The crypto industry has spent an enormous amount of money to gain influence and favor in Washington in 2023 & 2024, and IT'S WORKING.
We need your help. Please sign, forward and share the petition below.
Post it to all your social profiles & pin it to the top. Screenshot the QR code and text it to everyone you know. Or go old school, and write a letter to the editor.
We need OUR elected officials to see how their constituents feel about crypto. The lobbyist may have deep pockets, but we've got the numbers!
Urge Congress to Regulate Crypto and Crypto Mining in the U.S.: https://www.change.org/RegulateCryptoNow

The crypto industry has spent an enormous amount of money to gain influence and favor in Washington in 2023 & 2024, and IT'S WORKING.
We need your help. Please sign, forward and share the petition below.
Post it to all your social profiles & pin it to the top. Screenshot the QR code and text it to everyone you know. Or go old school, and write a letter to the editor.
We need OUR elected officials to see how their constituents feel about crypto. The lobbyist may have deep pockets, but we've got the numbers!
Urge Congress to Regulate Crypto and Crypto Mining in the U.S.: https://www.change.org/RegulateCryptoNow

So I've connected a second monitor (BenQ GL2480 75hz) in addition to my original one (BenQ EX2510S 165hz) and now my original monitor display is wrecked. Ever since adding the second monitor, any font that shows up on my original display will have random numbers and letters "bolded". In addition to that, the resolution looks a bit fuzzy now. In addition to all this, it seems as though I've lost the 165hz option in my original display unless I tune the resolution down well below 1920x1080p (it's capped at 60hz for the 1920x1080p resolution now for all applications). Despite all this, everything that shows up on my second monitor look sperfectly fine. Disconnecting the second monitor doesn't fix any of these issues. Kind of desperate at this point, any advice is appreciated :(

Hi there,
I am a 30 year old male in Canadien looking for a construction project coordinator position. There are a lot of jobs to apply for and was hoping to get some feedback about my resume from other humans before power applying to all the jobs.
Some things I am worried about are,

• Formatting, spacing, colour, font, layout, boarder etc. Most resumes I see online are double column single page essays with lots of colours and icons etc.
• My quantitative values especially the percentages.
• General thoughts?

Also, I was wondering if you apply at a job say, a week ago, can you reapply with a better resume and cover letter? Will it fly under the radar or would it leave a bad impression?
Thank you in advance for your feedback. Very much appriciated.
https://preview.redd.it/feg75vcis82d1.jpg?width=1700&format=pjpg&auto=webp&s=91be9ac74c6e24c526993891b2712f9dccb48771
https://preview.redd.it/ff7w9xcis82d1.jpg?width=1700&format=pjpg&auto=webp&s=7422f4916da3ff29950f3e1d4d43d39fdba0cadd

Per the TeamViewer site here:
https://www.teamviewer.com/en-us/tech/badge-generato#remote-control
Am adding code to create button that will download teamviewer quicksupport. the button it creates looks the way it should but it will only download if I right click on it and 'open link in new tab'.
TeamViewer logo (generated at https://www.teamviewer.com)

Hello, I need help fixing a crash issue. Every time I try to use the smithing table to craft the game just crashes for some reason.
What mod causes the crash? I already tried disabling recently installed mods without success.
Any help is appreciated!
Latest log: https://mclo.gs/mBPWftU
And here's the crash log (if needed):

Description: Rendering screen java.lang.IndexOutOfBoundsException: Index -20 out of bounds for length 0 at java.base/jdk.internal.util.Preconditions.outOfBounds(Unknown Source) at java.base/jdk.internal.util.Preconditions.outOfBoundsCheckIndex(Unknown Source) at java.base/jdk.internal.util.Preconditions.checkIndex(Unknown Source) at java.base/java.util.Objects.checkIndex(Unknown Source) at java.base/java.util.ArrayList.get(Unknown Source) at marsh.town.brb.generic.GenericRecipePage.updateButtonsForPage(GenericRecipePage.java:108) at marsh.town.brb.generic.GenericRecipePage.render(GenericRecipePage.java:135) at marsh.town.brb.smithingtable.SmithingRecipeBookPage.render(SmithingRecipeBookPage.java:37) at marsh.town.brb.generic.GenericRecipeBookComponent.method_25394(GenericRecipeBookComponent.java:174) at net.minecraft.class_4895.handler$bfd003$brb$render(class_4895.java:584) at net.minecraft.class_4895.method_25394(class_4895.java:94) at net.minecraft.class_437.method_47413(class_437.java:110) at net.minecraft.class_757.method_3192(class_757.java:945) at net.minecraft.class_310.method_1523(class_310.java:1219) at net.minecraft.class_310.method_1514(class_310.java:802) at net.minecraft.client.main.Main.main(Main.java:250) at net.fabricmc.loader.impl.game.minecraft.MinecraftGameProvider.launch(MinecraftGameProvider.java:470) at net.fabricmc.loader.impl.launch.knot.Knot.launch(Knot.java:74) at net.fabricmc.loader.impl.launch.knot.KnotClient.main(KnotClient.java:23) 

A detailed walkthrough of the error, its code path and all known details is as follows:
-- Head --
Thread: Render thread
Stacktrace:

at java.base/jdk.internal.util.Preconditions.outOfBounds(Unknown Source) at java.base/jdk.internal.util.Preconditions.outOfBoundsCheckIndex(Unknown Source) at java.base/jdk.internal.util.Preconditions.checkIndex(Unknown Source) at java.base/java.util.Objects.checkIndex(Unknown Source) at java.base/java.util.ArrayList.get(Unknown Source) at marsh.town.brb.generic.GenericRecipePage.updateButtonsForPage(GenericRecipePage.java:108) at marsh.town.brb.generic.GenericRecipePage.render(GenericRecipePage.java:135) at marsh.town.brb.smithingtable.SmithingRecipeBookPage.render(SmithingRecipeBookPage.java:37) at marsh.town.brb.generic.GenericRecipeBookComponent.method\_25394(GenericRecipeBookComponent.java:174) at net.minecraft.class\_4895.handler$bfd003$brb$render(class\_4895.java:584) at net.minecraft.class\_4895.method\_25394(class\_4895.java:94) at net.minecraft.class\_437.method\_47413(class\_437.java:110) 

-- Screen render details --
Details:

Screen name: net.minecraft.class\_4895 Mouse location: Scaled: (240, 132). Absolute: (960.000000, 528.000000) Screen size: Scaled: (480, 265). Absolute: (1920, 1057). Scale factor of 4.000000 

Stacktrace:

at net.minecraft.class\_757.method\_3192(class\_757.java:945) at net.minecraft.class\_310.method\_1523(class\_310.java:1219) at net.minecraft.class\_310.method\_1514(class\_310.java:802) at net.minecraft.client.main.Main.main(Main.java:250) at net.fabricmc.loader.impl.game.minecraft.MinecraftGameProvider.launch(MinecraftGameProvider.java:470) at net.fabricmc.loader.impl.launch.knot.Knot.launch(Knot.java:74) at net.fabricmc.loader.impl.launch.knot.KnotClient.main(KnotClient.java:23) 

-- Affected level --
Details:

All players: 1 total; \[class\_746\['TheDestronyx'/172, l='ClientLevel', x=3013.52, y=50.00, z=2228.35\]\] Chunk stats: 1024, 337 Level dimension: minecraft:overworld Level spawn location: World: (0,73,0), Section: (at 0,9,0 in 0,4,0; chunk contains blocks 0,-64,0 to 15,319,15), Region: (0,0; contains chunks 0,0 to 31,31, blocks 0,-64,0 to 511,319,511) Level time: 652044 game time, 967380 day time Server brand: fabric Server type: Integrated singleplayer server 

Stacktrace:

at net.minecraft.class\_638.method\_8538(class\_638.java:458) at net.minecraft.class\_310.method\_1587(class\_310.java:2406) at net.minecraft.class\_310.method\_1514(class\_310.java:821) at net.minecraft.client.main.Main.main(Main.java:250) at net.fabricmc.loader.impl.game.minecraft.MinecraftGameProvider.launch(MinecraftGameProvider.java:470) at net.fabricmc.loader.impl.launch.knot.Knot.launch(Knot.java:74) at net.fabricmc.loader.impl.launch.knot.KnotClient.main(KnotClient.java:23) 

-- Last reload --
Details:

Reload number: 1 Reload reason: initial Finished: Yes Packs: vanilla, fabric 

-- System Details --
Details:

