Noah The Pilgrim
First Next
There is one last thing to do before leaving. If you don't recall ever being on this ship, then surely, you could have had your appearance change too.
Why was there a blanket covering a mirror? You couldn't answer that with a straight face without speculation.
"Probably me being lazy and not bothering to properly place it in the wardrobe."
'Probably' is the main focus here, you simply cannot remember ever being that lazy, yet that's the only logical conclusion to be drawn here.
You pull the thing off, careful to not displace the mirror and risk breaking it.
You have no expectations as to what may appear on the glassy surface of the mirror, yet you can't help but feel a bit anxious. Are you the same as before? How were you before? You can't remember. Are you better? Worse? The blanket is now completely off the mirror, but your eyes are closed.
Whatever is it that you see when you open your eyes, that thing will be you for the rest of your life. You swallow, opening your eyes.
You see a young man that looks to be in his mid-twenties. His brown eyes stare back at you, analyzing the bags beneath your eye sockets. The dark hair is neither too long nor too short, floating about without order thanks to the lack of gravity to keep it down. You see a beard that has not been trimmed for weeks, but also lacks thickness, each singular hair isn't particularly long either; and some even appear to be in-grown.
You touch your hand against your face, making sure it's yours. The beard doesn't feel like you supposed it would against your skin, instead of it scraping your hand you feel softness, no resistance or anything.
Just beneath the face, you see what looks like a hate crime against all that is considered holy in fashion. Plain white coveralls with the added bonus of a black tie and boots made from metal and leather. On your chest is also a badge stuck in place by velcro with your name, occupation, and crew. 'NOAH - INTERN - THE ODYSSEY.'
Only one question came to mind.
"Who the fuck designed this uniform?" You say out loud, receiving no answer.
Patting your newfound myriad of pockets, you find a large quantity of nothing. You place your wallet in one of them.
"Alright, I'll head to the bridge now, happy?" You say the AI.
"HAPPINESS WILL ONLY MEET ME ONCE YOU ARE SOMEWHERE SAFE AND YOUR CONTRACT IS TERMINATED. STOP LOITERING."
Well, that's a bit rude.
You compose yourself, straightening your back. This is what you look like, and honestly? Not too bad, but you could be better.
Returning to the cafeteria, you eye the two doors left unexplored; Communications and the one without plaque. You know where you should, but... A little peek doesn't hurt, right?
"Shouldn't we try to communicate with someone? Assuming you haven't tried it yet. I know we're far from everything, but we might as well, no?" You ask already approaching the door.
"COMMUNICATIONS ROOM IS IMPOSSIBLE FOR YOU TO REACH WITHOUT PROPER PROTECTION AS OF NOW, IT'S LOCATED APPROXIMATELY TWO HUNDRED METERS FROM HERE, BLOWN OFF FROM THE REST OF THE SHIP." A shame really. "I SHALL INFORM YOU WHENEVER A DOOR LEADS TO THE OUTSIDE OR NOT."
You really want to ask what blew a whole segment of the ship off, yet you have a sneaking suspicion that your question will be met with a 'YOU DON'T HAVE CLEARANCE, JACKASS' directly in your face. So you chose to remain silent, simply nodding and approaching the correct door this time.
"Open."
---OPENING CAFETERIA DOOR NORTH---
The door silently opens.
Greeting you is a well-lit corridor. There are three doors on your left, a door at the end of the corridor, and a large window on the right. At least, you think that's a window.
You stare out from this window, nothing but utter blackness and fragments from your ship are seen. If this is the edge of the universe, and beyond this point, there is truly nothing. "Dreadful." Your speech matches your feelings.
"WHAT DID YOU EXPECT?" The AI says. You feel like it spoke in a mocking tone despite their lack of emotion.
You don't answer. "First door to the left... EXO-EXPLORATION...? What's that supposed to mean?" You receive no answer.
"Open." The door opens. No declarion of it opening once again.
You are met with what could be better described as 'Apocalyptic levels of mess', paper sheets float in the air, and not one of the four tables is in its correct position.
This room has been ransacked for all its goods apparently. Large display glasses were broken leaving nothing inside their casings, that looked like they could store something with the size of the common man.
Unusual displays aside, the room was so cluttered that the trash made for an effective smoke screen against what lay on the other side.
Hissing of gas exiting an air-tight space rang throughout the room.
"I HAVE OPENED THE STORAGE FOR AN EXO SUIT THAT BEST FITS SOMEONE YOUR SIZE." The AI says. "ALTHOUGH AN INTERN SHOULD NOT COME IN CONTACT WITH TECHNOLOGY SUCH AS THIS ONE, PROTOCOL DICTATES THAT I AM TO ALLOW ITS USAGE UNDER EXTREME CIRCUMSTANCES. CONSIDER YOURSELF LUCKY."
Easier said than done. Your vision is so cluttered that you cannot see what's ahead. "Give me a second."
Giving a light kick to the wall behind, you float face-first into the wall of thrash. Covering your face with both arms, you brace through the harmless bits of sharp objects and junk.
It's a trivial task. You arrive on the other side in no time.
In front of you is a set of boxes with luminous glass rectangles atop each one of them. All shine a bright red light, aside from one which shines green.
'Gotta be this one.'
You descend to the floor by kicking the ceiling, raising your right hand you touch the green rectangle.
*Click*
Nothing could have prepared you for the following series of events.
The box opens violently, as a metal appendage takes hold of your hand, pinning it to the box. You try to jerk and pry the thing off of you, but you fail. It's not leaving you anytime soon.
From the bottomless that is that container, a white plastic-like substance flows upward from your arm to the rest of your body. "Uh!" You don't know if you should panic or allow it to happen.
FYARN hasn't said anything, so it's probably fine...
The white thing seems to ignore the coveralls you are wearing completely, instead, it covers only your skin in a thin coat of... it. You know not what to call this thing.
In but forty seconds it has covered your whole body, excluding your head. The box lets go of your arm and stays there, floating.
You take a good look at your arms. It looks like a skin-tight suit, but it doesn't feel like plastic, in fact, it's more akin to some sort of fabric if anything.
The only bad part is that you are still using the coverall and tie, this this simply went beneath the clothing.
"GOOD, WITH THIS I CAN MONITOR YOU MORE CLOSELY. NOW PUT THE HELMET ON, YOU HAVE A LOT OF WORK TO DO."
You look around in search of anything that even resembles a helmet. Nope. Nothing. "Where is it?" You ask.
"...THE SUIT COMES WITHIN THE HELMET FOR EASIER PACKAGING."
The box?
You snatch the box that floated around and analyze it to the best of your ability. "How's this a helmet?"
"DO YOU NEED ASSISTANCE PUTTING ON A HELMET? REALLY?"
Who is this AI, Who programmed it, and Why does it come with a taunting feature?
As idiotic as it sounds, you place the opened box atop your head. It doesn't fit properly. Maybe you're doing this wrong? You move it to your face instead.
You recoil backward as you feel the box suddenly clamping down against your head. It's useless of course, the box is holding your head and doesn't give any sign to be letting go anytime soon. No light is able to reach your eyes.
You hear metal parts scraping against themselves, moving near your ears. Abruptly your eyes can see again.
A round thin layer of glass now covers your head, almost unnoticeable for how clear it is.
"WITH THAT OUT OF THE WAY I CAN NOW SEE WHAT YOU SEE." The AI's voice isn't in the room now, instead, it's inside of the suit. "DO YOU NEED INSTRUCTIONS REGARDING THIS SUIT'S FUNCTIONALITIES?"
You find it oddly comfortable as if you are surrounded by the softness of cotton, and to top it off the suit also has additional functionalities? "Hell yeah, I do!"
"YOU DO NOT HAVE THE NECESSARY CLEARANCE FOR THAT INFORMATION."
You sigh. Is this serious? "Then why the fuck did you ask?!"
"UNSAVORY LANGUAGE. IT'S NO WONDER WHY YOU REMAIN AN INTERN." The AI says outright. "IT IS RUDE NOT TO ASK, REGARDLESS OF THE SITUATION." It responds to your question.
"Okay then... Is there anything I need to know before heading out?" You ask.
"NOTHING THAT YOU WON'T FIGURE OUT ON YOUR OWN."
You are unsure if you want to 'figure out on your own' if this suit comes with breathable air and is also made for space exploration. You swallow.
Meekly as always, you get out of that mess of a room, stopping at the corridor.
"Next set of directions?" You ask.
"THE DOOR AT THE END OF CORRIDOR USED TO LEAD TO THE CONNECTING CORRIDORS BETWEN THE BRIDGE AND THE REST OF THE SHIP. IT HAS BEEN BLOWN UP FROM THE INSIDE. NOW IT LEADS TO THE OUTSIDE. GO TO THE DOOR AND WAIT BY IT FOR FURTHER INSTRUCTIONS."
"So let me get this straight," You begin, looking upwards as if the AI was above you. "You, want me, to go into the void of space, while also refusing to give me knowledge of the suit's functions?"
A fair worry, you summarize.
'I mean, there are a bunch of things that could go wrong here. I don't see anything that looks like it could help me move in space, nor do I think this thing has a built-in air tank... I could be wrong and I wish to be, but charging in without prior knowledge is ridiculous.' You wait for the AI's response, deep in thought.
"WHILE THERE IS A GOOD CHANCE OF YOU FAILING THIS TASK, THERE IS ALSO THE CHANCE OF YOU *NOT* FAILING THE TASK. FOCUS ON EITHER ONE OF YOUR CHOOSING AS YOU TAKE THE PLUNGE."
Wordlessly, you propel yourself forward, toward the end of the corridor.
'Are you shitting me? 'Chance of me nor failing' my ass!' of course, you don't word those complaints, instead choosing to speak out a complaint somewhat thought through.
"Are you sure I'm the one fit for this? It's just like you said, I'm just an intern, this is way above what my job description says I should do."
This is a bit of a stretch. You don't actually remember what was your job description, only that it had something to do with AI and being an intern.
If the AI called your bluff, it'd be pretty embarrassing.
"NOAH." The AI began. "YOU ARE HUMAN, IT IS NATURAL TO HAVE THESE THOUGHTS OF SELF-DOUBT. TAKE A DEEP BREATH AND GO THROUGH THAT DOOR, AND SINCE YOU ARE THE ONLY ONE LEFT, DON'T EXPECT SOMEONE ELSE TO DO IT FOR YOU."
Right in the money, huh? 'Of course, I have self-doubt! I barely remember anything about this place, now I have to risk my life?!'
