cover the MATH portion. Then follow the math lectures to practice and use that math you learnt to understand the ELEC portion. Wasn't able to find a goof YouTube resource for the ELEC part but just watch a bunch of different videos for each topic I guess. WebWorks are good practice. Difficulty: 4/5 (should've been 3 but the way they run it).
ELEC 221: A hard course depending on your proclivity for mathematics. It's a whole lot of new concepts so it's reasonable it'll be difficult. If the concepts of Fourier Series, Laplace Transforms (also in ELEC 202) and Differential Equations that you learnt in MATH 256 are really clear, that'll help. Took it with Joseph Yan who is a very kind and helpful person, but he just refuses to teach for some reason. He'll ask you to watch 1 or 2 20-30 minute videos before the week and the lectures will basically be a slideshow of previously annotated slides from a few of years ago and him just repeating "any questions?" without really explaining anything. His pre-week videos were helpful but they were only there for the first part of the course. I'd say watch his videos that are there. The examples in his slides are good for theoretical understanding and WebWorks are good practice for exams. Difficulty: 4.25/5
ELEC 281: It's a technical communication course, supposedly like WRDS 150B. Dropped it, taking it in the summer will update this here once I've taken it.
ELEC 291: Probably my favorite course from 2nd year. You actually get a sense of what it might be like being an engineer because this is a project course and you do hands on work. You get to work in teams which is sometimes good and sometimes bad. The only downside is it'll eat up A LOT, sometimes ALL of your time. First of all there are 6 labs that are due weekly which can take anywhere from 1-6 hours, depends on the amount of debugging you need to do. There's 2 projects which are much bigger than the labs. You have to spend a lot of time (can't put hours because I couldn't keep track even if I tried to) on the projects. There's no studying but a whole lot of doing. Professor Fraga is very helpful in the lab. Right course, wrong timing. Difficulty: 5/5 (60% because of the time it takes and 40% because of the actual work).
Hope this helps! Again these are just my opinions and everyone has a different experience. Let me know if anyone has any questions or if you feel I wrote something that isn't a valid description.
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Hi,
we're two friends and former colleagues and we have a dream of making our mobile game named Rune Alchemy, an action fantasy rpg where you combine runes to cast spells. We set up a Kickstarter campaign for this project and turned it on 2 days ago.
We commissioned the pre-production phase to a gaming outsourcing development company named Brave Zebra and now we need funds to access the production phase, to make an MVP.
We added a gameplay simulation of the combat system in the video presentation, made by me and my friend and we thoroughly explained the game mechanics in the written part.
Here's the link: https://www.kickstarter.com/projects/francesconele/rune-alchemy
Thanks!

"Michael Flatley jiftakar li kien imwissi biex ma jimbarazzax iż-żfin Irlandiż
Huwa l-1994, Bill Clinton huwa President Amerikan, l-Ispice Girls għadhom kemm iltaqgħu flimkien u l-Brażil waslu biex isiru ċampjins tat-Tazza tad-Dinja.
L-Irlanda tinsab fuq sensiela ta’ rebbieħa wkoll, mhux fil-futbol, ​​iżda fil-Eurovision Song Contest.
L-avveniment annwali kien qed jiġi ospitat f'Dublin u l-Irlanda, għal darb'oħra, ħadu d-dar it-trofew.
Iżda kien l-att tal-intervall li għamel l-akbar impressjoni: Riverdance, ma’ żeffien dak iż-żmien mhux magħruf, Michael Flatley.
“Tjubija dak il-lejl iqajjem ħafna memorji,” jgħid lil BBC News. ""Kienet lejla unika, kienet speċjali ħafna, ħafna.""
Iltqajna biex nitkellmu dwar 30 sena minn dik il-prestazzjoni u l-impatt li kellha fuq ħajtu u ż-żfin Irlandiż.
Qabel dak il-lejl, iż-żfin Irlandiż kien meqjus bħala tradizzjonali ħafna, b'regoli stretti dwar dak li kien aċċettabbli. Regola waħda kienet li ż-żeffiena għandu jkollhom korp riġidu ta 'fuq u jżommu dirgħajhom dritti mal-ġnub tagħhom.
Għalliem taż-żfin tat-tfulija ta’ Flatley saħansitra rabat dirgħajh flimkien ma’ ċinturin, xi ħaġa li jgħid għamlitlu determinat li jiżfen kif ried.
Għalhekk meta fetaħ fuq il-palk, b’idejh fl-arja, kienet xi ħaġa li n-nies qatt ma raw qabel.