Minecraft Version: 1.20.1 Minecraft Version ID: 1.20.1 Operating System: Windows 10 (amd64) version 10.0 Java Version: 17.0.11, Azul Systems, Inc. Java VM Version: OpenJDK 64-Bit Server VM (mixed mode, sharing), Azul Systems, Inc. Memory: 423650616 bytes (404 MiB) / 2755657728 bytes (2628 MiB) up to 4362076160 bytes (4160 MiB) CPUs: 8 Processor Vendor: AuthenticAMD Processor Name: AMD Ryzen 7 3700U with Radeon Vega Mobile Gfx Identifier: AuthenticAMD Family 23 Model 24 Stepping 1 Microarchitecture: Zen / Zen+ Frequency (GHz): 2.30 Number of physical packages: 1 Number of physical CPUs: 4 Number of logical CPUs: 8 Graphics card #0 name: AMD Radeon(TM) RX Vega 10 Graphics Graphics card #0 vendor: Advanced Micro Devices, Inc. (0x1002) Graphics card #0 VRAM (MB): 2048.00 Graphics card #0 deviceId: 0x15d8 Graphics card #0 versionInfo: DriverVersion=31.0.12029.10015 Memory slot #0 capacity (MB): 4096.00 Memory slot #0 clockSpeed (GHz): 2.40 Memory slot #0 type: DDR4 Memory slot #1 capacity (MB): 4096.00 Memory slot #1 clockSpeed (GHz): 2.67 Memory slot #1 type: DDR4 Virtual memory max (MB): 15304.77 Virtual memory used (MB): 10045.65 Swap memory total (MB): 9216.00 Swap memory used (MB): 1170.90 JVM Flags: 2 total; -XX:HeapDumpPath=MojangTricksIntelDriversForPerformance\_javaw.exe\_minecraft.exe.heapdump -Xmx4160M Fabric Mods: advancednetherite: Advanced Netherite 2.1.0-1.20.1 amplified\_nether: Amplified Nether 1.2.5 anvil\_fix: AnvilFix 20.0.1 anvilrestoration: Anvil Restoration 2.2 appleskin: AppleSkin 2.5.1+mc1.20 architectury: Architectury 9.2.14 artifacts: Artifacts 9.5.5 cardinal-components-base: Cardinal Components API (base) 5.2.2 cardinal-components-entity: Cardinal Components API (entities) 5.2.2 expandability: ExpandAbility 9.0.4 step-height-entity-attribute: Step Height Entity Attribute 1.2.0 attributefix: AttributeFix 21.0.4 azurelib: AzureLib 2.0.22 balm-fabric: Balm 7.2.2 barteringstation: Bartering Station 8.0.0 bclib: BCLib 3.0.14 wunderlib: WunderLib 1.1.5 bedrockify: BedrockIfy 1.9.1+mc1.20 panorama\_screens: Panorama Screens 1.0+fabric+mc1.20 betteradvancements: Better Advancements [0.3.2.162](http://0.3.2.162) betterclouds: Better Clouds 1.3.17+1.20.1 betterend: Better End 4.0.11 betterfpsdist: Better FPS distance Mod 1.20.1-4.3 betterfurnacesreforged: Better Furnaces Reforged 1.1.3 betterjungletemples: YUNG's Better Jungle Temples 1.20-Fabric-2.0.5 org\_reflections\_reflections: reflections 0.10.2 betteroceanmonuments: YUNG's Better Ocean Monuments 1.20-Fabric-3.0.4 betterstrongholds: YUNG's Better Strongholds 1.20-Fabric-4.0.3 betterthanmending: BetterThanMending 1.3.0 bettertridents: Better Tridents 8.0.1 bettertrims: BetterTrims 2.3.1 mixinsquared: MixinSquared 0.1.1 bookshelf: Bookshelf 20.1.10 brb: Better Recipe Book 1.10.0+1.20.0-1 c2me: Concurrent Chunk Management Engine 0.2.0+alpha.11.5 c2me-base: Concurrent Chunk Management Engine (Base) 0.2.0+alpha.11.5 c2me-client-uncapvd: Concurrent Chunk Management Engine (Client/Uncap View Distance) 0.2.0+alpha.11.5 c2me-fixes-chunkio-threading-issues: Concurrent Chunk Management Engine (Fixes/Chunk IO/Threading Issues) 0.2.0+alpha.11.5 c2me-fixes-general-threading-issues: Concurrent Chunk Management Engine (Fixes/General/Threading Issues) 0.2.0+alpha.11.5 c2me-fixes-worldgen-threading-issues: Concurrent Chunk Management Engine (Fixes/WorldGen/Threading Issues) 0.2.0+alpha.11.5 c2me-fixes-worldgen-vanilla-bugs: Concurrent Chunk Management Engine (Fixes/WorldGen/Vanilla Bugs) 0.2.0+alpha.11.5 c2me-notickvd: Concurrent Chunk Management Engine (No Tick View Distance) 0.2.0+alpha.11.5 c2me-opts-allocs: Concurrent Chunk Management Engine (Optimizations/Memory Allocations) 0.2.0+alpha.11.5 c2me-opts-chunk-access: Concurrent Chunk Management Engine (Optimizations/Chunk Access) 0.2.0+alpha.11.5 c2me-opts-chunkio: Concurrent Chunk Management Engine (Optimizations/Chunk IO) 0.2.0+alpha.11.5 c2me-opts-math: Concurrent Chunk Management Engine (Optimizations/Math) 0.2.0+alpha.11.5 c2me-opts-scheduling: Concurrent Chunk Management Engine (Optimizations/Scheduling) 0.2.0+alpha.11.5 c2me-opts-worldgen-general: Concurrent Chunk Management Engine (Optimizations/General WorldGen) 0.2.0+alpha.11.5 c2me-opts-worldgen-vanilla: Concurrent Chunk Management Engine (Optimizations/Vanilla WorldGen) 0.2.0+alpha.11.5 c2me-rewrites-chunk-serializer: Concurrent Chunk Management Engine (Rewrites/Chunk Serializer) 0.2.0+alpha.11.5 c2me-rewrites-chunkio: Concurrent Chunk Management Engine (Rewrites/Chunk IO) 0.2.0+alpha.11.5 c2me-server-utils: Concurrent Chunk Management Engine (Server Utils) 0.2.0+alpha.11.5 c2me-threading-chunkio: Concurrent Chunk Management Engine (Threading/WorldGen) 0.2.0+alpha.11.5 c2me-threading-lighting: Concurrent Chunk Management Engine (Threading/Lighting) 0.2.0+alpha.11.5 c2me-threading-worldgen: Concurrent Chunk Management Engine (Threading/WorldGen) 0.2.0+alpha.11.5 com\_ibm\_async\_asyncutil: asyncutil 0.1.0 net\_objecthunter\_exp4j: exp4j 0.4.8 org\_threadly\_threadly: threadly 7.0 capes: Capes 1.5.2+1.20 cardinal-components: Cardinal Components API 5.2.2 cardinal-components-block: Cardinal Components API (blocks) 5.2.2 cardinal-components-chunk: Cardinal Components API (chunks) 5.2.2 cardinal-components-item: Cardinal Components API (items) 5.2.2 cardinal-components-level: Cardinal Components API (world saves) 5.2.2 cardinal-components-scoreboard: Cardinal Components API (scoreboard) 5.2.2 cardinal-components-world: Cardinal Components API (worlds) 5.2.2 chunksending: Chunksending Mod 1.20.1-2.8 cicada: CICADA 0.7.1+1.20.1 cloth-config: Cloth Config v11 11.1.118 cloth-basic-math: cloth-basic-math 0.6.1 clumps: Clumps [12.0.0.4](http://12.0.0.4) collective: Collective 7.57 completeconfig: CompleteConfig 2.5.0 completeconfig-base: completeconfig-base 2.5.0 completeconfig-gui-cloth: completeconfig-gui-cloth 2.5.0 completeconfig-gui-yacl: completeconfig-gui-yacl 2.5.0 configured: Configured 2.2.3 com\_electronwill\_night-config\_core: core 3.6.6 com\_electronwill\_night-config\_toml: toml 3.6.6 configureddefaults: Configured Defaults 8.0.1 continuity: Continuity 3.0.0-beta.5+1.20.1 controlling: Controlling For Fabric 12.0.2 craftingtweaks: Crafting Tweaks 18.2.3 crafttweaker: CraftTweaker 14.0.38 cullleaves: Cull Leaves 3.2.0 midnightlib: MidnightLib 1.4.1 cupboard: cupboard 1.20.1-2.6 cutthrough: Cut Through 8.0.2 darkblades: DarkBlades - End Game Weapons 1.2.1 darkglint: DarkGlint - Enchantment Glint 1.0.4 darkquesting: DarkQuesting - A Quest Mod 1.1.8 darksmelting: DarkSmelting - Smelt Armor and Tools 1.0.6 darksmithing: DarkSmithing - Smithing Template Recipes (for Trims) 1.0.6 davespotioneering: Dave's Potioneering 10 detailab: Detail Armor Bar 2.6.3+1.20.1-fabric do\_a\_barrel\_roll: Do a Barrel Roll 3.5.6+1.20.1 fabric-permissions-api-v0: fabric-permissions-api 0.2-SNAPSHOT easymagic: Easy Magic 8.0.1 easyshulkerboxes: Easy Shulker Boxes 8.0.2 puzzlesapi: Puzzles Api 8.1.6 