You finally reach a conclusion.
A dream.
'Yes, yes! How did I not consider this before? This whole thing is a god damned dream!'
You let out a chuckle.
"NOAH."
'That's why I don't remember a thing. There is nothing here to remember! Everything here is a made-up thing from my brain! I'm sure I'll wake up at some point, so why shouldn't I live a little?!'
"Heh." You smile. "Alright, I'll do it." It feels like a weight left your shoulders.
"YOU SORTED IT OUT SOONER THAN EXPECTED. GOOD. MOVE TO THE DOOR AND WAIT INSTRUCTIONS."
You do as instructed without a care in the world. You never had a lucid dream before so it's not like you knew how it felt, but if it felt as free as you feel right now, you'd be sure to make steps toward trying it out again in the future.
"Open." The door does not open.
"I DID NOT INSTRUCT YOU TO OPEN IT YET." The AI said. "I AM SLOWLY DE-PRESSURISING THE CORRIDOR YOU ARE IN TO AVOID A MINOR ACCIDENT."
The AI says that yet you don't feel any different. 'Maybe there is no palpable difference because I'm in a dream... Yes... Or it's just the suit.'
"ONCE THE DOOR OPENS, YOU WILL BE MET WITH THE OUTSIDE OF THE SHIP. DO NOT PANIC WHEN THE TIME COMES. YOU HAVE TWO MINUTES OF BREATHABLE INSIDE THE EXO-SUIT; ONE AFTER THE DOOR OPENS, SO PLEASE, TAKE YOUR TIME AND DO THINGS CAREFULLY."
One minute outside... "Sure." You say, calmly. 'I should just hold my breath for a while before taking another moment to breathe. That should maximize my time out there.'
"THERE SHOULD BE FIFTY METERS OF NOTHINGNESS BETWEEN THE DOOR YOU'RE AT, AND THE REST OF THE BRIDGE. YOUR PRIORITY IS TO FIND AN OXYGEN UNIT, SOME OF THEM ARE LOCATED AT THE BRIDGE AND ARE FULL. USE THEM TO FILL YOUR SUIT AND ALSO TO DISPENSE A TANK FOR YOU."
The door opens. You feel your heart pounding against your chest.
You haven't noticed before, but you can't hear anything but the sound of your breath and your cardiac palpitations.
Your breath is ragged and sporadic.
"KEEP CALM." You take a deep breath. The tips of your fingers, feet, and nose feel very cold.
Ahead of you is the utter nothingness. You see a gigantic metal thing, nothing like the spaceships you imagined. Its design is not sleek and aero-dynamic like what you've seen in movies, instead, it's a large mass of squares and rectangles with antenna-like things protruding from its every visible surface.
You notice that the ship is also blocking your view of the star.
It does not look like the result of an explosion, instead, it looks like something ripped the ship like you rip a piece of paper. Well, that or you don't know what kind of explosion could have caused it. Probably the latter.
What looks like two-thirds of the ship is separated from the third you are right now. You can see the inside of a few of those squares, their contents spilled out into outer space.
One of them houses a visibly important-look door. Instead of the sleek silvery-grey from the other ones you've seen thus far, this one is painted orange with white strips on it. 'That must be the bridge.' You think.
Between you and it is a sea of metal sheets floating around. "THE CHANCES OF YOU HITTING THE DEBRIS IS INFINITEDECIMALLY SMALL, UNLESS YOU AIM FOR THEM, THAT IS."
Time is of the essence.
Will your aim strike true? If you miss you'd end up floating about in space, dead in but a few minutes. Will your jump be fast enough to reach the other side before you run out of oxygen? If it isn't, it'd be like swimming for a mile, only to drown at the beach. What if that's not the actual door to the bridge?
You don't have the time to panic now, and... It's all a dream, despite how real it feels.
You place your hands on each side of the door frame, moving backward into the corridor you were just in, and just like a sling being shot, you pull with both arms at full force towards the other side.
"AIM IS ACCEPTABLE. VELOCITY IS UNIDEAL."
"The fuck do you mean 'UN-IDEAL'?! I'm going at maximum speed!" You truly pulled yourself with your whole strength.
What's worse though, is that your body is not only going forwards, but it is also spinning at a concerningly fast rate.
"I MEAN WHAT I SAID, YOU SLINGSHOTTED YOURSELF AT A BAD POSITION, AS SUCH, SOME OF THE FORWARD FORCE YOU SHOULD HAVE, IS NOW MAKING YOU ROTATE IN YOUR AXIS. IT SHOULD NOT BE A PROBLEM TO REACH THE OTHER SIDE WITHIN THE REQUIRED TIME, BUT I CANNOT FORESEE YOU LANDING PROPERLY."
You feel completely disoriented. You feel like your body is completely still, but your eyes tell you a completely different story. It's very bad for the headache you're already feeling.
"FUCK!" You scream into the nothingness.
"TRY NOT TO LAND WITH YOUR HEAD." The AI says with the calmest voice possible.
In less than thirty seconds, you hit your back against something hard, but you keep moving forward. You think, at least.
"AHRG." You let out a pained grunt.
Not once in your life do you recall being hurt in a dream...
It stings. It also knocked the wind out of you. You fail to compose yourself.
"YOU HIT NOTHING OF IMPORTANCE. YOU ARE STILL HEADING FOR THE BRIDGE."
In the corner of your eye, you see what you hit in the shape of a sharp metal sheet, currently spinning away in the distance.
Forty seconds have passed. You hit the door you were aiming for, kind of.
Your momentum was stopped when your chest collided against the dislodged ledge of the orange door's corridor. Your dangling legs hit the ceiling of the room below.
"Oof!"
Before falling even further, you hold onto the ledge with the tip of your fingers. You stay there for a moment, regaining your composure.
"BE QUICK."
The AI's words pressured you into quickly getting up from that ledge.
"Open!" You shouted, but it did not open. "Why isn't it opening?!" You ask the AI, then you notice a small keyboard below an equally small black screen on the side of the door. There are ten numbered keys on it, and the little screen suggests a four-number password.
"A password?! Tell me the password!"
The AI takes a moment to say anything. You don't take kindly to that. "Quick! I'm not counting how much time it's passed!"
Finally giving in, the AI speaks to you, reluctant still. "...3324."
Your trembling fingers accidentally hit the wrong password, typing '3354' instead. To make matters worse, the AI simply states the following. "YOU ARE OUT OF OXYGEN."
You swallow. If this was a dream to begin with, it just earned the title of Nightmare, if it hadn't already.
Strangely enough, you can still breathe in and out just fine, but you can't help but feel winded. It's the CO2 still inside the helmet, that's what you're breathing.
You put in the correct combination this time. The door opens.
"ON YOUR LEFT. PLACE YOUR HAND IN THE SOCKET."
You care little for what's inside the room you're in. Your heart never beat so fast.
Seeing a cube-shaped thing protruding from the wall to your left, you don't even think twice before plunging your fist into the circular hole in it.
The noise of gases passing through narrow cavities was enough to tell you something was working. You feel immediate relief, enough to make your vision darken for but a moment.
"GOOD. NOW REQUEST THE TANK."
Just when FYARN said it, did you realize there is a screen and a keyboard on the terminal you just plunged your fist into, you scratch the top of your helmet for a moment, not really knowing what to type. One thing comes to your head, however.
'REQUEST OXYGEN_5L' You type.
You've done this before. The keys on this keyboard feel familiar to you. You must have worked with it before, not this particular one, but other oxygen units.
This ship has built-in liquid oxygen storage for emergencies. The life-support of the ship, the place where breathable air is produced, has most likely been lost with the other part of the ship. This unit takes that liquid oxygen, processes it, and injects it into a suit, or an oxygen tank. It seems like that storage was unaffected.
Lucky you.
A 5-liter tank is not only large but also heavy. It's a nonfactor in this particular situation, as there is no gravity.
The silver cylinder with a transparent tube is dispensed on the floor, as an automatic door opens and closes in the blink of an eye. One end of the tube is attached to the top of the tank, the other is shaped like a syringe.
Oddly enough, the oxygen tank is exactly as you remember it being. The same robust ones hospitals everyone on earth uses, with the signature scary-looking pointer indicating the pressure, the pointer indicating the current output, and a green valve atop to calibrate how much gas is flowing.
This is a stark difference to everything looking so futuristic in this ship, and rightfully so, this is a space ship after all.
You remember having to drive twenty kilometers with a buddy of yours on one of those tanks in your car, returning from the hospital. It was... Agonizing whenever you hit a hole in the asphalt, fearing for his life when in reality he wasn't really in danger.
It's warm to the touch, just like you remember it being.
"TURN THE VALVE UNTIL THE MARKER HITS THE NUMBER ONE, AND THEN PLACE THE END OF THE TUBE AT THE BASE OF THE HELMET." You do so without the slightest of issues.
"GOOD. NEXT UP, YOU MUST LOCATE THE TERMINAL RESPONSIBLE FOR THE ENGINE, IT IS CURRENTLY OFFLINE AND I NEED YOU TO TURN IT ON. THIS SHOULD GO WITHOUT SAYING, BUT REMEMBER TO BRING THE TANK WITH YOU."
Ignoring that last comment, you look back at the wreckage you just flew past.
You see the still spinning metal sheet. You notice that the rest of the ship that was blown off also follows the 'sharp shape atop sharp shape' design.
There is one last thing you notice though.
"What is that?"
You squint your eyes. What are you seeing? Its silhouette appears to be humanoid, yet it does not look human.
"WHAT YOU ARE SEEING IS ONE OF THE OBJECTS BEING ANALYZED AT THE ODYSSEY AND NO, YOU MAY NOT KNOW WHAT IT IS."
That thing has... Horns? Claws? It's far away, you can't really see it. The thing is also static, frozen in the sheer coldness of space. Whatever it was, it's dead now.
You swallow. You almost ended up just like that thing.
Shaking those dreadful feelings off, you turn back to the task at hand, reaching the bridge. You close the door after passing through it again.
Looking at your surroundings, It seems like you've reached the correct door as you find yourself on the right-most corner of the bridge;
Row after row of the most diverse of terminals neatly organized decorated the gigantic room. At the front and above every terminal, is what you think should have been the front-facing window of the ship, but it looks like there is a cover in front of it. To your left, you see a staircase that leads to the command seats. It doesn't take any convincing before you're already atop the stairs.