Kien żfin Irlandiż, iżda b'influwenzi ta' ballet, flamenco u Fred Astaire.
Flatley, 65, koreografija r-rutina, iżda setgħet irriżulta b'mod pjuttost differenti.
""Naħseb li qatt semmejtha qabel,"" jgħid, ""imma eżatt qabel ma mort fuq il-palk, ġew għandi ħdejn il-palk u qalu: 'Jekk jogħġbok, qed nirċievu sejħiet mill-għalliema kollha taż-żfin. . Jekk jogħġbok ħawwadx idejk, int se ġġiegħelna nidhru redikoli quddiem id-dinja, allura nistgħu nistaqsuk din id-darba jiġri x'jiġri, tista' żżomm idejk 'l isfel?'
""U jien għedt le.""
Getty Images Michael Flatley ma' Lord of the Dance castGetty Images
Michael Flatley beda l-ispettaklu taż-żfin Irlandiż tiegħu stess, Lord of the Dance
L-istinti ta’ Flatley kienu tajbin, hekk kif il-prestazzjoni tiegħu ma’ Jean Butler u għexieren ta’ żeffiena oħra eclipsaw il-bqija tal-lejl.
Ix-xandar ospitanti RTÉ mill-ewwel beda jirċievi telefonati minn telespettaturi li riedu jixtru reġistrazzjoni tal-prestazzjoni u jibbukkjaw biljetti biex jarawhom.
Ix-xandar tal-BBC, Sir Terry Wogan, li kien qed jikkummenta għar-Renju Unit, esklama: ""Dwejra tajba. Xagħar żgħar jogħlew fuq wara ta 'għonq kull Irlandiż.""
Il-mużika, komposta minn Bill Whelan, ħarġet bħala single ftit wara l-Eurovision, u laħqet l-ewwel post fiċ-chart Irlandiża.
Riverdance kien għamel iż-żfin Irlandiż jibred.
Passi taż-żfin maħluqa fuq siti ta 'kostruzzjoni
Għal Flatley, li kien ħadem bħala bennej fl-Istati Uniti, ir-riċeviment kien aktar milli seta’ jimmaġina.
""Aħna nailed it, ħolma tiegħi,"" huwa jiftakar. ""Għal snin, kont qed naħdem fuq siti ta' kostruzzjoni u tħaffir ta' pedamenti f'Chicago. Matul dawk ix-xtiewi kesħin iffriżati, kont noħloq dawk il-passi, fl-istil taż-żfin tiegħi, f'moħħi dak il-ħin kollu. Dak hu li wassalni permezz tax-xogħol iebes u impenjattiv. .""
Nistaqsi jekk qalx lil sħabu fuq is-sit tal-bini li kien qed jaħseb dwaru.
""Le! Il-kbar, guys muscly? Aħjar ma nsemmux li jien noħlom dwar żfin, probabbilment mhux il-ħaġa tajba li tagħmel,"" huwa laughs.
In-nies setgħu kienu wowed minn Riverdance fil-Eurovision iżda Flatley jgħid li ma kienx faċli li tikber u tkun trid tiżfen.
""Għandi l-bullying l-iskola terriblement, għalhekk naf minn xiex jgħaddu tfal żgħar u qed jipprovaw, huwa mentalment diffiċli, huwa stressanti li jkollok tidħol l-iskola u nittama li xi ħadd ma jgħidlekx xi ħaġa negattiva.""
Wara l-Eurovision, Riverdance malajr inbidel fi tour tal-arena. Bosta snin wara Michael Flatley żviluppa l-ispettaklu tiegħu stess, Lord of the Dance.
It-tnejn kellhom suċċess globalment; Riverdance jgħid li 30 miljun ruħ raw l-ispettaklu tagħhom, filwaqt li Lord of the Dance jgħid li 60 miljun raw il-prestazzjonijiet tagħhom.
Ir-riġlejn ta’ Flatley kienu rrappurtati assigurati għal £25 miljun minn Lloyds ta’ Londra.
Jgħid li jittama li l-karriera tiegħu għamlitha aktar faċli għas-subien li jridu jiżfnu: ""Jekk tħares lejn iż-żeffiena tagħna issa f'Lord of the Dance, l-irġiel huma tant mibnija b'mod qawwi, li ħaduha għal livell ġdid sħiħ.""
Iż-żfin Irlandiż issa huwa wieħed mill-aktar esportazzjonijiet ta' suċċess tal-Irlanda. Hemm skejjel f'kull kontinent ħlief l-Antartika.
