In today’s rapidly advancing industrial landscape, ensuring safety and efficiency is paramount. Businesses in Saudi Arabia are increasingly turning to innovative technologies to protect their workforce and optimize operations. One such technology is the Proximity Warning and Alert System (PWAS), which has revolutionized safety standards across various sectors. Let’s delve into the different types of PWAS solutions available and how they are transforming safety protocols in Saudi Arabia.
PWAS in Saudi
Proximity Warning and Alert Systems (PWAS) have become essential tools for businesses in Saudi Arabia. These systems use advanced technologies to detect potential hazards and alert workers in real-time, preventing accidents and enhancing overall safety. Whether in construction, logistics, or manufacturing, PWAS is a critical component in maintaining a safe working environment.
Tag-Based PWAS in Saudi
Tag-based PWAS is a popular choice among businesses in Saudi Arabia. This system utilizes RFID tags attached to personnel and equipment to monitor their locations and movements. The Tag-Based PWAS in Saudi is particularly effective in environments with high human-machine interaction, such as warehouses and construction sites. By providing real-time alerts, it helps prevent collisions and enhances worker safety.
Combo-Based PWAS in Saudi
For comprehensive safety coverage, many businesses opt for Combo-Based PWAS in Saudi. This system combines multiple technologies, such as RFID tags, sensors, and radar, to provide a holistic safety solution. The integration of these technologies ensures precise detection of hazards and enables proactive measures to prevent accidents. The Combo-Based PWAS is versatile and can be customized to meet the specific needs of different industries.
AI-Based Integrated PWAS System
The AI-based integrated PWAS System is at the forefront of technological advancements in safety solutions. By leveraging artificial intelligence, this system can analyze vast amounts of data to predict potential hazards and provide early warnings. This proactive approach not only enhances safety but also optimizes operational efficiency. The AI-Based Integrated PWAS System is particularly beneficial in dynamic environments where conditions can change rapidly.
Sensor-Based PWAS System
Sensor-Based PWAS Systems are widely used in Saudi Arabia for their reliability and precision. These systems utilize various sensors, such as ultrasonic, infrared, and radar, to detect obstacles and alert operators. Sensor-Based PWAS Systems are ideal for environments with limited visibility, such as mining sites or areas with heavy machinery. They ensure that operators are aware of their surroundings, reducing the risk of accidents.
Radar 360 PWAS System
The Radar 360 PWAS System offers comprehensive coverage and is highly effective in detecting hazards in all directions. By providing a 360-degree view of the environment, this system ensures that no potential danger goes unnoticed. The Radar 360 PWAS System is particularly useful in sectors like logistics and transportation, where vehicles and machinery are constantly on the move. It enhances situational awareness and ensures the safety of both operators and workers.
Conclusion As businesses in Saudi Arabia continue to prioritize safety and efficiency, the adoption of advanced PWAS solutions is on the rise. From Tag-Based PWAS to AI-Based Integrated Systems, these technologies provide robust safety measures that protect workers and optimize operations. Whether you need precise detection with Sensor-Based Systems or comprehensive coverage with Radar 360, there is a PWAS solution tailored to meet your specific needs. Embracing these innovations not only enhances safety but also contributes to the overall sustainability and success of your business.
For more information on how to implement these cutting-edge PWAS solutions in your operations, visit Shield Sensor or contact us at 966–532995843. Let’s build a safer future together!

PWASinSaudi #TagBasedPWASinSaudi #ComboBasedPWASinSaudi #AIbasedIntegratedPWASSystem #SensorBasedPWASSystem #Radar360PWASSystem #FleetManagement #SafetyFirst #Telematics #ShieldSensor #Performance #excavator

ChocoPro 374: Pure Energy On the next ChocoPro: The BestBros face off against the next strange assassin chosen by Masa on their road to their next title defense, Erii’s trials continue as she challenges 20 year veteran Bambi, and finally the Setouchi Sisters attempt to bring an end to Popcorn Carnivals momentum! This one should be extra wild and spicy! Let’s Go, ChocoPro!
🍫 When it airs, it will be available HERE! (Usually at night around 9 pm EDT / 6 pm PDT / the next day at 2 am BST, 10 am JST) on YouTube!
Don't forget to Adjust Your Volume, Wrestling is Loud!
Need a change of pace? ChocoPro is built different. Join us for this episode or check out the back catalog of hundreds of episodes on the Gatoh Move ChocoPro YouTube channel...360+ ChocoPro’s with stories and pro-wrestling like you've never seen. New to the promotion? It features a roster of skilled veterans, rising stars, and wonderful guests fighting in the strange and wonderful ChocoPro Arena: Ichigaya Chocolate Square. This is not your regular wrestling show!