puzzlesaccessapi: Puzzles Access Api 8.0.9

 elytratime: Elytra Time 2.0.0 enchantedlib: Enchanted Lib 0.3.0 enchantedtooltips: Enchanted ToolTips 1.3.7-1.20 kyrptconfig: Kyrpt Config 1.5.6-1.20 enchantinginfuser: Enchanting Infuser 8.0.2 enchdesc: EnchantmentDescriptions 17.0.14 enhancedblockentities: Enhanced Block Entities 0.9+1.20 advanced\_runtime\_resource\_pack: Runtime Resource Pack 0.6.7 spruceui: SpruceUI 5.0.0+1.20 entityculling: EntityCulling-Fabric 1.6.2-mc1.20.1 evilcreativefly: Creative Fly 1.2.1-1.20-fabric explorify: Explorify v1.4.0 fabric-api: Fabric API 0.92.1+1.20.1 fabric-api-base: Fabric API Base 0.4.31+1802ada577 fabric-api-lookup-api-v1: Fabric API Lookup API (v1) 1.6.36+1802ada577 fabric-biome-api-v1: Fabric Biome API (v1) 13.0.13+1802ada577 fabric-block-api-v1: Fabric Block API (v1) 1.0.11+1802ada577 fabric-block-view-api-v2: Fabric BlockView API (v2) 1.0.1+1802ada577 fabric-blockrenderlayer-v1: Fabric BlockRenderLayer Registration (v1) 1.1.41+1802ada577 fabric-client-tags-api-v1: Fabric Client Tags 1.1.2+1802ada577 fabric-command-api-v1: Fabric Command API (v1) 1.2.34+f71b366f77 fabric-command-api-v2: Fabric Command API (v2) 2.2.13+1802ada577 fabric-commands-v0: Fabric Commands (v0) 0.2.51+df3654b377 fabric-containers-v0: Fabric Containers (v0) 0.1.64+df3654b377 fabric-content-registries-v0: Fabric Content Registries (v0) 4.0.11+1802ada577 fabric-convention-tags-v1: Fabric Convention Tags 1.5.5+1802ada577 fabric-crash-report-info-v1: Fabric Crash Report Info (v1) 0.2.19+1802ada577 fabric-data-attachment-api-v1: Fabric Data Attachment API (v1) 1.0.0+de0fd6d177 fabric-data-generation-api-v1: Fabric Data Generation API (v1) 12.3.4+1802ada577 fabric-dimensions-v1: Fabric Dimensions API (v1) 2.1.54+1802ada577 fabric-entity-events-v1: Fabric Entity Events (v1) 1.6.0+1c78457f77 fabric-events-interaction-v0: Fabric Events Interaction (v0) 0.6.2+1802ada577 fabric-events-lifecycle-v0: Fabric Events Lifecycle (v0) 0.2.63+df3654b377 fabric-game-rule-api-v1: Fabric Game Rule API (v1) 1.0.40+1802ada577 fabric-item-api-v1: Fabric Item API (v1) 2.1.28+1802ada577 fabric-item-group-api-v1: Fabric Item Group API (v1) 4.0.12+1802ada577 fabric-key-binding-api-v1: Fabric Key Binding API (v1) 1.0.37+1802ada577 fabric-keybindings-v0: Fabric Key Bindings (v0) 0.2.35+df3654b377 fabric-lifecycle-events-v1: Fabric Lifecycle Events (v1) 2.2.22+1802ada577 fabric-loot-api-v2: Fabric Loot API (v2) 1.2.1+1802ada577 fabric-loot-tables-v1: Fabric Loot Tables (v1) 1.1.45+9e7660c677 fabric-message-api-v1: Fabric Message API (v1) 5.1.9+1802ada577 fabric-mining-level-api-v1: Fabric Mining Level API (v1) 2.1.50+1802ada577 fabric-model-loading-api-v1: Fabric Model Loading API (v1) 1.0.3+1802ada577 fabric-models-v0: Fabric Models (v0) 0.4.2+9386d8a777 fabric-networking-api-v1: Fabric Networking API (v1) 1.3.11+1802ada577 fabric-networking-v0: Fabric Networking (v0) 0.3.51+df3654b377 fabric-object-builder-api-v1: Fabric Object Builder API (v1) 11.1.3+1802ada577 fabric-particles-v1: Fabric Particles (v1) 1.1.2+1802ada577 fabric-recipe-api-v1: Fabric Recipe API (v1) 1.0.21+1802ada577 fabric-registry-sync-v0: Fabric Registry Sync (v0) 2.3.3+1802ada577 fabric-renderer-api-v1: Fabric Renderer API (v1) 3.2.1+1802ada577 fabric-renderer-indigo: Fabric Renderer - Indigo 1.5.1+1802ada577 fabric-renderer-registries-v1: Fabric Renderer Registries (v1) 3.2.46+df3654b377 fabric-rendering-data-attachment-v1: Fabric Rendering Data Attachment (v1) 0.3.37+92a0d36777 fabric-rendering-fluids-v1: Fabric Rendering Fluids (v1) 3.0.28+1802ada577 fabric-rendering-v0: Fabric Rendering (v0) 1.1.49+df3654b377 fabric-rendering-v1: Fabric Rendering (v1) 3.0.8+1802ada577 fabric-resource-conditions-api-v1: Fabric Resource Conditions API (v1) 2.3.8+1802ada577 fabric-resource-loader-v0: Fabric Resource Loader (v0) 0.11.10+1802ada577 fabric-screen-api-v1: Fabric Screen API (v1) 2.0.8+1802ada577 fabric-screen-handler-api-v1: Fabric Screen Handler API (v1) 1.3.30+1802ada577 fabric-sound-api-v1: Fabric Sound API (v1) 1.0.13+1802ada577 fabric-transfer-api-v1: Fabric Transfer API (v1) 3.3.5+8dd72ea377 fabric-transitive-access-wideners-v1: Fabric Transitive Access Wideners (v1) 4.3.1+1802ada577 fabric-language-kotlin: Fabric Language Kotlin 1.10.20+kotlin.1.9.24 org\_jetbrains\_kotlin\_kotlin-reflect: kotlin-reflect 1.9.24 org\_jetbrains\_kotlin\_kotlin-stdlib: kotlin-stdlib 1.9.24 org\_jetbrains\_kotlin\_kotlin-stdlib-jdk7: kotlin-stdlib-jdk7 1.9.24 org\_jetbrains\_kotlin\_kotlin-stdlib-jdk8: kotlin-stdlib-jdk8 1.9.24 org\_jetbrains\_kotlinx\_atomicfu-jvm: atomicfu-jvm 0.24.0 org\_jetbrains\_kotlinx\_kotlinx-coroutines-core-jvm: kotlinx-coroutines-core-jvm 1.8.0 org\_jetbrains\_kotlinx\_kotlinx-coroutines-jdk8: kotlinx-coroutines-jdk8 1.8.0 org\_jetbrains\_kotlinx\_kotlinx-datetime-jvm: kotlinx-datetime-jvm 0.5.0 org\_jetbrains\_kotlinx\_kotlinx-serialization-cbor-jvm: kotlinx-serialization-cbor-jvm 1.6.3 org\_jetbrains\_kotlinx\_kotlinx-serialization-core-jvm: kotlinx-serialization-core-jvm 1.6.3 org\_jetbrains\_kotlinx\_kotlinx-serialization-json-jvm: kotlinx-serialization-json-jvm 1.6.3 fabricenchantments: Fabric Enchantments 1.0.0 fabricloader: Fabric Loader 0.15.11 mixinextras: MixinExtras 0.3.5 factory\_api: Factory API 2.1.4 team\_reborn\_energy: Energy 2.3.0 faux-custom-entity-data: Faux-Custom-Entity-Data 6.0.1 ferritecore: FerriteCore 6.0.1 findme: FindMe 3.2.1 forgeconfigapiport: Forge Config API Port 8.0.0 formations: Formations 1.0.2 formationsnether: Formations Nether 1.0.4 formationsoverworld: Formations Overworld 1.0.3 fps: FPS Monitor 1.20-1.3.0-Fabric gammautils: Gamma Utils 1.7.16 geckolib: GeckoLib 4 4.4.4 com\_eliotlash\_mclib\_mclib: mclib 20 globalxp: Global XP 1.11 goldenfoods: GoldenFoods 2.3.0 grindenchantments: Grind Enchantments 3.1.2+1.20 codec-config-api: Codec Config API 1.0.2+1.19.3 harvestwithease: Harvest with ease [8.0.1.0](http://8.0.1.0) hearths: Hearths 1.0.0 ibicf: I Believe I Can Fly 3.0.0+mc1.20.1 iceberg: Iceberg 1.1.18 immediatelyfast: ImmediatelyFast 1.2.15+1.20.4 net\_lenni0451\_reflect: Reflect 1.3.3 indium: Indium 1.0.30+mc1.20.4 infinitetrading: Infinite Trading 4.3 inventoryprofilesnext: Inventory Profiles Next 1.10.10 ironchest: Iron Chests 2.0.2 libgui: LibGui 8.1.1+1.20.1 

jankson: Jankson 6.0.0+j1.2.3
blue_endless_jankson: jankson 1.2.3
libninepatch: LibNinePatch 1.2.0

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Window size: 1920x1057 GL Caps: Using framebuffer using OpenGL 3.2 GL debug messages: Using VBOs: Yes Is Modded: Definitely; Client brand changed to 'fabric'; Server brand changed to 'fabric' Type: Integrated Server (map\_client.txt) Graphics mode: fancy Resource Packs: fabric Current Language: en\_us CPU: 8x AMD Ryzen 7 3700U with Radeon Vega Mobile Gfx Server Running: true Player Count: 1 / 8; \[class\_3222\['TheDestronyx'/172, l='ServerLevel\[The Modded Experience\]', x=3013.52, y=50.00, z=2228.35\]\] Data Packs: vanilla, fabric Enabled Feature Flags: minecraft:vanilla World Generation: Experimental 