Għalliema f’Odessa fl-Ukrajna qalet lill-BBC li ż-żeffiena tagħha ppruvaw jibqgħu jipprattikaw anke meta skola waħda ġiet ibbumbardjata u oħrajn ma jkollhomx elettriku minħabba qtugħ ta’ dawl.
Iż-żeffiena Irlandiżi qed jagħmlu wkoll impatt fuq Instagram u TikTok. Il-Gardiner Brothers (taħt) għandhom aktar minn miljun segwaċi, filwaqt li Caidre daqqew fil-White House.
Bħal Michael Flatley, huma jħalltu passi taż-żfin tradizzjonali u moderni u ħafna drabi biex iwettqu mużika kontemporanja.
Mużika ta’ Megan Thee Stallion, AC/DC, Usher u naturalment Taylor Swift kollha jidhru fil-videos tagħhom.
Jippermetti l-kontenut ta' Instagram?
Dan l-artikolu fih kontenut ipprovdut minn Instagram. Nitolbu l-permess tiegħek qabel ma titgħabba xi ħaġa, peress li jistgħu jkunu qed jużaw cookies u teknoloġiji oħra. Tista' tkun trid taqra l-politika dwar il-cookie u l-politika tal-privatezza ta' Meta qabel taċċetta. Biex tara dan il-kontenut agħżel 'aċċetta u kompli'.
Aċċetta u kompli
Din il-ġenerazzjoni l-ġdida ta’ żeffiena tikkredita lil Michael Flatley bħala l-ispirazzjoni tagħhom.
Ingħaqadna ma’ Michael meta ltaqa’ ma’ xi studenti żgħażagħ taż-żfin f’Cabe Academy f’Castleknock, County Dublin.
""Huwa żfin Irlandiż,"" tgħid tfajla, oħra żżid: ""Kienet esperjenza tal-ġenn li niltaqgħu miegħu, ilkoll inħarsu lejh.""
Ħafna jittamaw li xi darba jiżfnu professjonalment.
David McCabe, li jmexxi l-istudjo ma’ martu Aisling, jgħid li meta kien tifel żgħir ma qal lil ħadd fl-iskola li kien jiżfen Irlandiż, sa wara l-prestazzjoni ta’ Riverdance fl-1994.
Jgħid: ""Meta rajt lil Michael Flatley jagħmel ħsibt biss li kienet l-aktar ħaġa tal-għaġeb li qatt rajt. Jien kont naf biss hekk kif rajt dik il-prestazzjoni li dak hu li ridt nagħmel għall-bqija ta 'ħajti.""
Kemm David kif ukoll Aisling McCabe daħlu f'Lord of the Dance.
Michael Flatley irtira mill-prestazzjoni fl-2016 u sofra mill-kanċer fl-aħħar snin.
Allura kif iħossu dwar dak il-lejl fil-Eurovision, li biddlet iż-żfin Irlandiż u ħajtu?
“Biex inkun onest miegħek, ninsab ferħan li għadni hawn 30 sena wara, bir-ritmu li kont sejjer qatt ma ħsibt li se nkun,” jgħid.
""Dak il-lejl meta spiċċa Riverdance, f'dak l-aħħar tarġa tas-saqajn, anke jien kont imnikket bir-rispons. Kien wieħed minn dawk il-mumenti fil-ħin u tant konna mberkin.""
https://www.bbc.com/news/entertainment-arts-68900739
—
L-Amazon Deals tal-lum (Afljat) - https://amzn.to/3FeoGyg
Li ssir Kattoliku jagħtik pedament sod għad-destin etern tiegħek. Il-fidi Kattolika tirrappreżenta l-aktar sistema ta’ ideat kumplessa, konsistenti u kompleta fost il-filosofiji kollha tal-umanità li jikkompetu. Huwa katidral veru tal-ħsieb uman. Il-Knisja Kattolika tgħallem li Alla tant iħobbna li bagħat lil Ibnu l-waħdieni biex imut għal dnubietna u jqum mill-ġdid għas-salvazzjoni tagħna. Billi nemmnu f’Ġesù Kristu bħala l-Mulej u s-Salvatur tagħna, nistgħu nirċievu l-grazzja t’Alla u ngħixu miegħu għal dejjem fis-sema. - https://www.vaticannews.va/en.html
Radio Maria Greater China (Mainland China, Hong Kong, Macau, Taiwan) - http://www.voiceofmary.org.mo/ - “Radio Maria huwa rigal mill-Madonna. Permezz tal-programmazzjoni, kull prodott editorjali, u l-attivitajiet kollha tagħna, irridu nkunu radju ta’ talb u evanġelizzazzjoni b’impronta Marjana qawwija u sejħa għall-konverżjoni.” (Fr. Livio)
Radju Marija jwieġeb għall-istedina kontinwa ta’ Ġesù: “Mur fid-dinja kollha u ħabbar l-Evanġelju lil kull ħlejqa” (Mk 16:15).