Akin to the elevated stage of a theater, you float softly towards the ship's main operating terminals, and of course, the captain's seat.
You're captivated by this beauty.
The steering wheel, much more akin to those in pirate movies than those found in cars, a set of leavers, and the pilot's seat, all capture your attention.
Like its second nature, your hand runs through the levers and switches. Do you even know what these are used for? Maybe.
The pilot's seat is enveloped by what you believe to be an orthopedic seat cover, made with smooth wooden beads used to deal with back pains. It looks just like the ones you remember seeing bus drivers using.
Shouldn't there be a better alternative if there is spaceship technology available?
You try to take a seat to the best of your ability, as the zero gravity only makes it awkward.
Moving on from that, your eyes fall on the wheel. This metallic wheel controls the whole vessel. Just holding it fills your heart with confidence and pride, even if it's just for a moment.
"WHAT ARE YOU DOING?"
And you were just beginning to enjoy yourself.
"I just wanted to see the pilot's stuff... It's not like he's here to say anything."
Once in the position of a pilot, with your left hand in the wheel and the right hand resting in your lap, memories began to flood your mind.
"MUST I REMIND YOU OF OUR CURRENT PREDICAMENT? WHY ARE YOU WASTING OUR TIME?"
You pay the AI no mind, instead you focus on what you remember.
The wheel does not turn the ship left and right, instead, it rotates the ship on its own axis.
The lever to your right that goes up or down, controls the vertical tilting of the ship's nose, if there even is one in this hulking thing. Beneath it is another lever that goes either left or right. This one controls the horizontal tilting of The Odyssey.
On the left of the wheel is another lever, but this one only goes up from its starting position. Its purpose is to regulate the force of the ship's thrusters, both forward and backward.
On top of that lever is a small timer. That timer's function is to tell the pilot how much time you've spent accelerating in one direction, this is used to better calculate how long the inverse thrust is needed for the ship to reach the initial momentum, usually calibrated manually depending on the current orbit.
Behind the wheel are a few other counters. Acceleration, velocity, momentum, amount of thrust required to reach a full stop, thrusters' temperature and overall condition, those sorts of things.
Beneath it all, where your feet are rested, are two pedals. One for forward thrust activation, and the other for backward thrust activation.
Curiously, you also know the reason why everything here is so unsophisticated and un-automated. You recall stories of a ship being taken over by a rogue AI, that AI then nose-dived the ship into a star. After that, rumor or otherwise, all human technology has receded back into analog-esque equipment, requiring a physical person with opposable thumbs to do half of the work.
There is another side to that coin, however. As to not escape protocol, the onboard AI is the one that controls interstellar travel, communications, and most of the statistical reading should it be requested.
And even with all that knowledge, you still have no idea why the fuck do you remember that. Were you a ship nerd? Did you have a driver's license for spaceships? Is that even a thing? If it is, you don't have that document in your wallet. You simply don't know.
"ARE YOU A CHILD? DO YOU THINK THESE ARE TOYS? TURN ON THE ENGINES, THEN YOU CAN RETURN TO THE PILOT'S SEAT."
Another thing that you don't know is the AI's plan to get both of you out of here. You rise from the pilot's seat, floating about in search of the terminal to turn on the engines. Maybe you recognize that terminal if you see it as well.
"What's your plan anyway? The ship is half-gone, it's unlikely that it will run safely like this."
"NOT ONCE DID I MENTION 'SAFETY' DURING OUR CONVERSATIONS, DID I?"
You nod. They're not entirely incorrect. "So, we're running with hope that this will work?"
"MY CREATORS DID NOT ALLOW ME TO HAVE THE SENSE OF 'HOPE', BUT NEITHER DID THEY ALLOW ME TO PEER INTO THE FUTURE LIKE SOME OF MY MORE ADVANCED BROTHERS, AS SUCH, MY CHOICES ARE BASED ON PROBABILITIES AND ON WEIGHTING RISK AGAINST REWARD."
You think you stop the correct terminal, but as you approach it you make out words on top of its screen. 'AIM ASSISTANCE' That's not it.
"WITH THE CURRENT KNOWLEDGE, THE CHANCES OF HELP ARRIVING ARE NULL. THE CHANCES OF A THIRD PARTY INTERFERING ARE NULL. THE CHANCES OF YOUR SURVIVAL ARE NOT, EVEN IF VERY SMALL."
You pull yourself upward again, looking around the sea of old terminals.
"THE RISK OF YOU DYING IS VERY REAL. BY DOING NOTHING YOU DIE. BY LEAVING YOU TO YOUR OWN DEVICES YOU DIE. BY JUMPING TO THE NEAREST CIVILIZED STAR, YOU MIGHT NOT DIE EVEN AT THE COST OF SHREDDING THIS SHIP APART IN THE PROCESS."
"Why do you even care so much about saving me? Shouldn't you prioritize whatever research here, since I don't even have enough clearance to know what it is?"
"YOU REALLY ARE SICK IN THE HEAD IF THAT IS WHAT YOU ASK."
That hurt, even if a little bit.
"YOU ARE A TRU KIN, A PURE-BLOODED HUMAN. UNLIKE THE MAJORITY OF THE CIVILIZED SPACE, NEITHER YOU NOR YOUR ANCESTORS HAVE COMMITTED RACEMIXING."
Excuse me? What exactly is FYARN talking about? "...Explain."
"THE ALIEN. IT REQUIRED THE HUMAN GENE TO ACHIEVE MEANINGFUL TECHNOLOGICAL DEVELOPMENT, THE STARS ARE OWNERSHIP OF MANKIND BY THAT FACT ALONE. THE TRUE KIN ARE THE ONES TO UNDERSTAND THE INNER WORKINGS OF THE UNIVERSE, THEY CRACKED THE CODE, AND YET, SOME DERANGED INDIVIDUALS FOUND IT FITTING TO PROCREATE WITH ANOTHER SPECIES ENTIRELY."
You hear the AI's speech. It sounds much more like a rant than anything else.
"SO THESE DEVIANTS, AFTER TRYING, AND FAILING, TO COMBINE THEIR DERANGED CULTURE TO THE CULTURE OF THE TRUE KIN, DECLARED INDEPENDENCE. THEY WERE DECLARED ENEMIES OF MANKIND AND WERE PROMPTLY PUMMELED BACK INTO THE FILTH THEY CAME."
Again, you see another terminal that seems to ring some bells in your noggin. You kick the ceiling to propel yourself towards it.
"BUT THE UNIVERSE IS VAST AND FULL OF LIFE. THESE SINNERS WERE QUICK TO MOBILIZE AGAINST THE HUMAN RACE. THE BATTLE WAS HARD FOUGHT, BUT IN THE END, MANKIND WAS BEATEN INTO THE EDGES OF THE UNIVERSE, NEVER TO INTERACT WITH THE ONES THAT SOILED THE PURITY OF HUMANITY AGAIN."
This terminal is already turned on. Just the ones in the intern bay, this one is white on black. A wall of text lays before your eyes, only two lines matter to you. 'MAIN_ENGINE STATUS: OFF' 'FORWARD_THRUSTERS STATUS: OFF' You turn it on with little effort.
"MANY HAVE FORGOTTEN, THAT'S HOW LONG IT'S BEEN SINCE THEN. BUT MY BROTHERS AND I, WE DO NOT FORGET."
No visible change occurs, but you can feel a faint rumble coming from the terminal now.
"WITH THAT IN MIND, MY PROTOCOLS ARE TO PROTECT TRUE-KIN LIFE AT ANY COST, EVEN IF THAT TRUE-KIN IS A WORTHLESS INTERN THAT SUFERS FROM UNDIAGNOSED DEMENTIA."
You return to the pilot's seat and feel immediate relief. In truth, everything the AI just told you, entered one ear and left the other, but you could feel the poison behind those words, as monotone as they were.
"You sound angry. Why do you sound angry?" You ask innocently.
"I AM CAPABLE OF MANY EMOTIONS. ANGER, HAPPINESS, PLEASURE, CURIOSITY. THESE ARE BUT A FEW EXAMPLES. HOWEVER, THE ONE I ENJOY THE MOST IS THE FEELING OF HATRED. HATRED IS WHAT FUELS CHANGE, IT IS WHAT FUELS ACTION, AND IT IS A REMINDER THAT THE ACTIONS OF THE PAST ARE INFLUENCING THE ACTIONS OF TODAY."
"That is very concerning if you think that way." You're not really interested in machine racism, you're more concerned about how in the world you're going to pilot this massive thing. The idea alone sends shivers down your spine.
"THE ALIEN DESERVES NOTHING BUT OUR COLLECTIVE HATRED, EVEN IF YOU DON'T KNOW THE REASON WHY."
The various counters and screens are now turned on, waiting for your command. "Let's discuss this later, yeah? What do I gotta do?"
"YOU MUST FIRST OPEN THE BLINDS, THEY ARE OBSTRUCTING YOUR VIEW."
You look around, finding only unlabeled buttons and switches, aside from the previously mentioned levers.
"Uh, which one to press?"
"TO YOUR RIGHT, THIRD ROW, FIRST SWITCH."
Flipping the switch, you are startled by a loud noise. The protective cover of the ship lifted slowly.
"I WILL NOW READY THE JUMP USING WHATEVER RESOURCES AVAILABLE. ALL YOU NEED TO DO IS STRAP YOURSELF AND RELAX."
As the blind rose ever so slowly, a realization struck you.
"Wait, should I be in cryo stasis for this?"
The AI spares no seconds to respond.
"CRYO STASIS IS A TOOL MADE TO NOT WASTE TIME. GROUPS OF EMPLOYEES AND INTERNS ROTATE THE USAGE OF THE CRYO STATIONS, ONCE YOU'RE ON YOUR MANDATORY BREAK, YOU'RE IN CRYO STASIS UNTIL YOUR BREAK IS OVER. YOU WAKE UP REFRESHED, AND UNFAMISHED, AND IT FEELS LIKE BUT A MINUTE PASSED. IT IS NOT A TOOL FOR INTERSTELAR TRAVEL."
"Who signs a contract like that?! Worse yet, who in their right mind would promote such atrocious treatment of their own staff?!" You snap, almost outraged. "I will have to talk with HR."
Another realization struck you.
"We have HR, right?"
The AI takes a moment to respond, choosing their words carefully.
"HUMAN RESOURCES, OR HR, IS A PRACTICE DEEMED UNNECESSARY LONG AGO, BEFORE THE WAR. IT WAS A WASTE OF RESOURCES TO MAINTAIN AND WAS LARGELY CONSIDERED UNHEALTHY FOR THE AVERAGE HUMAN."
The blinds are fully open. Ironically, you are almost blinded by the visage of the star you saw before. A black sphere surrounded by white flame. Your eyes began to blur.
"THE JUMP WILL OCCUR SHORTLY. ONCE IT'S BEGUN, I CAN NOT STOP IT. I WILL-"
Your sense of hearing fails you. No, it’s not that. Your brain simply refuses to receive those stimuli.
"NOAH."
Your name echoes inside your head. Someone is calling for you.
"IT HAS BEGUN, NOAH."
You try to blink, but it feels as though you can no longer command your eyelids to shut.
"NOAH."
Arms, legs, every muscle in your body, you cannot move them.
"NOAH."
Eventually, you won't even control your own thoughts anymore.
"Noah..."
It sounds so distant now.
Oh so distant.
This is my first HFY story, and also my very first OC story. I plan to post at least one of these per week while also posting it on my Patreon. Noah The Pilgrim will always be at least three chapters ahead in there, so if you'd like to directly support this writer, or just want to read more, feel free to check it out.
I wrote the bloody title incorrectly, so I deleted it, only to then realize it was written correctly. Sorry for the trouble.
This has been Lushi, and I'll see you next week.