I hired a plumber in Colorado to do all the rough drain and vent pipe plumbing in my house and it’s been a nightmare. (Complete remodel that I tore all old plumbing out of). Facts: 1. We have a signed contract for $6,885 total saying “all work will be done according to IPC plumbing codes.” 2. He told me to pull homeowner permit because it’s easier. (I did all supply lines myself so wasn’t worried about this.) 3. He performed the work but it failed inspection for several issues. All of which were an issue for not being up to IPC code. 4. He came back to fix the issues but didn’t fix all of them and just straight up quit when working on one of the fixes. He never came back. 5. I reached out for him to come back and he never responded after I sent the list of issues from the failed inspection. 6. I hired someone else to fix the issues and pressure test the drain system as required by the inspector. 7. During this test, there were several leaks (all work performed by original plumber). New guy fixed it all and is going to bill me for all the parts and labor. 8. I just found out the original plumber I hired is not actually licensed in Colorado anymore. His license expired years ago. His business registration is also expired. 9. I intend to get him to pay for the repairs but I am wondering since it’s a crime in Colorado to perform plumbing without a license if I could recover everything I’ve paid him. 10. Should I send a demand letter (either for repair expenses or full amount) first or go to small claims?
Any help would be appreciated. 🙏🏻

I'm trying out the Code Editor 2 in the latest Beta release. Any time I try to change any code, I can't interact with the text (highlight, delete, type) and when I try to, it actually edits the text on the first event of the first open asset. Sometimes I can type a single line on the currently open event, but I can't start a newline, tab, or edit the existing text whatsoever.
So like if I open obj_one and add a Create and Step event, whatever I type in the step event will randomly get added to the Create event. If I then open a script and try to type in it, it still instead edits the Create event of obj_one. If I first close obj_one and then open the script, I can edit it.
Furthermore, I can't tab my code. I also can't hold backspace, I have to press backspace for each character I want to delete. I can't highlight code.
I've tried:

• toggling "Show all documents in single view."
• toggling "Allow Overscroll"
• toggling "Show diagnostics on scrollbar"
• toggling "Detect Tab Type"
• toggling "Autofill jsdoc header comments"
• toggling "Auto extend multiline comments on new line"
• toggling "Allow Overwrite Mode"
• changing the font
• editing text in objects, rooms, and scripts
• working on an existing project
• working on a new project
• resetting the entire IDE to default settings
• Using a Step and Draw event without any Create event - still the first event (Step in this case) is the only one that gets edited
• Detaching the workspace; still persists even between multiple windows

This can't be a common bug, right?
edit: Also, none of these issues are present if Code Editor 2 is disabled.

I'm going to do something a bit different and take a close look at two major works from the DC Universe: Darwyn Cooke's The New Frontier, and James Robinson and Paul Smith's The Golden Age. If you're playing along at home, the texts I'm using are The Absolute New Frontier from 2006 and The Golden Age trade paperback from 1995.
First a bit of personal context: I didn't enjoy The New Frontier when it first came out, serialized in six quite expensive installments. I loved Cooke's art, I loved the use of some of the more obscure DC war characters, and I loved the characterization of the Martian Manhunter, but the narrative didn't work for me when read in small monthly doses back in 2004. I had read all of the full-length work Cooke had done up until 2004, and none of it had disappointed me at all. But The New Frontier seemed to read more like a tour through the 1950s and 1960s than an actual story. It wasn't until the final issue that I really understood what Cooke was leading up to, but then it was over, and I didn't have the time or the inclination to dig out the back issues and read the whole thing in one sitting. Even when I got the two-volume trade paperback collection a couple of years ago (in an eBay lot of trade paperbacks I bought off of none other than comic book scholar George Khoury), I still didn't bother to read it. To paraphrase Hemingway's Frederic Henry, we don't do the things we want to do.
So I never actually read the entire text of The New Frontier until this past winter, when I was able to sit down with the luxurious Absolute edition and dive into Cooke's illustrated world. I enjoyed it immensely, enough that I wanted to reread it again this summer, which is what I have just done, and now I want to talk about it. But I don't want to talk about it in isolation, and I'm interested in the connection between texts, so I'll also talk about its logical precursor: The Golden Age.
Like The New Frontier, Robinson and Smith's The Golden Age deals with the era between the 1940s and the 1960s. The era in which the comic book Golden Age grew into the comic book Silver Age. The era in which America was undergoing its own transformation, moving from threats abroad to suspicion at home. And just as I had difficulty enjoying The New Frontier as a serialized comic, I couldn't appreciate The Golden Age in that manner either. I only bought the first two issues, actually, back in the early 1990s, and then I lost interest, vaguely thinking that I might buy it as a collected edition some day (even though collections were not guaranteed the way they are today). I did buy it when the trade paperback was released, and because I had never finished it originally, I read the collection immediately. And I liked it. But I thought it was deeply flawed.
I reread The Golden Age yesterday, after thinking about it in regards to The New Frontier. It's not a surprising connection, after all. Cooke himself claims The Golden Age as an inspiration for his own work. But my memory of The Golden Age was a bit hazy, and I recalled it being a much more cynical view of the territory than what Cooke achieved in The New Frontier. My recall was pretty accurate--Robinson and Smith present a quite cynical view of the late Golden Age America.
Now that I've read both works back-to-back, I'm interested in exploring what each says about super-heroes, what each says about America, and how each achieves its (very different) effects. These are the kinds of things I'll be looking at over the next few days.
James Robinson's use of History in The Golden Age
One of the things that strikes me about both The New Frontier and The Golden Age is the way the creators weave American history into their stories. On the surface, such a technique might not be surprising, especially considering that both tales take place in the past. And while it may be true that a so-called "historical novel" or "period film" would be amiss to neglect the details of history which fit its setting, the same isn't always true for comics.
In comics, stories set in the past tend to take place in some vague memory of the past, without any apparent intent in locking the stories into a particular date or era. Take the typical origin stories, or "Year One" stories which DC Comics' creators have retold again and again. In such a story, whether it be Miller and Mazzuchelli's take on Batman, or Waid, Augustyn, and Kitson's take on the Justice League, the setting lacks a distinct time stamp. The characters are younger, true, but the setting lacks specific period detail. The reason for this isn't at all surprising, because locking the characters' past into a specific date would require some major explanations about their ages in the present. Had Miller time-stamped the date on Batman: Year One, and included captions saying "May 3rd, 1980," or whatever, then that might have worked for a few years, but even if we assume that Batman was only 23 when he took inspiration from that window-smashing flying rodent, according to that temporal continuity, he'd be 50 years old in the current stories. And he's clearly not.
So we expect stories set in the past to avoid any kind of specific references to contemporary history, at least in comics. A recent jarring exception to that can be found in Diggle and Jock's newly released Green Arrow: Year One, in which a young Oliver Queen references the "Kevin Costner" Robin Hood. That means Queen must have become Green Arrow sometime in the mid-1990s, which might explain his age today (if he was 22 in 1992, he'd be 37 today, which might be right), but it also implies that his son Connor must only be a teenager today, and he's clearly older than that. Perhaps the reference will work better 10 years from now when the Kevin Costner reference will become part of the vague historical past, but right now it seems too current to make sense.
Anyway, the other MAJOR exception to the rule of not using historical references in comics is the case of stories set during World War II. Even comic books written at the time of WWII regularly included time-stamp references in a way that later comics tended to avoid. Yes, since then, Superman has met Kennedy, and you might see analogues of Bill Clinton or George W. in a story or two, but in the 1940s heroes came face to face with major historical figures (contemporaries to them) on an almost daily basis. Here's FDR! Here's Superman grabbing Hitler on a cover! Here's Tojo! Here's Hawkman enlisting in the army to fight overseas! Etc. Such close ties between "comic book reality" and real-life events never matched the heights of the WWII comics.
And that's why later writers, Roy Thomas MOST prominently among them (he practically invented the whole idea of historical nostalgia super-hero comics), felt compelled to weave actual historical events into the retelling of stories from the WWII era. Thomas's Invaders for Marvel and his All-Star Squadron for DC playfully fit the timeline of actual US history into the fictional timeline of the past super-heroes. In his letter columns, Thomas would often explain (or justify, for the more contentious fans) how the chronology worked.
But, other than WWII era-stories, most comic book stories that take place in the past (unless they are time travel stories, which have their own rules) DO NOT USE SPECIFIC HISTORICAL REFERENCES. It's weird to imagine novels or films avoiding such references—they would surely be criticized for it—but in comics, it's commonplace.
So, in the case of both The New Frontier and The Golden Age, you have two rather significant violations of that standard "rule." And both of which seem deeply indebted to the type of approach Roy Thomas favored so much.
Let's take The Golden Age first, since it was published a decade before Cooke's work. The Golden Age seems like a logical off-shoot of Thomas's All-Star Squadron. It features many of the same characters, and Johnny Quick, a relatively obscure DC character from the past, would certainly not have been a suitable narrator for the story without the characterization Thomas provided in years of All-Star Squadron stories. James Robinson is clearly building on the foundation Thomas created. So, it's not surprising that he would, like Thomas, blend US history into his story. Yet Robinson's approach differs in two distinct ways: (1) He doesn't seem interested in the exact historical details and how they fit into his timeline—he seems more interested in the general sense of historical forces of the time, and (2) Unlike Thomas, who was writing out of a Golden and Silver Age optimism and a belief in the American Dream, Robinson was writing from a post-Watchmen perspective, as a foreign-born writer, who could play with the cynical expectations of the time.
Thus, Robinson gives us coke-sniffing "super-heroes," corruption, brutality, and sex in a tale which features the "pure" heroes of the DC Golden Age of comics. Robinson's approach is not to use specific elements of McCarthyism or the Red Scare (even though those ideas are referenced at least once), but to use the general sense of paranoia and panic, the cynical manipulation of the public for personal gain, and the looming threat of the bomb.
Ultimately, however, Robinson uses all of this as a backdrop for a traditional super-hero romp. The coke-sniffing "super-hero" turns out to be Hitler in disguise!!! (Well, actually the brain of Hitler in the body of a former kid sidekick—talk about a symbol of corruption!) And the hero-turned-power-hungry-politician in the form of the patriotic Mr. America turns out to be old JSA villain the Ultra-Humanite, who knows a thing or two about brain transplants. So, in the end, it's just a classic Golden Age story about punching Hitler and defeating an evil genius.
But it's Robinson's historical subtext which makes the story resonate. It's his use of those undercurrents of paranoia and despair which make these formerly perfect heroes of the past seem flawed and human. His story starts dark and becomes darker but, by the end, Robinson's veil of cynicism falls away, and he reveals himself to be a humanist, if not an optimist. His reverence for these Golden Age characters would not let them be truly corrupted—it had to be evil masterminds and Hitler all along.
And that, perhaps, is one of the failures of The Golden Age. The shock of the initial chapters is just a ruse, and as low as these characters seem to sink, everything can be explained by pseudo-science and comic book logic.
It's just another Justice Society of America story, ultimately, but it's a good one. And Robinson's use of the undercurrents from that era of history make it work, even if it never transcends its roots.
The New Frontier and Camelot
While The Golden Age used the historical subtext to evoke currents of paranoia and doom in a super-hero story, The New Frontier approaches history with a different agenda. As Ultimate Matt pointed out in response to yesterday's post, The Golden Age is labeled an "Elseworlds" title, which not only grants it an exemption from DC continuity, but it allows more freedom for the creators to take the characters and setting in a fresh direction.
The New Frontier, however, is not labeled as an "Elseworlds." And yet, it strays far more from the currently accepted version of continuity than The Golden Age does. The key word there is "accepted." Darwyn Cooke, in his annotations, states that he approached The New Frontier with a set of rules:

1. The timeline is real and covers 1945 to 1960. Silver Age characters appear at the time DC started publishing them.
   
2. Retcons haven't happened yet.
   
3. No New Frontier retcons could contradict original continuity—they had to complement existing continuity or show a fresh point of view.
   
4. When the story ended, everything had to be as it was when the JLA debuted in Brave and the Bold #28.
   
5. Snapper Carr does not exist.
   

In other words, you should be able to pull out your original comics from that era (or the Archive editions) and read them concurrently with The New Frontier and nothing Cooke does should contradict what happens in those old comics.
The problem with the continuity is that the comics from that era didn't have any continuity. It was never explained how a character could be on the moon in one issue of his own comic, and under the ocean in the same month in his Justice League adventure. All Golden and Silver Age DC continuity is a retcon. So what Cooke did was create his own continuity—he made his own sense out of the various adventures as they were originally published, although the bulk of the book deals with the time between major events. Just like The Golden Age, The New Frontier is about filling in the gaps.
While James Robinson filled the pre-Silver Age gap with an almost allegorical tale of Cold War paranoia and corruption, Darwyn Cooke fills the gap with a sense of wonder and idealism, and he uses his attitude toward history to solidify that tone.
Cooke's approach takes three strands: (1) The Right Stuff-inspired history of that era, embodied by the test pilots and early astronauts, (2) The early promise of the Kennedy administration, and (3) The strange DC comics history as seen in the stories published during that time. Cooke uses the first two strands to illuminate the latter. He puts the Silver Age ascension into perspective as part of a generation of hope and achievement. He shows that the formation of the Justice League was not a random incident, but part of a larger historical movement which led (in our reality) to things like the Peace Corps and Apollo 11.
Cooke ties together such disparate elements as The War that Time Forgot, The Challengers of the Unknown, Dr. Seuss, and all of the characters who would join the initial incarnation of the JLA into a single narrative. And although it takes quite a while before the villain emerges and the heroes band together, the narrative is structured around the real historical forces that would have shaped the creation of these characters. John Broome doesn't wax poetically about the symbolism of Hal Jordan's career as a test pilot in the original Green Lantern run from the Silver Age, but Cooke takes the fact that he was a test pilot and places him in the actual context of such a man. He even includes a scene where the young Jordan meets Chuck Yeager.
That's quite a different approach to history than we saw in The Golden Age, which covers a very similar time frame.
Although Cooke didn't intend (according to his "rules") to change any of the original stories, his interpretation of "fresh point of view" allows him to add things which would have been more historically true even if they weren't addressed in the comics of the time. For example, he not only changes Wonder Woman into an almost plump, hawkish, zestful character (to signify her Greek origins and Amazon heritage), but he creates an entirely new character to illuminate the civil rights struggle of the time. Since he had no black DC characters to draw upon, he created a Silver Age analogue to Steel, the black Superman ally. The Silver Age Steel, unlike his modern equivalent, isn't a technological marvel. Instead, this earlier incarnation of John Henry suffers at the hands of the KKK before taking vengeance, and ultimately dying when he's betrayed by an uncaring white America (symbolized by a blonde little girl, who points out his location to his pursuers). John Henry never meets the Justice League or teams up with any heroes. His death doesn't affect them at all, really, since they didn't know him. But Cooke includes a scene where Edward R. Murrow mourns the fallen hero and laments the state of the country, bringing an actual historical personage into the DC story.
The civil rights subplot, although powerful, is overwhelmed by the exceeding optimism of the other plot threads. Cooke's America, as full of conflict as it might have been, is one of scientific progress and movement toward a brighter future. His villain, ultimately revealed to be Dinosaur Island itself (a sentient being who has unleashed monster after monster), is even more absurd than the Hitler-brain-transplant nemesis in The Golden Age, but because Cooke accentuates the fun and spectacle of the super-heroes (and, to be clear, his emphasis is on the men and women in the costumes, and the risks they take for their heroism), the absurdity of the villain doesn't detract from the story.
Both The Golden Age and The New Frontier end with similar images (the first appearance of the Justice League banded together) and similar sentiments (hope for the future), but where James Robinson built that hope out of the wreckage of the 1940s, Darwyn Cooke builds it out of the dreams of the men and women who sacrificed for the promise of tomorrow.
Both books end with optimism for comic books and optimism for our country, but they took starkly different approaches to get there.
The Unstoppable Force of Progress: Characterization in The New Frontier
Since both The New Frontier and The Golden Age re imagine comic book chronology through one part actual US history, one part comic book history, and one part imagination, it's not surprising to find both Cooke and Robinson taking liberties with the characterization of these pre-Silver Age heroes. Both creators ask the question asked by any creator attempting to retell stories from the past: Okay, this is how they were portrayed, but what were the characters who did these things REALLY like?
I'll start by looking at The New Frontier. Cooke doesn't focus his story on one dominant point of view the way Robinson does (with Johnny Quick), but he tells his story through a few central characters:
Rick Flagg: Leader of the WWII-era Suicide Squad (and presumably the father, or grandfather, of the Ostrander-penned incarnation). Cooke presents him as a tough guy cliché. He's a Hemingway hero—he does what needs to be done and doesn't whine about it or waver in his determination. In Act III of the narrative, his position in the story is replaced by the similarly-characterized King Faraday, who also does what needs to be done, although he seems to have more internal conflict than Flagg. Faraday is a spy, after all, not a soldier. But both characters represent a government which has the best interests of the country in mind. If they hurt a few individuals along the way, that's a necessary sacrifice for the good of the many.
Hal Jordan: The man who would be Green Lantern is NOT portrayed as a cocky rocket jock, as he usually is in contemporary interpretations. Cooke turns his lack of fear into a self-destructive streak stemming from his face-to-face act of self-defense in Korea. In Cooke's universe, Jordan doesn't immediately become a hero just because an alien handed him a ring. It takes time for Jordan to learn that he deserves to be a hero, and that's a large part of what The New Frontier is about. He doesn't reveal himself in Green Lantern costume until AFTER he risks his life to save the world working as a pilot. The two-page "hero shot" of the characters walking towards camera (a la The Right Stuff) shows some costumed heroes, but Jordan is wearing a flight suit. Cooke seems to be showing that he needed to prove himself TO himself before he could accept his new identity, but his reluctance to use the power of the ring leads to Nathaniel Adam's death. (Adam is later reborn as Captain Atom in the comics, but that doesn't happen in this story, and as far as Jordan should be concerned, Adam is dead.) Cooke doesn't provide Jordan with any time for remorse, though, since he needs to use his ring to kick alien butt. The ring, by the way, is also shown as a symbol of destructive energy. When Jordan first uses it, he cannot control it, and it causes great damage. Cooke, then, seems to indicate that the ring might symbolize nuclear energy, and the subtext would be that Jordan's hesitance to use it led to another hero's death. Ultimately, Jordan is Cooke's symbol of the Kennedy era: conflicted, yet determined to bring forth a positive future—harnessing great powers for the good of the nation (and the world).
John Jones, the Manhunter from Mars: Jones says, "...this is a world where good and evil struggle in all levels of existence. I want to be a force for good." That's a simplistic view of humanity, but it's one seemingly shared by Cooke throughout this work. Good and evil may not be easily discernible on the surface, and Cooke gives us the threatening-looking John Henry (with a hangman's hood) as a hero and a little blonde girl as a villain, but the line between good and evil is absolute (and, in fact, John Jones assumes the role of a film-noirish detective so he can find the evil beneath the surface appearance of the world). Jones defines this ethical stance for the reader, and it represents the code of Golden and Silver Age comic books, which lacked anything but absolutes. Even though Cooke might try to provide some not-so-subtle shades of gray (Jordan as a murderer, Wonder Woman as feminist avenger, an undercurrent of xenophobia), his view of history seems to echo the simplicity of the comic book stories of the era. Individuals may not have always done the right things at all times, but it was an era of progress, and good triumphed over evil. The subtext could also indicate that governmental order triumphed over chaotic nature, with the unified heroes, under the leadership of the US government, destroying a threat that wasn't so much malicious as it was animalistic.
Even though Cooke's characterization of some of these characters, Hal Jordan in particular, might not match traditional representations of these individuals, I think it works in the context of the story. The characters serve the story and add a few layers to the text, but it's primarily a historical action spectacle, a celebration of progress over stagnation, and Cooke's characterization unifies the text. I don't think his characters have many hidden depths, but I think their lack of depth matches a story which is primarily about the grand force of history.
As one final observation: Cooke is actually better at small character moments with the minor characters than he is at developing convincing lead characters. The death of Johnny Cloud, Jimmy Olsen's eagerness, the sassiness of Carol Ferris, and several other character bits show Cooke's facility on the small scale, even if his epic narrative doesn't provide the opportunity for subtle nuances with the major characters.
Characterization in The Golden Age: Dragging Heroes to Earth