It-temi ewlenin tal-ipprogrammar tagħna huma:
Talb;
Is-sejħa għall-konverżjoni;
Evanġelizzazzjoni;
Formazzjoni umana u soċjali;
Aħbarijiet mill-Knisja u mis-soċjetà.
VisitMalta: Ikseb l-informazzjoni kollha li għandek bżonn għall-vjaġġ tiegħek lejn Malta! Ibbukkja biljetti, skopri postijiet ġodda biex iżżur, sib affarijiet aqwa x'tagħmel u aktar! - https://www.visitmalta.com/
Ċaħda ta' responsabbiltà: Dan is-sit huwa għal skopijiet informattivi biss u m'għandux jitqies parir legali [saħħa, taxxa, professjoni]. Aħna m'aħniex responsabbli għal kwalunkwe telf, ħsarat, jew obbligazzjonijiet li jistgħu jinqalgħu mill-użu ta 'dan il-blog. Dan il-blog mhux maħsub biex jissostitwixxi parir mediku professjonali. Il-fehmiet espressi f'dan il-blog jistgħu ma jkunux dawk tal-host jew tal-maniġment.
https://www.reddit.com/SinoMaltaNews
http://sinomaltanews.freeforums.net/
"
"邁克爾·弗拉特利 (Michael Flatley) 回憶起被警告不要讓愛爾蘭舞蹈難堪的事
1994年，比爾·柯林頓就任美國總統，辣妹組合剛齊聚，巴西即將成為世界盃冠軍。
愛爾蘭也在取得連勝，不是在足球方面，而是在歐洲歌唱大賽上。
一年一度的賽事在都柏林和愛爾蘭舉辦，再次捧回獎盃。
但給人印象最深的是幕間表演：與當時名不見經傳的舞者邁克爾·弗拉特利 (Michael Flatley) 合作的《大河之舞》。
「天哪，那天晚上勾起了我很多回憶，」他告訴英國廣播公司新聞。 “這是一個獨特的夜晚，非常非常特別。”
我們聚在一起談論了那場演出 30 週年以及它對他的生活和愛爾蘭舞蹈的影響。
在那天晚上之前，愛爾蘭舞蹈被認為是非常傳統的，對可接受的舞蹈有嚴格的規定。其中一條規則是舞者的上半身應該保持僵硬，手臂伸直放在身體兩側。
弗拉特利童年時的一位舞蹈老師甚至用皮帶把他的雙臂綁在一起，他說這讓他決心按照自己的意願跳舞。
所以當他衝上舞台，高舉雙臂的時候，這是人們從未見過的。
這是愛爾蘭舞蹈，但受到芭蕾舞、佛朗明哥和弗雷德·阿斯泰爾的影響。
65 歲的弗拉特利精心設計了這個動作，但結果可能會完全不同。
「我想我以前從來沒有提過這件事，」他說，「但就在我上台之前，他們在舞台旁邊對我說：『拜託，我們接到了所有舞蹈老師的電話。請不要揮舞你的手臂，你會讓我們在全世界面前顯得很可笑，所以這次我們可以問你，無論發生什麼，你能放下你的手臂嗎？
“我說不。”
麥可弗拉特利 (Michael Flatley) 與《舞王》演員陣容 蓋蒂圖片社
麥可‧弗拉特利 (Michael Flatley) 開始了自己的愛爾蘭舞蹈表演《舞王》(Lord of the Dance)
弗拉特利的直覺是正確的，他與吉恩·巴特勒和其他數十名舞者的表演讓當晚剩下的時間黯然失色。
主辦單位 RTÉ 立即接到觀眾的電話，要求購買演出錄音並訂票觀看。
英國廣播公司的廣播員特里·沃根爵士（Sir Terry Wogan）在英國發表評論，他感嘆道：“天啊，每個愛爾蘭人的脖子後面都豎起了細小的汗毛。”
這首由比爾·惠蘭創作的音樂在歐洲歌唱大賽結束後不久作為單曲發行，並在愛爾蘭排行榜上名列第一。
大河之舞讓愛爾蘭舞蹈變得很酷。
建築工地製作的舞步
對於曾在美國當建築商的弗拉特利來說，這種接待超越了他的想像。
「我們實現了，我的夢想，」他回憶道。 「多年來，我一直在芝加哥的建築工地和挖掘地基。在那些寒冷的冬天，我一直在腦海中以我的舞蹈風格創作這些舞步。這就是讓我度過艱苦勞動的原因」。
我問他是否告訴了建築工地上的朋友這就是他的想法。
「不！那些大塊頭、肌肉發達的傢伙？最好別提我夢想著跳舞，這可能不是正確的事情，」他笑著說。