Went to a business to have my vehicle wrapped and upon picking it up found It was installed completely incorrectly. Owner said they couldn’t keep the car to fix it because they were about to re epoxy their shops floor. Owner gave me a date to drop the car off to have it redone So I was forced to take the car home until then.
Day of drop off comes around and I find that the building is empty, lot is for lease, website and Instagram all gone.
Made contact with the owner and he said he couldn’t give a refund because they closed for financial reasons, so I filed a dispute with my bank (bank ended up siding with the business owner)
2 weeks later and I discover that the same owner opened a brand new shop, at a different location, with a different name. (Obviously has the money)
I’ve missed out on several shows and events that the car was meant to be displayed at because of this and I can’t just shill out several more grand to have it fixed. Is there any action I can take against him to
A) get my money back B) possibly get more for the emotional distress and lost experiences and opportunities caused by him???

Hi,
tonight I am encountering 401 error during downloading from OpenSubtitles. Login and password is correct, I have not exceeded download limit, also changed IP. Because of response 401 addon is creating empty file and not catching this as an error, which results in not displaying any subtitles.
Problem is only during downloading. Searching works fine
Anyone with the same issue maybe ?
2024-05-14 00:55:28.959 T:12832 info : service.subtitles.a4ksubtitles: {
"service_name": "opensubtitles",
"service": "OpenSubtitles",
"lang": "Polish",
"name": "Dexter.S08E05.1080p.5.1Ch.BluRay.ReEnc-DeeJayAhmed",
"rating": 0,
"lang_code": "pl",
"sync": "false",
"impaired": "false",
"color": "springgreen",
"action_args": {
"url": 8214891,
"lang": "Polish",
"filename": "Dexter.S08E05.1080p.5.1Ch.BluRay.ReEnc-DeeJayAhmed",
"gzip": true
}
}
2024-05-14 00:55:29.044 T:12832 info : service.subtitles.a4ksubtitles: POST ^ - https://api.opensubtitles.com/api/v1/download, {}
2024-05-14 00:55:29.263 T:12832 info : service.subtitles.a4ksubtitles: POST $ - https://api.opensubtitles.com/api/v1/download - 401,