While Cooke ignores anyone else's retroactive continuity to graft archetypal personalities onto the early Silver Age heroes in The New Frontier, Robinson takes characters straight out of Roy Thomas's All-Star Squadron (like Johnny Quick on the left here) and Young All-Stars and sends them on a dark journey into the 1950s. Robinson does not re imagine these characters drastically, although he seems to do so with Mr. America (but that's part of his narrative ruse). Instead, he takes their established characterization and expands upon it by adding seeds of self-doubt, paranoia, and despair as the characters face a world in which the villains are not as easily identified as they once were. Robinson misdirects the reader at first by pretending to adopt a simplified Watchmen approach, pretending that he's showing what these characters would have been like without costumed villains to fight or gangsters to punch, when, in truth, he's simply changed the nature of the evil to something more covert and less easy to spot. (Which might seem Watchmen-esque as well, except Alan Moore showed us that the heroes were the villains in that story, and here, Robinson ultimately reveals that secret villains with brain-transplant powers were behind the whole thing from the beginning.)
Here's a quick rundown of the central characters in The Golden Age:
Johnny Chambers, a.k.a Johnny Quick: Johnny not only provides the book-ends to the story but, as a documentary filmmaker, he provides the exposition which sets up the story context. One of the things Robinson does NOT do well here, by the way, is clearly distinguish between narrative voice (provided through white, rectangular caption boxes), and newsreel voice over (also provided by white, rectangular caption boxes), although perhaps the colorist was supposed to use different color cues for each and didn't. The CHARACTERS who narrate, like Johnny Chambers, each have their own style of caption—Johnny's are rounded and blue, as you can see in the image. Actually, it's not that it's so difficult to identify the narrative voice, it's just that there is an omniscient narrator who pops up every once in a while for no good reason, and tells us things about the story sometimes, while other times he sounds like he's trying to give us character thoughts but not really: the highly subjective "fingers...fumbling...focusing...trying to..." immediately follows the objective "a photographer lurks among the rubble." The photographer is the one who's fingers are supposedly fumbling as he tries to snap the photo, so why does the caption sound like a bad Batman internal monologue? This really has nothing to do with Johnny Chambers, but I just wanted to point out this major flaw in the narration throughout. With so many characters (Johnny being one) actually providing narration through captions, why does Robinson add an omniscient narrator also? It's jarring and ineffective. It's like he took the strategies of Watchmen with the multiple points of view, and then spliced the conventional narrator on top of it. It just doesn't work.
But a few more things about Johnny: He smokes, and he wears glasses. He still has his powers, but even though they would help him in his day job, he doesn't use them. And he's incredibly suspicious, which is the characteristic that makes him the character the reader most identifies with. He's also lost the woman he loves because he works too hard, although he gets her back in the end. In short, he's a slightly older (although he actually seems to get younger as the story progresses, perhaps symbolizing his return to heroic stature), slightly more sullen, slightly more flawed version of the character we saw in the comics produced in the 1980s (even though those stories were set in the 1940s). He refers to his costumed self as "That Jerk!" at the beginning of the story, but ends on a hopeful note as he describes a "new age...fresh and clear and bright...as sterling silver!" He's never really a cynic, but his pessimism and self-loathing turns to optimism in the end (even quickly dismissing the threat of McCarthyism to look ahead to the glowing future of super-heroics).
Paul Kirk, a.k.a Manhunter: If we play out the James-Robinson-is-trying-to-do-Watchmen-but-not-as-well game a bit more, we could say that if Johnny Chambers is the Dan Dreiberg analogue (the low-self-esteem voice of reason and calm) then Paul Kirk is clearly the Rorschach character. He's the crazy one who will surely upset the apple cart, yet isn't that what has to happen in order to get to the truth? That's his role, anyway. Unlike Rorschach (in his insane way), Kirk doesn't have a methodical approach to uncovering the truth. In fact, he's tormented by the truth, which lies buried beneath mind implants, exploding into awareness only through a series of horrible dreams. He seems deeply disturbed because of the War, but he's actually deeply disturbed because of the secrets he knows. He's another character, like Johnny, who seems to become more youthful and vibrant in the final Act, when he is able to unleash his demons through old-fashioned fisticuffs. Unlike Johnny, though, he visibly suffers for a long time before he reaches the point of action. Here's a sample of his internal monologue from one of his many tortured dreams: "Save the eagle. Save it. Save—n...no...nooooohhhh!!" Then he wakes up and thinks, "Still afraid." That's about the extent of his characterization. He's tormented, fearful, and knows he should be better than that. And, "save the eagle?" Geez, I wonder what in the world that could possibly mean in a book about corruption within the American government. Clearly, even though this book is directed at an older audience than the original Golden Age tales, Robinson keeps his symbolism quite simplistic.
Tex Thompson, a.k.a. Mr. America, and Daniel Dunbar, a.k.a. Dan the Dyna-Mite: These are the two characters most radically changed from their Golden Age counterparts. Mr. America was a whip-wielding patriotic hero and Dan was a kid sidekick who later, under Roy Thomas's writerly guidance, became one of the lead characters in Young All-Stars. In Robinson's story, Mr. America becomes a corrupt politician who seeks power by any means necessary, and Dan the Dyna-Mite becomes America's beloved Dynaman, the only active costumed crime fighter of the time. And he snorts coke. And he's evil.
Neither of these two characters have internal monologues via captions for the reader, because that would give away the twist. Tex Thompson is not really who he seems, for he has the brain of the evil Ultra-Humanite (who has in previous stories adopted the forms of a gigantic white gorilla and a hot ex-starlet, among others). And Daniel Dunbar, who has fallen so far from grace in our eyes (a former teen sidekick with a drug problem whoring around) actually has the BRAIN OF ADOLF HITLER!
So there's not much to say about the characterization here, since these are two evil characters in the most simplistic way. What is interesting, though, is that (a) Robinson chooses one character, Thompson, who seems vaguely sleazy to modern readers anyway, what with that whip and the mustache, and when he's shown to be corrupt, we can buy into it, falling into Robinson's trap of thinking that it's just a regular dude becoming corrupted by power; and (b) Robinson's use of the pure and innocent Dunbar is also a good choice, because it is not only shocking to see him corrupted so extremely (before the truth of the brain-swap is revealed), but it's a nod to cultural expectations about former child stars, who, by the 1990s, were expected to grow up and become criminals or drug addicts or worse, at least by our tabloid-fascinated society.
Like a director who makes his film better through excellent casting, Robinson uses the right two ex-heroes in the apparent role of the villains. His bait-and-switch works, although I was personally disappointed that the threat turned out to be external (evil villains) and not the corruption of these characters from within.
Robinson uses other characters to show the corruption of innocence and loss of the heroic dream. Robotman, so noble in Roy Thomas's All-Star Squadron, has lost any humanity by the time of this story—he's pure machine, while Alan Scott, Green Lantern is conflicted about his duty as a business leader and law-abiding citizen and his passion for ring-slinging and butt-kicking. Hourman is shown to be addicted to his Miraclo pills, while the man once known as the Tarantula is an egoist with writer's block. Ted Knight, Starman, who Robinson would go on to write with great depth and sensitivity in the ongoing series about Jack Knight, is a mad genius who is trying to put the pieces of this shattered world together through science.
I should add here that Robinson, unlike Cooke, isn't drawing from the original sources as the basis for his story. He's adapting his characterizations from the work done during contemporary comics, as Roy Thomas provided retroactive characterization (and explanations) for the WWII-era heroes. Robinson is building on the layers which Roy Thomas built upon the layers which Gardner Fox (among others) built.
Overall, Robinson does provide a sense of disillusionment in his characterizations in this story, even if his narrative technique is sometimes sloppy or inconsistent. Cooke tried to add a bit of humanity to iconic characters in his work, but he was mostly interested in the icons of the era. Robinson drags his characters down into the muck and then builds them back up again, hoping to show how their inner humanity wins out (with all of its flaws) in the face of systematic adversity. Cooke's characters inhabit the skies, the stars. Robinson's characters live on the ground.
So, the final verdict, after looking at The Golden Age and The New Frontier for a week: Not much different than my initial assessment after reading them both last weekend. The Golden Age is flawed because of its inconsistent narrative point of view and it's cheap, brain-swapping revelations. Robinson and Smith capture the disillusionment and paranoia of the time quite well, but it all amounts to nothing except a superhero slug fest in the end. It's 80% of a great work, and 20% of stuff that doesn't quite fit (including the optimistic ending, which seems unearned). As part of a larger, genre-wide trend to make super-heroes more "realistic," violent, and depressing, I'm not a huge fan of its influence.
The New Frontier is flawed, but it's a flawed masterpiece, and I can imagine revisiting the story many times in the future (and I can't say the same about The Golden Age). Cooke tries to include too much in the narrative, and the main threat of Monster Island isn't presented as well as it needs to be, but the book contains dozens of amazing sequences, and it features sharp, engaging characters who flash in and out of the story. The speed of the narrative demands that the book be read quickly, and it works best when read this way, not because it allows the reader to gloss over the weak parts of the story, but because The New Frontier is an overture, and can be best appreciated when all of its notes are heard in rapid sequence. I didn't love it when it first came out, in the completely inappropriate floppy installments, but I loved it after reading the Absolute version a week ago, and I love it just as much after studying it closely all week.
As one final thought: Both The Golden Age and The New Frontier tap so deeply into comic book lore, and I am so deeply embedded in it myself, that I wonder if either of these works has any merit for a "civilian" reader. And I wonder if, perhaps, the darker, more "realistic" tone would be appealing to a non-comics fan, more so, perhaps, than the wide-eyed optimism (tinged with bits of darkness) seen in Cooke's work. Or would the non-comics fan find both stories completely useless and without merit? Are both works examples of the snake swallowing its own tail? I've already been swallowed by the snake of comic book geekery, so I can't answer that one.
SOURCE