人們可能對歐洲電視網的《大河之舞》感到驚嘆，但弗拉特利表示，成長並想跳舞並不容易。
「我在學校受到了嚴重的霸凌，所以我知道年輕小伙子所經歷的事情，這很艱難，精神上很困難，不得不走進學校並希望有人不會對你說負面的話，這很有壓力。 」
歐洲歌唱大賽結束後，《大河之舞》很快就轉變為一場競技場巡迴演唱會。幾年後，麥可·弗拉特利開發了自己的節目《舞王》。
兩者都在全球範圍內取得了成功； Riverdance 稱有 3000 萬人看過他們的表演，而 Lord of the Dance 則稱有 6000 萬人看過他們的表演。
據報道，弗拉特利的腿由倫敦勞合社投保了 2500 萬英鎊的保險。
他說，他希望自己的職業生涯能讓那些想跳舞的男孩們變得更容易：「如果你看看我們現在《舞王》中的舞者，你會發現這些男人的體格如此強大，他們已經把舞蹈提升到了一個全新的水平。
愛爾蘭舞蹈現在是愛爾蘭最成功的出口產品之一。除南極洲外，每個大陸都有學校。
烏克蘭敖德薩的一位老師告訴英國廣播公司，即使一所學校遭到轟炸，其他學校因停電而斷電，她的舞者們仍試圖繼續練習。
愛爾蘭舞者也在 Instagram 和 TikTok 上產生了影響。加德納兄弟（下圖）擁有超過一百萬粉絲，而凱德則曾在白宮演出。
與 Michael Flatley 一樣，他們將傳統舞步與現代舞步結合在一起，並經常伴隨著當代音樂進行表演。
Megan Thee Stallion、AC/DC、Usher，當然還有泰勒絲 (Taylor Swift) 的音樂都出現在他們的影片中。
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接受並繼續
新一代舞者將邁克爾·弗拉特利 (Michael Flatley) 視為他們的靈感來源。
當麥可在都柏林郡卡斯爾諾克的卡布學院遇到了一些年輕的舞蹈學生時，我們加入了他。
“他是愛爾蘭舞蹈家，”一名女孩說道，另一名女孩補充道：“見到他是一次瘋狂的經歷，我們都尊敬他。”
大多數人希望有一天他們能成為專業舞蹈者。
大衛麥凱布(David McCabe) 與妻子艾斯林(Aisling) 一起經營這家工作室，他說，小時候他沒有告訴學校裡的任何人他在跳舞，直到1994 年《大河之舞》演出結束。
他說：「當我看到麥可弗拉特利的表演時，我覺得這是我見過的最神奇的事情。當我看到那場表演時，我就知道這就是我餘生想做的事情。
大衛麥凱布和艾斯林麥凱布都在《舞王》中表演。
邁克爾·弗拉特利 (Michael Flatley) 於 2016 年退役，近年來一直患有癌症。
那麼，他對歐洲歌唱大賽那個改變了愛爾蘭舞蹈和他生活的夜晚有何感想呢？
「說實話，我很高興 30 年後我仍然在這裡，以我從未想過的速度前進，」他說。
「那天晚上，當《大河之舞》結束時，在最後一步時，連我都被他們的反應震驚了。那是那些時刻之一，我們是如此幸運。”
https://www.bbc.com/news/entertainment-arts-68900739
—
今日亞馬遜優惠（聯盟）- https://amzn.to/3FeoGyg
成為天主教徒將為您永恆的命運奠定堅實的基礎。天主教信仰代表了人類所有相互競爭的哲學中最複雜、最一致、最完整的思想體系。這是名副其實的人類思想大教堂。天主教會教導說，上帝如此愛我們，以至於祂派遣祂的獨生子為我們的罪而死，並為我們的救贖而復活。透過相信耶穌基督為我們的主和救主，我們可以接受神的恩典並與祂永遠生活在天堂裡。 - https://www.vaticannews.va/en.html
瑪麗亞電台大中華區（中國大陸、香港、澳門、台灣） - http://www.voiceofmary.org.mo/ - 「瑪麗亞電台是聖母的禮物。透過節目編排、每一份社論產品以及我們所有的活動，我們必須成為帶有強烈瑪麗亞印記並呼籲皈依的祈禱和福傳電台。 （利維奧神父）
瑪麗亞廣播電台回應耶穌不斷的邀請：「你們往普天下去，向萬民傳福音」（谷16:15）。
我們節目的主題是：
禱告;
呼籲轉變；
傳福音；
人類和社會的形成；
來自教會和社會的新聞。
VisitMalta：取得馬耳他之旅所需的所有資訊！預訂門票、發現新的遊覽地點、發現令人驚奇的事情等等！ - https://www.visitmalta.com/
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https://www.reddit.com/SinoMaltaNews
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"
"迈克尔·弗拉特利 (Michael Flatley) 回忆起被警告不要让爱尔兰舞蹈难堪的事