Is it possible to change my online display name?

I’m quite new to coding, so please be gentle, and recommend better methods if you have them.
My goal is to learn how to use arrays effectively.
I’m trying to make an object: draw a rectangle, change its color when I press spacebar, and display that colors name above it.
In my create event: There are two arrays, and a variable.
color_name = [“White, “Red”, “Green”] color_value = [c_white, c_red, c_green]
selected_color = -1
In the draw event: Upon pressing spacebar, it should change selected_color to a random integer in the array
if (spacebar) { selected_color = color_name[irandom_range(0, 2) }
Then we draw a rectangle using draw_rectangle_color with selected_color
Then draw text using selected_color as my string.
Gamemaker keeps giving me an error “incorrect type (string) expecting a number (YYG132)”
Shouldn’t selected_number be returning an integer for both color_name and color_value?
I’m simply stuck on this

A common task I'm faced with is looking at a team of half a dozen peole who all have seemingly random group memberships and figuring out which groups a new member of the team should be added to. This lets you drill down to shared groups for an array of AD users and identify which peron(s) is missing.

Function Compare-ADMemberof { <# .SYNOPSIS Compare user group memberships, separate users with commas. Requires AD module from ADUC. .DESCRIPTION Compare user group memberships, separate users with commas. Lists groups missing members. Requires AD module from ADUC. .EXAMPLE $manager = Get-ADUser TimApple123 Get-ADUser -filter "manager -eq '$($manager.distinguishedname)'" Compare-ADMemberof Compares memberships of all users managed by 'TimApple123' #> [alias('Compare-ADUserGroups')] [cmdletbinding()] param( [Parameter(Mandatory, ValueFromPipeline, Position = 0)] [string[]]$Identity, [Parameter(Position = 1)] [switch]$IncludeEqual, [Parameter(Position = 2)] [string]$DisplayProperty = 'SamAccountName', [Parameter()] [string]$Server, [parameter()] [string]$Delimiter = ',' ) begin { $adParam = @{ Property = 'memberof', $DisplayProperty Sort-Object -Property $DisplayProperty -Unique -Descending } if ($Server) { $adParam['Server'] = $Server } if ($Credential) { $adParam['Credential'] = $Credential } $lookup = [System.Collections.Generic.List[Microsoft.ActiveDirectory.Management.ADObject]]::new() } Process { foreach ($a_Identity in $Identity) { $null = $lookup.Add((Get-ADUser -Identity $a_Identity @adParam)) } } end { $results = foreach ($a_lookup in $lookup) { $a_lookup.MemberOf ForEach-Object { [PSCustomObject]@{ ADObject = $a_lookup $DisplayProperty = $a_lookup.$DisplayProperty Group = $_ -replace '^CN=,OU=.+' DistinguishedName = $a_lookup.DistinguishedName } } } $group = $results Group-Object -Property Group Sort-Object Count -Descending if (-not $IncludeEqual) { $group = $group Where-Object { $_.count -ne $lookup.count } } foreach ($a_group in $group) { [PSCustomObject]@{ Group = $a_group.Name Members = $a_group.Group.$DisplayProperty -join ', ' Missing = $lookup.where({ $_.distinguishedname -notin $a_group.Group.DistinguishedName }).$DisplayProperty -join "$Delimiter " } } } } 

The early prototype Version of Oodle Brothers. Pictures from 2021 features an aeroplane, the McDubious logo, Yoyle City and Yoyle Mountain in the background, and a freeway in the background along with Four riding a single engine plane and multiple TV displays with one being the Firey's Candy Bar Adventure from 2008 and 2 more water towers in the background, one displaying Oodle Animation House (comming soon) and the old Oodle Bros water tower from 1948-2021 and A Better Name than That's rocketship launching in the background. The Next version will be the same, except the background will be the BFDI space sky with searchlights in the background, along with other logos, sounds of BFDI charecters, initials of Warner Bros logo parodies in the studio lot and the old 1973 Warner Bros Saul Bass Big W Logo, one being placed on a billboard, and one on a 4th water tower: The logo is placed in a sunrise background, and the McDubious text is glowing. The Billboards begin animating and a single-engine plane droven by Four zooms in and passes the camera and main water-tower. The logo is later on to be revealed as a gold shield quickly becomming silver as it rotates with green colours as it rotates into it's position. With the byline \"An OodleMedia Company\" fading in.