BestBros (Mei Suruga 🍎 & Baliyan Akki ♠️)

VS

Masa Takanashi 🍶 & 2daime Tappuri Tarako Man 🆕

2daime Tappuri Tarako Man

Right there! The Best Bros (Mei Suruga & Baliyan Akki) are the Asia Dream Tag Champions. While the Belt Days might not be numbered anymore, the champs still protect their gold against all foes with equal passion. “Apple Goblin” Mei Suruga tends to be the one who seals the deal, one way or another. This Pin Specialist and Submission Innovator will find a way to put their foes down, every single time. Someday the world will acknowledge her genius! The Ace of ChocoPro, Akki, manages to keep a cool head unlike his short tempered partner. His breezy strike combos and all around skills are unrivaled in the Square. Will the Zephyr of Ichigaya perform an aerial feat? Will he wrap his opponents in that brutal Kimagure Lock? Together, these two are a universal threat. The BestBros are not only the champs, but also the pinnacle of ChocoPro's tag division. The Genius & the Ace will be looking to send another message to Masa ahead of the Apple Ambitious show at the end of the month. Can they defeat the next strange appearance?
Speaking of which, the person bringing this series of foes in is the Drunken Monkey, Masa Takanashi! He is smooth as butter in both the ring and square. Being a defensive tactician and tag specialist comes in handy! His flashy counter-fighter style is a great support role, and incredibly effective against multiple opponents. Since this will be on the road to the Thunders title shot against the Bros, expect the Drunken Monkey to continue to grind them down! He’ll be joined by another hired gun to bring down the BestBros before their title defense, this time in the form of...a food man? Who or what is 2daime Tappuri Tarako Man!? Tarako consists of plain, salted sacks of pollock or cod roe. It’s a delicious part of Japanese cuisine! But this one wrestles. There was once another version of this food to appear in the GTMV universe, but this mystrious wrestler is the second generation (not at all because Masa is the tag partner, of course). They’ll be plenty of cod roe related humor in this one...and potentially Mei trying to eat a sentient creature (again). Did you know Tarako is the roe of the Alaskan Pollock, which is actually a cod, despite its name?

Erii Kanae 🎼

VS

Bambi 🆕

Erii’s Trials: 2 Months, 20 Years

Take-down specialist Erii Kanae is always fired up! With Lime Green gear, fierce determination, and an air of mysterious potential, the latest member of GTMV will be looking to prove herself! This tackle-focused rookie is all about going on the attack, when she isn’t nimbly dodging her seniors. Watch for that shot-put style strike! Her relentless offense and overwhelming fury could be the key to taking down her veteran opponent. Can she overcome another difference in power to bring down Bambi? Show your endless passion, Erii!
Bambi finally appears in the numbered ChocoPro episodes! This whip brandishing freelancer is a product of the Kaientai Dojo (much like Hagane Shinno!) and is celebrating her 20th Anniversary in Pro-Wrestling (compared to Erii’s two months!). She has appeared in plenty of promotions across her long career...and also is a comic illustrator! Ichigaya has been attracting artists these days. Bambi’s size, power, and experience will probably give her an edge over the plucky rookie, but this will be an excellent lesson for Erii. Remember, Bambi overpowered both Obi & Mei in her last appearance!

Popcorn Carnival (Chie Koishikawa 🏵️ & Sayaka Obihiro 💙)

VS

Setouchi Sisters (Miya Yotsuba 🍀 & Nonoka Seto 🍋)

Pure Energy

The Popcorn Carnival continues! The always spicy Sayaka Obihiro, when paired with “Too Much Energy” Chie Koishikawa, are a high impact striking duo that will always bring it in the Square. The recently recovered Chie is a very warm presence, but even more so with her Hero, Mentor, and the chaotic Soul of Gatoh Move itself: Obi! The Blue Heart & Guard Dog of Ichigaya always leave a mark on their foes, and this time they will be further motivated to punish their juniors. It should be a fun mix of the unique fencing chops of the shark loving girl that loves to say “Hello!”, and the almost magic movement and pinning style of “Sprint” Obi. Chie's journey into counters and advanced tactics has made her a real threat! Are we gonna see some of Obi's devastating heavy chops, second only to the Oni herself? On top of all that, this is one of the most charismatic combo's that ChocoPro can field. These two together are loud, energetic, out of control, and on a roll! Can the Sisters bring an end to the Popcorn Carnival?
Did you know that Miya Yotsuba & Nonoka Seto are actually sisters? With each match, the Setouchi Sisters continue improving their natural synergy. Miya provides an intense power and presence unheard of in someone so new to the sport, while Nonoka is an inferno of passion and speed. Miya’s hammer blows and backbreakers can help even the odds, while Nonoka’s adaptability combined with her agility can be a game changer. She’s making great use of her Cravat technique! Together they’re improving at an alarming rate. The students of Mei Suruga are proving their worth on every showing. Can the Sisters establish themselves as a high threat tag team by taking down the Carnival? Facing off against a loud and energetic team with momentum is a tough task, but these two spunky sisters are more than capable of giving their seniors a run for their money. Will Miya overwhelm them with her power? Can Nonoka out maneuver their quick foes? They’ll have their work cut out for them, but everyone loves an underdog. Good luck, Setouchi Sisters!
Until next time!
ChocoPro is a free online promotion run by AEW's Emi Sakura, that takes place in the legendary Ichigaya Chocolate Square! It features a steady pace of Episode releases, fan interaction, long story arcs, and much more! A place where the turnbuckles are replaced with 14th floor windows, the ropes are replaced with fans, unforgiving walls provide creative avenues for skills otherwise unthinkable, and you can take solace in knowing that the referees usually do nothing. While it might be a shocking change at first, the intensity and storytelling will leave you wanting more. Think of it like the Hart Dungeon but as a promotion, if that helps! If you have any questions, feel free to ask me.