1994年，比尔·克林顿就任美国总统，辣妹组合刚刚齐聚，巴西即将成为世界杯冠军。
爱尔兰也在取得连胜，不是在足球方面，而是在欧洲歌唱大赛上。
一年一度的赛事在都柏林和爱尔兰举办，再次捧回奖杯。
但给人印象最深的是幕间表演：与当时名不见经传的舞者迈克尔·弗拉特利 (Michael Flatley) 合作的《大河之舞》。
“天哪，那天晚上勾起了我很多回忆，”他告诉英国广播公司新闻。 “这是一个独特的夜晚，非常非常特别。”
我们聚在一起谈论了那场演出 30 周年以及它对他的生活和爱尔兰舞蹈的影响。
那天晚上之前，爱尔兰舞蹈被认为是非常传统的，对可接受的舞蹈有着严格的规定。其中一条规则是舞者的上半身应该保持僵硬，手臂伸直放在身体两侧。
弗拉特利童年时的一位舞蹈老师甚至用皮带把他的双臂绑在一起，他说这让他决心按照自己的意愿跳舞。
所以当他冲上舞台，高举双臂的时候，这是人们从未见过的。
这是爱尔兰舞蹈，但受到芭蕾舞、弗拉门戈和弗雷德·阿斯泰尔的影响。
65 岁的弗拉特利精心设计了这个动作，但结果可能会完全不同。
“我想我以前从来没有提过这件事，”他说，“但就在我上台之前，他们在舞台旁边对我说：‘拜托，我们接到了所有舞蹈老师的电话。请不要挥舞你的手臂，你会让我们在全世界面前显得很可笑，所以这次我们可以问你，无论发生什么，你能放下你的手臂吗？
“我说不。”
迈克尔·弗拉特利 (Michael Flatley) 与《舞王》演员阵容 盖蒂图片社
迈克尔·弗拉特利 (Michael Flatley) 开始了自己的爱尔兰舞蹈表演《舞王》(Lord of the Dance)
弗拉特利的直觉是正确的，他与吉恩·巴特勒和其他数十名舞者的表演让当晚剩下的时间黯然失色。
主办方 RTÉ 立即接到观众的电话，要求购买演出录音并订票观看。
英国广播公司的广播员特里·沃根爵士（Sir Terry Wogan）在英国发表评论，他感叹道：“天啊，每个爱尔兰人的脖子后面都竖起了细小的汗毛。”
这首由比尔·惠兰创作的音乐在欧洲歌唱大赛结束后不久作为单曲发行，并在爱尔兰排行榜上名列第一。
大河之舞让爱尔兰舞蹈变得很酷。
建筑工地制作的舞步
对于曾在美国当建筑商的弗拉特利来说，这种接待超出了他的想象。
“我们实现了，我的梦想，”他回忆道。 “多年来，我一直在芝加哥的建筑工地和挖掘地基。在那些寒冷的冬天，我一直在脑海中以我的舞蹈风格创作这些舞步。这就是让我度过艰苦劳动的原因”。
我问他是否告诉了建筑工地上的朋友这就是他的想法。
“不！那些大块头、肌肉发达的家伙？最好别提我梦想着跳舞，这可能不是正确的事情，”他笑着说。
人们可能对欧洲电视网的《大河之舞》感到惊叹，但弗拉特利表示，成长并想跳舞并不容易。
“我在学校受到了严重的欺凌，所以我知道年轻小伙子所经历的事情，这很艰难，精神上很困难，不得不走进学校并希望有人不会对你说负面的话，这很有压力。”
欧洲歌唱大赛结束后，《大河之舞》很快转变为一场竞技场巡演。几年后，迈克尔·弗拉特利开发了自己的节目《舞王》。
两者都在全球范围内取得了成功； Riverdance 称有 3000 万人看过他们的表演，而 Lord of the Dance 则称有 6000 万人看过他们的表演。
据报道，弗拉特利的腿由伦敦劳合社投保了 2500 万英镑的保险。
他说，他希望自己的职业生涯能让那些想跳舞的男孩们变得更容易：“如果你看看我们现在《舞王》中的舞者，你会发现这些男人的体格如此强大，他们已经把舞蹈提升到了一个全新的水平。”
爱尔兰舞蹈现在是爱尔兰最成功的出口产品之一。除南极洲外，每个大陆都有学校。
乌克兰敖德萨的一位老师告诉英国广播公司，即使一所学校遭到轰炸，其他学校因停电而断电，她的舞者们仍试图继续练习。
爱尔兰舞者也在 Instagram 和 TikTok 上产生了影响。加德纳兄弟（下图）拥有超过一百万粉丝，而凯德则曾在白宫演出。
与迈克尔·弗拉特利 (Michael Flatley) 一样，他们将传统舞步与现代舞步结合在一起，并经常伴随着当代音乐进行表演。
Megan Thee Stallion、AC/DC、Usher，当然还有泰勒·斯威夫特 (Taylor Swift) 的音乐都出现在他们的视频中。
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新一代舞者将迈克尔·弗拉特利 (Michael Flatley) 视为他们的灵感来源。
当迈克尔在都柏林郡卡斯尔诺克的卡布学院遇到了一些年轻的舞蹈学生时，我们加入了他。
“他是爱尔兰舞蹈家，”一名女孩说道，另一名女孩补充道：“见到他是一次疯狂的经历，我们都尊敬他。”
大多数人希望有一天他们能成为专业舞蹈者。