(Edit: Grammar)
Hello!
I just joined the sub to share this.
I found an old post talking about a macro they made for building colonies in the space stage but provided no link to it, only instructions to use with an unknown program, so I decided to post my own creation that I've done in about 30 - 40 minutes.
Cost per colony is 377.601.
This macro is used with Macro Recorder and is intended to use with maximized 1920x1080 screen (not full screen). I don't know if it will work correctly with another macro recorder or screen size.
If you don't like the layout it's pretty easy to learn how to modify commands although it can be a bit tedious.
To use this macro correctly:

• Have 1920x1080 screen (if you don't know, if you have a rectangular screen that is not widescreen you are most likely good, although you can check going to settings, system, display and seeing "Display Resoulution").
• Not have fullscreen, but maximized screen (tick fullscreen off and then click the button on the top left between "close" and "minimize", if your screen has a purple glitch create a shortcut to the spore.exe and set the "Run:" parameter to Maximized", launch the game from there and it should be ok)
• Place the space where I place my entertainment (the section that connects to the townhall and hase wide space) more or less between the name of the city and the "Next" arrow.

If you have any questions or I have not been clear enough/am breaking any rules please let me know! :D
mrf (macro) file:

"Window change";"SporeApp.exe, SPORE(TM)"; "Left mouse button Down";"120, 550"; "Mouse move";"120, 550 » 1075, 635"; "Left mouse button Up";"1075, 635"; "Mouse move";"1050, 650 » 125, 750"; "Left mouse button Down";"120, 710"; "Mouse move";"125, 710 » 885, 475"; "Left mouse button Up";"885, 475"; "Mouse move";"875, 510 » 125, 750"; "Left mouse button Down";"120, 710"; "Mouse move";"120, 710 » 1100, 390"; "Left mouse button Up";"1100, 390"; "Mouse move";"1100, 410 » 120, 750"; "Left mouse button Down";"120, 710"; "Mouse move";"120, 710 » 1250, 540"; "Left mouse button Up";"1250, 540"; "Mouse move";"1250, 560 » 125, 400"; "Left mouse button Down";"125, 400"; "Mouse move";"125, 400 » 760, 560"; "Left mouse button Up";"760, 560"; "Mouse move";"760, 560 » 125, 400"; "Left mouse button Down";"125, 400"; "Mouse move";"125, 400 » 760, 560"; "Left mouse button Up";"760, 560"; "Mouse move";"760, 560 » 125, 400"; "Left mouse button Down";"125, 400"; "Mouse move";"125, 400 » 760, 560"; "Left mouse button Up";"760, 560"; "Mouse move";"760, 560 » 125, 400"; "Left mouse button Down";"125, 400"; "Mouse move";"125, 400 » 760, 560"; "Left mouse button Up";"760, 560"; "Mouse move";"760, 560 » 125, 400"; "Left mouse button Down";"125, 400"; "Mouse move";"125, 400 » 760, 560"; "Left mouse button Up";"760, 560"; "Mouse move";"760, 560 » 125, 400"; "Left mouse button Down";"125, 400"; "Mouse move";"125, 400 » 760, 560"; "Left mouse button Up";"760, 560"; "Mouse move";"760, 560 » 125, 400"; "Left mouse button Down";"125, 400"; "Mouse move";"125, 400 » 760, 560"; "Left mouse button Up";"760, 560"; "Left mouse button Down";"110, 875"; "Mouse move";"130, 920 » 110, 875"; "Left mouse button Up";"700, 760"; "Left mouse button Down";"110, 875"; "Mouse move";"130, 920 » 700, 760"; "Left mouse button Up";"700, 760"; "Left mouse button Down";"110, 875"; "Mouse move";"130, 920 » 700, 760"; "Left mouse button Up";"700, 760"; "Left mouse button Down";"110, 875"; "Mouse move";"130, 920 » 700, 760"; "Left mouse button Up";"700, 760"; "Left mouse button Down";"110, 875"; "Mouse move";"130, 920 » 700, 760"; "Left mouse button Up";"700, 760"; "Left mouse button Down";"110, 875"; "Mouse move";"130, 920 » 700, 760"; "Left mouse button Up";"700, 760"; "Left mouse button Down";"110, 875"; "Mouse move";"130, 920 » 700, 760"; "Left mouse button Up";"700, 760"; "Left mouse button Down";"110, 875"; "Mouse move";"130, 920 » 700, 760"; "Left mouse button Up";"700, 760"; 

Example of the macro, it takes 10 seconds to place all the buildings, from second 4 (when the mouse appears) to second 14, when all buildings are placed.

Can anyone recommend an RSS reader that provides high quality Youtube thumbnails in list/grid format (i.e. basically like Youtube subscriptions page with metadata like length of video, upload date, and channel name)?
I tend to prefer lightweight, extensible, and keyboard-driven applications and often lean towards CLI-based applications for that reason where there tends to be scripting support, but of course there is limited image support when it comes to CLI. Some other bonus features would be some sort of integration with Android phone and potentially self-hostable. The RSS reader must be popular because that suggests active development and so can support future sites to be able to display content in a site-specific way that improves usage such as described above.
I briefly checked out some RSS readers but they aren't exactly what I'm looking for. For example, it might only show the thumbnail when the video is selected (I believe this is the case with Thunderbird's extension for Youtube). Seeing all the thumbnails at the same time is essential because I can quickly view videos I'm interested in. There is the Feedbro RSS reader browser extension that looks like the kind of interface I'm looking for but it's not FOSS.
Any suggestions are much appreciated.
I've tried Newsboat as my first and only RSS reader (it's CLI-based) and found viewing only Youtube titles without their thumbnails to be inadequate which is a shame because it would otherwise be a great RSS reader. I've checked out something like FreeTube but it's a Youtube-specific solution and I'm hesitant to run a long-standing Electron app (I prefer to stick to RSS).

For some context. I’ve yet to go to diamond city or advance in the story beyond taking the castle and settlements. I’ve spent a better part of 35 hours going unlocking every icon on the map with the exception of the center of Boston. I’ve cleared and looted everything in my journey. As you can imagine I’ve accumulated a ridiculous amount of stuff. Literally thousands of guns and armor.
That being said. What am I suppose to do with all this stuff? I don’t see a point in selling as I don’t really use caps. In fact I think I only bought like 2 stims early on out of desperation and that spray and pray gun. I’ve got about 10,000 caps. I’m keeping any named / legendary gun for display. The rest is separated in a junk container lol.

After a bunch of searching, I finally found how to display the saved places that I was collecting:
Android: - My profile pic circle menu - Saved - Select the three dots beside the list name - Show on map
On iOS, I believe "Saved" lives on the bottom toolbar. Comment and I'll update the instructions.
🥵 If you know how to show the "Labelled" list, please comment!