Final Fantasy is one of the biggest(if not the biggest) RPG franchises out there. As an anthology series, the games each hold a different world, every single numbered installment, as well as a different story. The patterns that connect the stories are there in order to keep a Final Fantasy game a Final Fantasy game. They’ve been able to make these games feel consistent in their approach for about 10 installments, with the titles after 10 being more on the subversion side. Now that Final Fantasy 7 is getting a remake “trilogy”, this subversion has become a complete deconstruction of what made the series well loved. The new people in charge of the IP seemed to have lost the magic, resulting in the series becoming a hollow husk of its former self.
With so many RPG Maker people wanting to recapture the magic, as well as Square Enix itself, this brings up the question: what exactly is a Final Fantasy plot?
In the 80s, Final Fantasy was conceived as a response to TTRPG games like Dungeon and Dragons and computer RPG games like Wizardry, with Dragon’s Quest being an influence and sharing the same influences itself. These fantasy game influences created a lot of the gameplay, with the story coming from what came prior in the form of Tolkienesque stories. To further the chain of influence, these Tolkienesque stories were inspired by Arthurian romance and mythology, holding a big focus on how alchemy approached the combination of mythologies to express a monomyth. Carl Jung helped popularize the monomyth, along with Joseph Campbell, which would later establish the media usage of the hero’s journey. When Lord of the Rings came out, the prevention of the world ending by the usage of a MacGuffin became a staple in heroic fantasy storytelling.
Final Fantasy began with nameless characters of unknown origins, having you play as the 4 warriors of light. 4 warriors were picked to represent the 4 elements, the 4 corners of the world, with 4 monsters of the elements acting as their main form of opposition as they head to the final boss. Fire, water, air, and earth were treated as vulnerable crystals that must be restored, bringing order back to a chaotic world, with the final boss being Chaos itself, to end the game with a peaceful kingdom. Rather than a single ring to rule them all, the MacGuffins in FF1 are instead key items, each one unlocking a new location to move the story forward. The world map is entirely used, from land to sea to air, forcing a journey process across different areas as these heroes attempt to fix the world.
The gameplay focuses on classes, with each class serving a different party purpose, forcing the player to pick different types for easier results. Each class was given a different outfit, easy to tell the difference between their roles, with each one symbolically having a different personality. It’s not that they had a personality in the game where they never speak, but rather the roles they hold grant them different paths on how they got there. For example, the fighter would have to become physically stronger and knighted to become a knight, while the thief would have to sneak around and learn black magic to become a ninja. In fact, having more thieves in your team was a way to make the game harder, because of their lower HP.
This combination of classes and a quest to save the world changed upon the second installment, where characters were finally given names and backstories. Due to this held history, their hometown was presented as the catalyst for the story to begin, being saved by a princess this time as they start a rebellion against an evil Emperor. Sounds familiar? This is where Star Wars comes in more full, acting as an inspiration for the science fantasy elements that come in during the later half of this game and the first one. The final location of a floating island could be considered part of Star War’s Cloud City, but it can also be tied to the more Japanese inspiration of Castle in the Sky.
Studio Ghibli, the “Japanese Disney”, came out with this movie a year prior to Final Fantasy 1’s release. In this movie, steampunk retrofuturism was inspired by science romanticism books of the 1800s, while its castle in the sky was inspired by the floating island in the satirical novel Gulliver's Travels (1726). All of these are still directly inspired by both the hero’s journey of alchemical study (through Star Wars) and mythological journeys(with floating islands being found in Homer’s Odyssey). The steampunk style continued into later titles, allowing the usage of swords with the combination of robots to make sense to the player. This also reinforces a romantic approach to storytelling, as Arthurian romance and scientific romance are combined into a mythological premise concerning the end of the world and heroes who go out to save it with MacGuffins.
Two creatures that would play important roles for the heroes were both made by the same designer: Koichi Ishii. The Chocobo would be used as a giant bird that you ride like a horse, while the Moogle was meant to be a spiritual assistant that has a pom-pom growing out of its head, symbolically declaring itself as your personal cheerleader. The cat-like body of the Moogle, as well as its infinite source of magical assistance, could easily be traced back to the 60s blue cat named Doraemon. While the cute Moogle was based on a culturally significant source (as well as the kami of Japanese folklore), the chocobo turned itself into one by becoming a cute form of transportation, both allowing the game to become more appealing to kids and animal lovers. These additions allowed the traveling merchants of the game, as well as the trusty galliform, to serve more of a story purpose when their significant locations are visited.