大卫·麦凯布 (David McCabe) 与妻子艾斯林 (Aisling) 一起经营这家工作室，他说，小时候他没有告诉学校里的任何人他在跳舞，直到 1994 年《大河之舞》演出结束。
他说：“当我看到迈克尔·弗拉特利的表演时，我觉得这是我见过的最神奇的事情。当我看到那场表演时，我就知道这就是我余生想做的事情。”
大卫·麦凯布和艾斯林·麦凯布都在《舞王》中表演。
迈克尔·弗拉特利 (Michael Flatley) 于 2016 年退役，近年来一直患有癌症。
那么，他对欧洲歌唱大赛那个改变了爱尔兰舞蹈和他生活的夜晚有何感想呢？
“说实话，我很高兴 30 年后我仍然在这里，以我从未想过的速度前进，”他说。
“那天晚上，当《大河之舞》结束时，在最后一步时，连我都被他们的反应震惊了。那是那些时刻之一，我们是如此幸运。”
https://www.bbc.com/news/entertainment-arts-68900739
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玛丽亚广播电台回应耶稣不断的邀请：“你们往普天下去，向万民传福音”（谷16:15）。
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"

In spring 2009, Ricky intended to make a Flanimals film. Set to be produced by Matt Selman whom he had worked with in his appearance on The Simpsons, as well as Illumiation Studios who at this point were in the midst of creating the first Despicable Me. Ricky was set to play the Puddloflaj (surprisingly not the Bloat Dumplunt which actually seems to be based on him) but initially details on the casting were scarce.
Comb through Ricky's blog you can see that Karl agreed to do an audiobook based on him ripping into Flanimals, presumably similar the video put up in 2006 of him doing the same. Within the same blog entry, Ricky writes 'He has also agreed to be a voice in The Flanimals movie. He's already stressing about it too. Ha ha'. We can also read from one of Ricky's blogs that he wanted Steve Carell involved: 'I've got a part in the Flanimals Movie for him but I haven't asked him yet.', I wonder if this came up due to the link with Despicable Me?
In Summer 2010, Ricky was sued for flanimals. John Savage, who wrote a book called 'Captain Pottie's Wildlife Encyclopedia' which contains bizarre creatures of Savage's making and was published in 2000 claimed that Flanimals was 'broadly the same in content and character' as his own book. Ricky Denied this and stated 'the concept and illustrations of Flanimals pre-existed John Savage's work'. A point of contention seems to be around aforementioned 80 million dollar(!) film that was being produced at the same time.