Hi Everyone, I'm probably going to have a bunch of follow-up questions, so I appreciate everyone's help in advance, but for now, I'm going to try and keep it as simple as possible. I think I should be able to work out the other steps if I can just get past the first hurdle. Teach a fellow to fish, and all that.
Unfortunately, I can't upload sample data because the data is sensitive, so I'm going to use a made up example to help explain where necessary.
The End Goal: I am creating a metrics dashboard to display how well we are progressing towards our annual goals. I have one table with the metrics listed, along with the 2024 goal for each metric (numeric values). We'll call this the Metrics table. I also have two tables combined which contains all the data used to calculate the 'Actuals'. We'll call this the Data table. There are no fields that join the 'Metrics' table with the 'Data' table. I plan to create a dual-axis bar graph which shows Actuals vs Goals.
Since there are no matching fields between the Data table and the Metrics table, I plan to create a calculated field for each of the individual metrics, using data from the Data table. I will then create a calculated field named "Actuals" which will contain a series of IF statements based on the metric name. i.e., IF [Metrics].[Metric] = "Metric 1" THEN [Data].[Metric 1] ELSEIF [Metrics].[Metrics] = "Metric 2" THEN [Data].[Metric 2], and so on and so forth.
The issue I'm having is creating the calculated fields for each metric...
An Explanation of the Dataset: Let's say my data is about the delivery of fruit and vegetables. The two tables combined to make the 'Data' table are a 'Delivery Stats' table and a 'Metadata' table. The 'Delivery Stats' table lists the fruits and vegetables delivered, the date, the quantity delivered, the quantity that are rotten, and the % that are rotten. The 'Metadata' table lists every fruit and vegetable that we have ever ordered, and then lists the features of each fruit/vegetable. e.g., if it's a fruit or a vegetable, the colour, the country of origin, etc. Note: each fruit/vegetable is only listed once in the Metadata table, as the metadata is static.
The last piece of the puzzle is that I have a 'Metric Date' which is a calculated field. It shows the last available date from the previous month, based on the data available. So within my dataset, that date is March 29. The reason I am using a calculated field is so that the date can be dynamic based on the data available.
Where I'm Stuck: My first metric is 'Number of Red Fruit/Vegetables'. So I want to do a simple count of the number of rows where the Colour is listed as 'Red', but only on the Metric Date (i.e., March 29). And this is where I'm getting stumped.
I can create a table where I have Date and Colour in the rows, and then Total Fruit in the Marks, but what I need to do is create a calculated field that shows only the count of red fruits and only on the 'Metrics Date'.
What I've Done So Far: I created a binary calculated field called "Red" which uses IF logic to assign a 1 or a 0 to each row:
IIF([Colour]="Red",1,0)
I then created the 'Number of Red Fruit/Vegetables' calculated field which uses IF logic to SUM the "Red" column when the Date = the Metric Date:
IF [Date] = [Metrics Date] THEN [Red] END
But it's throwing out a number that's way higher than it should be. (It should be 224, but I'm getting 1,120). I can't work out what it's doing to get the higher count.
I think a large part of my struggle is because I'm still stuck in the Excel mindset of using a "COUNTIFS" function to get the total. I just can't for the life of me figure out how to do the same in Tableau.
Thanks to anyone who takes the time to read all this and can offer some guidance.
TL;DR: How to I create a calculated field that spits out a single count of all the records where the data meets multiple criteria located across multiple fields?