I'm usually stuck, go to sleep and the next time I play end up advancing a lot! But it's been 2 days and I'm wondering through every location on loop without knowing what to do 😅
Things I think I'm missing:
1) How to find cassettes? I didn't find anything
2) I have all the coins to open the backyard, inserted 2 (the backyard horse and the horse behind the clock) but can't find the other ones
3) Room 1962 and 1973 I imagine I'll have to continue and eventually will have keys to open
4) How to enter the café
5) The lock pad with the drawing of a little girl with 3 letter code
6) Help the old woman see (I tried everything I could come up with but she doesn't react to anything)
7) I've been to the maze, got all the slabs, didn't know what to do with them and put them right back, clueless about the lock in the center
Any clue will be really appreciated!! ❤️

[I might delete this in 24 hours. You may not read all of this. Just the parts that seem important to you]

Purpose of this post:
-To explain to the Sortation Center (SC) associates how transferring to another sort center works.
-To give an insight to an SC associate on what to expect
-To teach the SC associate a little bit of how different SCs operate, but not too much
I have made a post for FC AAs on what to expect when transferring to another SC
To transfer to another facility, or specifically any facility in general, this is what you do:
On your AtoZ:
-Go to "Schedule"
-Go to "Transfer Opportunities"
-From there, you will see your building code. On the top left of your building code, you will go to "Change location"
-Then you will find a filter that says "type of work". From there, click the down tab, and choose "Sort Centers" as your option. You can also change the distance if you want an SC near you (10 miles) or far from you if you are insane (75 miles).
From there, it will show the different SCs. When you click on some of those buildings, just know that the building that you transfer to may not be available to you, so you may want to think about looking into other SCs. I will also mention to you that it is very difficult to transfer to an SC because of the size of the building and the business needs.
-If your site has transfer opportunities, it will list the different shift times available to you. For example, 14:00 - 18:00 shift every Friday, Saturday, Sunday, and Monday (part-time), or Full-time opportunities with double shifts (i.e. 08:30 - 12:30, 14:00 - 18:00 every Tuesday - Saturday, which is honestly every SC associate's dream). When you click on whatever schedule option fits your needs, a Calendar will appear. You will choose your "Start Date", which is preferably 2 or more weeks away (suggestively a month) before your actual transfer. NOTE: You will not transfer to another site the next day.
Your transfer will then be reviewed slowly within a week (or more). After your transfer application has been reviewed, your application will either be accepted or rejected. If accepted, then you will have 7 days to either accept or reject your application. It will show you your new schedule, who your direct manager is going to be, the pay, and the shift patterns. When you click "accept", there is another form that you must fill out on MyDocs, which usually talks about you agreeing to whatever terms and services that you have, or something of that nature, concerning your schedule change. On your AtoZ, there will be changes. When you investigate the "Transfer Opportunities" tab, it will already show:

1. Your start date
2. Your direct manager

(From my experience, when HR SC people were trained to do HiTS for the first time a year ago, they were not made aware of MyDocs, so I had to go to HR about it. It was not until I actually showed up on my start date that I had to ask HR to change my schedule because of what it said. A week prior to transferring to my new site, an HR representative emailed me and literally told me to arrive on my start date. Once my start date happened, I did not see a change of schedule on my AtoZ, but I followed directions anyways. Idk if AtoZ or HR handled other SC transfers differently as a result, but that was my experience.)
When your start date hits, your AtoZ will glitch out, which will last for a day. During your first day, you may even have to refresh your page to get your new site building to show. This also includes your profile that shows your managers as well.
When you arrive at your new SC, you will go to security. You will tell them that you transferred from a different building and that this day is your start date. From there, they will need your Amazon badge (and they may even give you a new badge if necessary), and then they will let you badge in either the turnstiles, or glass doors depending on what your building has. What happens next is that you will go to HR and tell them that you are a transfer. Then, they will notify Learning. The reason why you go to HR is because transfers are rare. It is hard for another SC to know who transferred to another building or what. If a building is shutting down or is under construction and if they are notified, that is the only way that Learning and HR will know.
Upon arrival, you must badge into your shift time that you signed up for. From there, the Learning trainer will set you up. 9 times out of 10, you will have to do specific Day 1 - 2 training over again, and you will have a different transcript. The reason why this happens is because your SC is different from your previous one. I do not know the reason why buildings do this, but I guess that is Amazon Policy.
Additionally, you will have to earn your permissions again after a specific amount of time that you scan at the lanes or chutes (unless your site does not scan packages).
If you were a learning ambassador at your previous site, then more or likely, you will either follow the same path as the civilian AAs, or you will receive all of your roles back once trained on them. If you receive your permissions back from your previous site, the trainer will have to train you on everything again and then you will be all set. If ambassador applications are opened, your ambassadorship from your previous site will be there. All of ops, the PAs, and Learning will know what building you transferred from based on the information given to you. In most cases, you will have to wait for applications to open, usually during the fall and beginning of the year. The learning area manager and trainer will need to know the type of work ethic that you have, including:

1. UPT. For ambassadors, you must not have UPT below the number the department decides on (for my site, it is 15)
2. How well you can fulfill customer needs.
3. If you are a positive worker
4. If your reputation precedes you (for example, if you are always in the same process path being productive, or hitting rate)
5. If you can handle different types of people
6. If you can deal with stressful situations
7. The professionalism you maintain.

When you transfer to another building, no one is going to know who you are, so that is why those precautions for potential ambassadors are there. Trainers look at transfers to see if any of them have been trained to do basic SC process paths, such as scanning, water spidering, staging, problem solve, etc because they know the system well. They do not know your building as much unless they go to different sites to see how they operate.
The only people who go and visit different buildings are managers. They come to see how they are run, and to also do required “leadership” summit exercises, done within a specific subregion of buildings.
Training will be usual. Once you are done scanning for any specific amount of hours (usually 2 weeks, or if your site requires something different), you can be trained to do the process path that you have literally been dying to do. For example, I have trained transfers who have been doing inbound at their old site, and some water spider.
Types of Conveyors your new site may use.
I am not going to explain in too much detail about how different SCs function when transferring, but I will give you a gist of what your new site may have.
-Manual Lane with Andon lights: A package is placed on a retractable conveyor belt. That belt leads to an area where packages are diverted based on which lane it goes to, known as a “Sort Slide”. That package then makes it to the lane, and it either gets split based on which lane it goes to, or it is a belt that continues to go to the lane. The package then gets split again to an area known as a “spur”, and then regular scanning, water spider, and staging functions are there as usual. The Andon lights indicate whether there is a jam, and the whole belt stops. https://www.youtube.com/watch?v=ylJe-7BTCsQ
-Mechlite: A mechanical belt with no Andon lights. The belt itself keeps on going. The e-stops are simply a green light, where if you press it, it becomes red, and stops a portion of the conveyor belt. If the red light is pressed again, the belt continues to move. https://fmhconveyors.com/products/bestconnect-rigid-modular-conveyors/. The function of a mech site is the same if you have manual lanes, but some have it where there is a splitter that splits the packages on a rather long belt that does not electronically move at all, and then regular scanning, water spider, and staging functions are the same.
-Auto Sorters
An auto sorter is a type of conveyor system where a package goes through a tunnel scanner, either through a shuttle dumper or a retractable conveyor. It then makes its way to another tunnel scanner, indicating which lane/chute/bag area it goes to, and then regular scanning, water spider, and staging functions are the same. There are chutes/areas that require scanning, and some that don’t (source, I went to a site across the street from me once to help in Prime 2021, and half of their chutes don’t require scanning, just placing, and the other half did. The other half that did require scanning, however, had a HUGE tone of work. I could imagine what this site must go through on a daily, at the same time, typical SC setting.) Here are some types of auto sorters your new site may use:

1. Linear Arm Sorter. A package is scanned through a tunnel scanner and then goes through a singulator, and then a mezz-chute arm activates (just like sort slide) depending on which chute the package goes to, and then scanning, water spider, and staging functions are the same. Linear Arm Sorters not only work for regular-size packages, but for non-conveyable packages as well. Some sites have Arm Sorters for non-conveyable packages, but the chutes for those are twice as big as a regular chute.
2. Cross-belt Sorter. This type of belt exists for sites with very small chutes, where at the end of the chute, is a rail (kind of like manual lanes, but very small) and it requires about 4 pallets per chute. A package is unloaded onto an inducting belt. Once it reaches the inducting belt to get scanned, it then goes through a carrier, consisting of a little conveyor belt. The conveyor belts then move the package to the chute, and then scanning, waterspidering, and staging functions are the same. Here’s what it looks like: https://www.youtube.com/watch?v=O9vELKUvPhw
3. Flat Sorter: This conveyor belt works specifically for smaller packages, and more or more likely you will see it in Smalls. Jiffies go through a scanner, and then there is a conveyor belt that uses tiny wheels that moves the package to either a specific conveyor or chute/bag area. Regular flow-scanning water spider, and staging will exist there. https://www.youtube.com/watch?v=56DNRt6GdBI.
4. Shoe Sorter: A very fast conveyor. This belt contains little black blocks located either on the left or right of the conveyor, known as “shoes”, which are made of a rubbery substance. It is flat on the sides because as the package moves, the shoes move the package at a specific belt gently (usually diagonally). The purpose of the “shoe” sorter is to help with faster delivery, and better throughput of the product. Usually, the shoes lead the package in either a spur, another conveyor, or a postal bag. There are 2 types of shoes for 2 types of packages: one for regular-size or smaller packages, and one for non-conveyable packages. Scanning, water spider, and staging functions are the same throughout. (Here’s another fun fact! In Fulfillment Centers, shoe sorters are used to transport totes.) https://www.youtube.com/watch?v=RYFHNyFqvOc
5. Spiral belts: These types of packages are usually either located near a dock door (some sites claim to have an “outbound” belt at their site), or at a specific area where there are chutes. I do not know if there is a scanner that scans a package to which spiral it goes to (there might be). Usually in sites that have AR, bots that dump the package to that spiral belt (which I will talk about soon). https://www.talosep.com/uhmw-chutes/

-AR sites

Those types of sites almost function the same way auto sorter sites do. The only difference is that once a package goes onto a conveyor, it will make its way down a spiral belt, which leads to an inductor. The inductor scans the package on a very big scanner with a rectangular screen. The package then goes on to the AR bot, the same types that are used in Fulfillment Centers, to transport boxes. The robots then move to a chute where packages are dumped to, and then scanning, water spider, and staging functions are done the same way. The only difference in AR sites, is that people are trained to do AR Waterspider, and AR Wrap-Down, which I am not familiar with. (Hopefully, somebody can comment and explain what they are in the comments). Furthermore, there are other 2 types of robots that some AR sites have: 

1. Robotic arm that builds from carts (or maybe pallets? Idk): In some sites, once a robot dumps a package into a chute, a robotic arm will take the package using a suction cup, and then place it in the cart. They also take a package and place it in another conveyor belt. Once a cart gets full, it leads to our second type of bot:
2. AR bots that move carts: When a cart is fully built from an arm, a floor AR bot carries it to its designated area, where shipping labels get printed, and then staged. Furthermore, these robots help with cross-docking. An AA will scan the cart in a huge scanner, the ones that look like security detectors when you walk through them, and then a robot takes that cart to an outbound area. Another person takes that cart from the bot, and then it gets scanned into the trailer.

That is all I can say about the different conveyors used.
Different package identification and outbound methods
Depending on what building you are in, your site could harbor containers that go to other sort centers (SC – SC), foot lockers, other private businesses, USPS and UPS through destined delivery unit (DDU), and Delivery Stations (AMXL and AMZL). I am not going to explain too much of the specifics (because confidential information), but I will say that as someone who is trained to scan at the lanes/chutes, you should know to look for on the package (a) your building name (b) which lane/chute area it goes to and (c) the container numbesymbol.
-For sites dealing with SC – SC, simply look at your building name, and then the building next to yours, and that is where you scan that package. If chute, you might get a different letter on the bold name of your package. You might even have specific symbols next to the lanes, like “###” or “???” or “XXX” or “***”, “&&&”, etc. Sometimes sites use a mixture of both numbers and symbols for SC – SC. (They deal with that for AMZLs as well. Also, your site may have numbers for that as well.)
-For sites dealing with DDU, your site may have 2-digit or 3-digit pallet locations. 2-digit locations if manual lanes, usually have the lowest number at the start of the lanes, and the highest at the bottom. For 3-digit sites, the first digit indicates which spur the package belongs to. For example, there is a spur for packages that start with 1XX, another with 2XX, 3XX, and so forth. (3 digits occur in all package shipping types as well).
-For sites dealing with AMXLs or even AMZLs (SC – DS), the easiest way to identify what they are is if your site says that DS location. For example, if the package you scan says “DBA2”, and if there is a container for that (with your building name), you scan it there. Same with AMXLs. The package will also say either “cycle_1” or “cycle_2” on it.
Advice that I should give to AAs about transferring to other buildings

1. Get used to the environment.
   1. The building environment may be different. Some people come to a new building and think that they know what they are getting themselves into. Do not think that your original SC environment is the same as others. People may not know you, or who you are.
2. Get used to being retrained to do everything again, despite how many years you have worked at your previous building.
   1. This advice is HUGE, and the reason for this is because, as I have mentioned, EVERY BUILDING IS DIFFERENT. It does not necessarily mean that the scanning and the wrapping are the same. In rare cases, there are Sort Centers that deal with only freight only, and some that have a package reach from Inbound to Outbound to get sorted in a trailer. Do not think that BOS5 is the same as BOI5. Do not think that OAK5 is the same as ONT5. Do not even think that EWR5 is the same as EWR8. The scanning, wrapping, water spider, are all the same, but how people operate at the manual lanes, how the PAs run them, and how they run chutes, may be different compared to your original building’s.
3. EARN RESPECT OF THE NEW LEADERSHIP AND PEOPLE
   1. This is where earn trust comes into play here. If you come in a new SC, and you think that you know everything about SC in general based on the building that you have been for a long time, the associates in that area that have been there longer than you will not like that. They will look at you like you are crazy. You may have gotten your scanning permissions back, however, that does not mean that you will not make many errors again. As a learning ambassador, I was told by my trainer that the associates, who have previously worked at their old site that closed, made 50 failed moves. When some of the people who I worked with when I was there, were in places, such as Problem Solve to get retrained, they had an “I know it all” attitude and made many errors. This person who was supposed to be Problem Solve trained ended up not getting the training she deserved because of this. She even thought that Problem Solve does not have TOT, despite being wrong about that. In fact, when I was in her building 8 months ago, there was in fact TOT in Problem Solve. If you come in with a “know-it-all” attitude, you are basically going to be viewed by the associates in their new building as a punk. People are not going to like you if their work ethic does not match with yours. The veterans in the new building will think that you are building a pallet wrong, compared to what you think. If you bring your old building habits into your new building, then it becomes an anomaly. If you scan, and learn how your new building runs, and see the other viewpoints of people and follow through with it, you will earn respect. You may have worked at your old building for who knows how long, but no one in that new building knows who you are.

You may have been the best water spider in your old building, but that does not mean you will be the best in your new one. You may have been a problem-solver at your old building, but that does not mean you will not be one at your new one.

1. Get used to new terminology and new processes you have never been familiarized with
   1. Because every sort center has different processes of how packages are transported from point A to point B, that means that you may find some things that your new one has strange. For example, you may not know what the word “jackpot” is in an auto SC if you have been to a manual SC. You may not know what “mechlite” is while you were at an auto site. You may not know how AR Wrap Down operates when you have been to a site that does not have it. Getting used to a new building takes time, and takes adjustment, so does earning respect of new leadership and people there.

Conclusion
Those are all of the tips that I have for you today. If you are an SC associate and would like to comment on other things to consider, please feel free to do so. If you have any questions, ask me in the comments below.

Hey team,
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P.S. use code " Alexc200 " to have the wheelspin unlocked. Wheelspins are credited after checking out and claiming rewards. Let’s make this month legendary!

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Of course, it's early days for Tangem. They could definitely expand their reach, especially in South America where crypto adoption is booming (hint hint, Tangem, sponsorship anyone? ).
Overall, Tangem offers a fantastic user experience for those who prioritize ease of use. If you're a security purist who craves ultimate control, a traditional hardware wallet might be better. But for the rest of us, Tangem is a breath of fresh air in the crypto wallet world.
By the way, if you're feeling convinced and want to snag 10% off your Tangem (because who doesn't love a discount?), use my referral code KEYB6R at checkout. Full disclosure, it might get me a little something-something too. Hey, a crypto enthusiast gotta hustle! Speaking of hustling, if Tangem needs someone to promote their wallets in Spanish, ¡yo soy el mero mero el manda más el que firma los cheques y también el que lava los platos y limpia en baño 😂