Savage 'asked for an account of profits which would include a Hollywood film deal, expected to amount to a multi-million pound sum'. It was then reported by the BBC that Savage could 'no longer afford to pursue his legal case' -

'I can't pursue the case for financial reasons but that doesn't mean it is dropped.'

One of the last mentions I can find in Ricky's blog of the Flanimals film is from Autumn 2011:

The Flanimals Movie wont be out till the end of next year. Yes I have a part for Karl in it. He's perfect for most Flanimals to be honest as they are all dim with weird shaped heads constantly moaning about the futility of existence.

So it seems the film was still a go-er over a year after the debacle around the copyright claim. Unfortunately and obviously the film was never made, but I thought it was interesting to follow the progress/turbulence around the franchise in this period.
TL;DR Ricky planned to make an 80 million dollar film for Flanimals which had a cast of Karl and potentially Steve Carell, made by the same people who created despicable me. In the midst of this Ricky was sued by an author named John Savage who claimed Ricky had taken his idea from a book he wrote some years earlier, a claim which Ricky denied. Savage later stopped persueing the legal case due to financial reasons. The film was still in progress over a year after the case, but never came to anything.

https://www.dropbox.com/scl/fo/a0fr54pfwoth7j4g4l1iu/AGR5GI3B1oI_7QlX2C2euIg?rlkey=oh4e5qohid1ay4267atr8jusn&dl=0
Above is a link to the videos of my cat!
1+ year old male cat, neutered, 10.6 lbs
Formerly community/outdoor cat, trying to convert him into indoors for the last 1.5mo and it’s been extremely challenging. He has diarrhea and worms in his stool that we’ve been trying to treat. He’s also been crying non stop from 3am-7am every single day.
Diarrhea
He’s been having diarrhea and we are unsure how long he’s had this for. We’ve only noticed since he’s been indoors. He has his own room due to have giardia (unsure of correct spelling) worms in his stool, which now have black specks. Vet is not concerned about black specks in stool, although he did say it can be the worms eating at his intestines?? So how is that not concerning?
Initially they were white specks. He was on metronidazole liquid for 2 weeks but he couldn’t complete it because he kept spitting it all out, it’s too thick. He completed a powered medicine that started with a “P,” can’t recall it. Vet switched him to metronidazole pills. He’s been getting this consistently for the past weekend. Vet wants me to send in another stool sample to send off to a lab that tests it with more stuff
We have him in another room because of the worms infestation and he doesn’t know how to use the litter box yet. He rolls in it. And we don’t want him sharing litters with our other cats until he’s cleared. He does come out to play and hang with the cats and family. He’s back in the room during bedtime/nap time.
Sleep
About 2 months ago, he was seen with bleeding from his neck. To him to the ER, vet there said it’s a cat bite abscess. Drained, cleansed, antibiotic injection given, sent me home with liquid gabapentin. I was instructed to give 0.5mL as needed for pain. He didn’t really need it though, he did well.
Cries, whining, scratching at door continues daily and nightly. Primary vet who treats him for worms, said to give the liquid gabapentin to finish the bottle and then transition to the pills. Bottle only had about 3mL left. He said to give 2mL
So this last Friday night, I gave him 2mL at 1130pm, that’s our bedtime. He slept very well! Up to 7 hours. Saturday night, gave him 2mL at bedtime. Slept 5 hours, was up crying non stop. Gave him 1mL which was the last drop. It was ineffective. Sunday night (yesterday), started the gabapentin pills. Instructions are to give 100mg at bedtime.
I gave him 100mg. He’s up at 4am crying non stop. Gave him 200mg. He’s still up crying non stop. 7am and he just won’t stop. Let him out to play and he’s completely unresponsive to the med, still cries and wants to play with the cats but he’s pissing them off. I haven’t slept since last night and I work long overnight shifts. So at 11am/12pm I gave him 100mg
Now I’m extremely concerned that I gave him too much. He’s sleeping right now. He was able to come out of his box and lay on me or play a bit with his doll but then lays down to rest.
The vet called me early in the morning and said there’s nothing he can do for my cat to get rest, that there’s no sleeping meds for cats. He said outdoor cats are nocturnal.
Is my cat breathing okay? I don’t even want to give the gabapentin anymore. I expressed concerns for long term side effects and the vet said there aren’t really any but to continue giving the 100mg nightly and then he can wean him off of it.