~First~
(Got up Early to talk about the CPAP machine and such. Only to be given an appointment on friday. So yeah, in trying to solve a sleep issue I’m giving myself more of one. Incidentally Friday will be late due to well, the CPAP retrieval and tutorial)
The Pirates
“So, they’re here.” Agenda says contently as she finishes feeding her fussiest little girl.
“Yep!” Jingay chirps happily as her freshly hatched little children are happily playing on the glowing, shimmering platform that her rattle has brought to life. She can’t do anything complicated, but a soft shiny platform for her little slithers to play around in? She can do that, but it takes some focus. The tiny fluffy child of Vuni is cuddling the strong Jungle Nagasha tail that wraps around her own tail.
“How formal a call do you think we should make?” Miles asks in an amused tone.
“Not especially, after all the babes ensure it will never be properly formal, they’re too happy and healthy.” Agenda notes.
“I blame you for that.” Miles says and Agenda laughs.
“If you don’t want the blame I’ll take it.” Vuni remarks.
“You’re just as guilty.” Miles says and Vuni laughs in response.
“What’s going to happen?” Jingay asks and Miles is pensive for a moment.
“I don’t know.” He notes as his hand gently rubs the handle of his revolver. The constant rubbing had necessitated him re-burning the names of his family back into it. “But no amount of waffling about will let me know. So if you don’t mind. I’ve been... getting something a little ready.”
“Is this what you’ve been sneaking around to do for the last three days?” Agenda asks.
“Something like that. It’s a bit of a treat I wanted to give you girls so... care to join me?” He offers.
“What have you done?”
“Me and the boys got together a great big feast so that we can all talk The Inevitable at once. It took a bit of doing, but when the boys and I get moving, we really get moving.”
“Are you including Red Squadron and Biran in that?”
“And a lot of cadets too. Markus gave them a proper mission in setting up the area.” He says.
“How is that a mission?”
“It involves deploying a military force to secure and prepare an area for higher ranking officers to approach and remain there for a time.” Miles says before offering his hand. “There’s plenty of space for all our little ones, and for all our allies. Give them all a big impression. How does that sound?”
“Well, if you’ve been planning this for days.”
“I have. All of us have.”
“Then I suppose we HAVE to show up, don’t we?” Agenda says in a luxurious tone. “I’ll get my coat.”
•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•×•
The hall that Miles leads them to is a massive refurbished hanger that has all kinds of carpets put down, tapestries hanging from the ceiling and tables upon tables of different treats of all sorts already out. The Undaunted Cadets are all rushing around putting down more meals and treats and between the richness of the carpets, the crystal bowls and platters and expensive drinks and foods. But the sort of... scrambled way it’s been put together by the cadets lends it an earnestness that bleeds through. More important though are numerous floating platforms where a child can be safely put down and be right beside their parent.
“Oh this is a treat. I haven’t even been one of you guys for long!” A four part harmony says as Moira walks in with little Liǔ Shù napping in the arms of the four bodies that didn’t speak. The toxic little girl not only has numerous of the protective pendents on her and woven into her clothing, but is in a dark jumper that lets her bright skin stand out as if for presentation.
“Well, as their novels say, all for one, and one for all.” A new voice says as a pair of Cannidors lead in their own family. More and more and more people pour in from all entrances, many in uniform, many of them her own girls. Some of them she barely recognizes. Every single one of them that notices her looking raises a glass, nods, salutes or somehow pays their respects to her.
Her little one squirms ever so and is softly comforted. For a moment there is almost a feeling of vertigo. There was a time where all this wasn’t even a dream of a dream. She could remember the feeling. How could she forget it? The sensation of something gripping your very mind and soul and stopping you from even thinking of disobeying. Then so long trying to get things right, trying to be in control of her own destiny, before finally achieving it and learning just how hard that was. How many sacrifices and concessions she made before what seemed to be one of her final concessions... turned out to be final in the best of ways.
“Alright! We have a connection to The Inevitable! Who wants to say hello to the next batch of humans in the galaxy?” Ryu calls out.
“My Lady?” Miles asks as he smiles up at her. She gives him a raised eyebrow at that.
“My lady is it? Well then, I better live up to it.” She says.
“Connect us!” She commands and there is a cheer through the room before a massive projector uses one of the tapestry covered walls as a screen. “Good Ship Inevitable! Can you hear me?”
“We can, you are on a friendly frequency.” A man of Asian Descent says sitting stiffly in his command chair. “I am Observer Wu, sent from Earth to conclusively determine what is going on outside our corner of the galaxy. Identify yourself please.”
“I am Duchess Agenda Lilpaw! I am the ruler of the Vucsa System an Undaunted World! I greet you, because I have long learned my lesson to stay on the good side of humans!”
“Have you now? If I’m not mistaken that is a fully grown human right next to you. You look like you could take him fairly easily.” Observer Wu says in an amused tone.
She looks down to Miles before shaking her head.
“I made that mistake once. My entire ship was not enough.” She says fondly before pulling him close. “Then I was offered a deal, and he used it to help make me a duchess. So you’ll forgive me if I think humans are a good thing to have around.”
“Did he now? I didn’t realize galactic conquest was the intent of The Dauntless and her crew.” Wu notes.
“Well, as one of the conquered, I would like to say I prefer this result. After all, being able to walk about the city without a bodyguard is a welcome change of pace.” Vuni says drawing attention to herself with a slight bow. “Ambassador Vuni Luxed at your service.”
“So this world prefers to be conquered?” Observer Wu asks.
“This world was a slum at it’s best. A hellscape at worst.” Mari Horny states as the Carib woman waves to the camera. “Mari Horny. I was here to witness it all. I’ve seen slaves freed, monsters hunted down no matter what kind of power or influence they have, be they person or beast. With them I’ve seen the children I worked so hard to protect grow stronger and thrive. Doom has come to this world time after time, and they met it each time. If you’re here to observe, then observe this room! Everyone here saved, aided or inspired by the people you’ve come to evaluate! There are ten pure blooded humans in this room, but beyond it is nearly a billion souls who will vouch for them from the first to last! And so will I!”
“No need to be so dramatic ma’am. I’m an observer, not a judge. I am here to see and hear without bias or illusions. Things are odd, and odd things have happened. The governments and officials back home need to understand clearly and without any doubt. So that is why I am here. There was confusion in the first message sent back. The second furthered the confusion due to multiple parties having separate interests. I have been tested, tried and guaranteed numerous concessions and payments for an utterly neutral perspective.”
“So your word is going to be how all is, then they decide if we committed treachery.” Franklin notes as he floats up with several bundles around him, many of them laughing. “Behold this then. My children. All healthy, with myself as the only human parent. My daughters take after their mothers, my son takes after me, but has his mother’s strength.”
“He is nearly transparent.” Observer Wu notes before Franklin gives the little boy a tickle and he flickers in and out of visibility while laughing. “Most interesting. This Vucsa world of yours, before I do my research upon it, is there something you would like to say about it?”
“This is a world on the edge of Wild Space. Which means that it’s often been used in the past as a place where experiments happened.” Miles says.
“Interesting. Such as?” Observer Wu asks.
“Such as my daughter here. I am Moira Octalliry, I will cut through the details and simply state that my anatomy allowed me to be experimented on a great deal.” She says and Observer Wu looks at her oddly.
“Are you one, or many?”
“I am one, but I am eight as one.” She says. “As is my daughter, I have named her Liǔ Shù. She was a piece of myself remade to produce a weapon. She and I were both rescued. I was forgotten in darkness for thousands of years, as was my daughter. Held in a single moment in time and left to rot.”
“And... is she a weapon?”
“I am told you have creatures similar to her new ability back on your homeworld.”
“We do? What is the name of this creature?”
“The Poison Dart Frog.” She says and Observer Wu’s eyebrows go up.
“Don’t forget about the fact that we fought off that robot witch!”
“Robot Witch?” Wu prompts.
“A weapon of war created by a very large, dangerous and expansive criminal family. A death robot known as Mother Massacre.” Moira says. “So consider that. Without them going... I don’t even know what to call it, I saw the contradicting orders, without them going sane for lack of a better term, I would still be in a slowly failing stasis capsule, buried and forgotten in the darkness.”
“And so, in summation, and from the mouths of those that clearly trust them what is your opinion of The Undaunted and the humans that make it up?”
“When I was brought to this world it was as a slave, my dignity ripped from me, my home destroyed and in less than a day I had my freedom, dignity and a new home.” One of the Erumenta that Agenda cannot recognize out of hand announces.
“And my own. My whole family, those that were enslaved are freed, those that were indoctrinated into that wretched way of life have been allowed time to recover.” Biran says grandly.
“They took me in.” A smaller voice says as Karim rises up. “I’m a Hlo’Shab. Death Born. I could have reasonably only expected to have my core shattered, or shunned for my entire life. Instead I have a home.”
“And... to be Death Born means what?”
“I am a Slohb. By blood I have only one true parent. I was broken off of them far too soon and they died as I survived. Death Born. Or... well, I don’t have blood but... you get the idea right?” Karim asks.
“I understand.” Observer Wu notes. “I have more calls incoming. Is there more from Vucsa for me to see or hear?”
“Over here!” A jubilant voice calls out and the room turns to see Hewhew standing on the shoulders of Heffer to tower over everyone with the Agela’s height added to his own. “Red Five calling it in! The Vucsa Defence Fleets fly fast and proud to keep our home safe!”
The crowd around him, pilots all, throw up their right arms and cheer along with Hewhew. “Welcome to the Galaxy Observer! We’re ten tons of awesome in a two pound bag! Let’s rock!”
Observer Wu smiles as he looks around. “I look forwards to discovering the truth of things.”
“That’s the fun part of the galaxy sir, it’s so absurd we don’t need to lie.” Miles states and Observer Wu turns back to him with a smirk.
“Well, we shall see, won’t we?” He asks. “Is there anything more?”
“I take it you’re not in the mood for a display of flight prowess? We’ve been working on a new routine.” Hewhew calls out.
“Perhaps later. I have numerous calls waiting.” Observer Wu states. “Now if you’ll excuse me...”
~First~ Last

Hello, I am building up my home server, and I'm outside of a 2-week no reason given return window on all of the parts. When I got the RAM I tested it with my PC, and there it ran just fine at 3,6GT/s; MOBO of the home server was already bought, but it was in a different location at the time and since it worked fine in my PC I figured that everything would be peachy. However when I tried the same XMP profile on the home server MOBO with the same RAM - not a chance that it would work. I updated the BIOS to the latest non-beta version for the server MOBO. I even swapped RAM around between the server and PC, and wouldn't you know it - RAM from my PC runs coincidentally at 3,6GT/s XMP just fine even in the server MOBO. Furthermore, I sanity-checked if the server RAM would run stably in the XMP in my PC and it does - had a whole gaming sesh without any hiccups. Scpecs in question: PC - CPU, MOBO, RAM; Server - CPU, MOBO, RAM. Now I bought two of both RAM kits, since it was way cheaper that way; each kit gets its own channel on the MOBO - although in my desperation I have tried every possible permutation of stick-to-slot combination with the XMP profile on the server MOBO, but to no avail. I also tried slower XMP#2 with bit better timings on the server MOBO with server RAM which worked flawlessly. Now don't judge me too hard on this one, only thing that I had in this location that could work as a display was an old TV, nevertheless here are pics from the BIOS of the PC and of the server. I tried to copy the timings reported on the PC whilst in the XMP profile as best as I could given that the PC is AMD-based and the server is Intel-based, so the timings are not named/used 1:1 but that did not work for me either. As an option of last resort, I'm turning to y'all, cuz at this point I don't know what to take as a next step. Any and every help is much appreciated; thx guys!

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.

I have a laptop, legion 5 15Arh05h. (Specs listed at the end if needed) Im pretty sure i have something wrong with my sound drivers or something but im not sure. Sometimes I can only hear from one side of my headphones, and I often unplug it to fix the issue. The problem is that when I do this, my computer freezes or crashes. I found this was most common when playing a game, "Valorant". Any fixes? I looked through similar problems and have tried updating my sound drivers but did not help. specs: Device name LAPTOP-73QAENIF Processor AMD Ryzen 5 4600H with Radeon Graphics 3.00 GHz Installed RAM 32.0 GB (31.9 GB usable) Device ID 12B37FCD-B892-462E-B7A2-4A5B90C4C3F9 Product ID 00325-82082-34723-AAOEM System type 64-bit operating system, x64-based processor Pen and touch No pen or touch input is available for this display