By the time we hit Final Fantasy 6, the classes are changed from choosing outfits to become character locked. At this point, the characters themselves are the class, with more classes collected as more characters are collected along the way. Their backstories come with their discovery, allowing their hometowns to become different locations across the map, and their relationships growing into pre-game histories and future romances. The summoner, a special type of mage, is treated as the most important type of character, due to their control of creatures that are based on our polytheistic gods and some mythological characters. Their role is to serve as a humorous deus ex machina, a reference to how plays would use a god of mythology to interfere with a story and set things right when the writer usually wrote themselves into a corner.
The roles of characters each become a repetition of this setup from 6, causing several key plot points to occur. The main “leader” is a young male who holds a bladed weapon, in the form of a sword or dagger. This is the “Luke Skywalker” of the group who is aided by an older magician or mentor who shows him the ropes. Along the way, they find a “princess” with access to ancient powers who is able to lead them to the MacGuffin that will save the world. From the beginning, they are opposed by a “black knight” who is the shadow of the leader, with an emperor antagonist that is overshadowed by this black knight, leading to the final showdown that is fought in several stages.
Three stages are utilized to represent the destruction of the antagonist’s body, mind, and spirit. Their presence throughout the story is in the form of stages, acting as spiritual checkpoints for the heroic leader to confront their shadow. Once the evil “emperor” is defeated, the shadow's presence brings in the apocalypse that threatens the world, as well as their symbolic four horsemen. Across the journey of the main party, they unlock the 4 forms of transportation: earth(main map), water(boat), air (airship), and fire (combustion vehicle/chocobo). Each quest unlocks the next quest with the next ability to access it, whether it’s a key item or a form of this transportation.
Each game comes with about 10 hours of storylines, making up about a fifth of total gameplay for an average playthrough. This sounds like a lot, but when split up by the 5 point story structure, this gives about 2 hours per point. When we realize there are an average of 70 locations per game, we can feel overwhelmed by the amount of locations to visit. Thankfully, only a small handful are actual story locations and the majority are battle locations for gameplay. The trick to figuring out their location planning is all in the types of locations they go through.
Locations are split into two types: 1. Hub 2. Dungeon
Hubs come in: 1. Small merchant 2. Rest stop(usually a save point) 3. Village (people but no shops) 4. Town (people and shops) 5. City (people, shops, side quests) 6. Castle (people, shops, main quests)
The dungeons come in the variety of: 1. Grassy 2. Desert 3. Snowy 4. Mountain 5. underwater 6. Cave 7. Forest 8. Haunted House 9. Laboratory 10. Castle 11. Space/unknown
When we view it in this way, those 70 locations get split into 35 each, with about 4- 5 hubs for each type and 3 - 4 dungeons of each type. With how each game needs a main hub as the kingdom, the emperor’s tower, the shadow’s fortress, a hometown(plus dungeon) for each side character, 3 to 4 main islands, and remakes of locations caused by running themes(like the gardens in 8), the tall order becomes far more shorter than presumed. The gathering of the side characters make up the bulk of act 2, which include: 1. A driver of the airship 2. An unconventional “mancer” 3. A gag character 4. One who betrays the empire (sometimes comes as an NPC or temporary character) 5. Secret characters 6. A tragic character (seeks revenge on the empire) 7. A dragoon (or sniper in the case of FF8
These character types can be combined in any way, but the goal is to include them for a full experience.
As for villains, the typical boss will be based on a particular weakness to a single(or theme based) type of attack. Reoccurring “Team Rocket” style battles will act as another form of story checkpoint, with these goons being a creature like Ultros or a trio like The Turks. In the final dungeon, a boss rush will either summon a lot of previous bosses to take you on at a higher level, or introduce a cast of new bosses that are to be fought at different layers. The defeat of a boss is meant to be the ending of a quest and the expansion into the next quest area until the game is over, with optional bosses causing neither of these(hence the name “optional”). The normal enemies of the area are (supposed) to train the player for the encounter with the boss of that same area.
Final Fantasy followed this simple formula for about 10 installments until the PS2 era started to make it shaky and then Final Fantasy 12 removed the doomsday weapon. 13 removed the male lead and any coherent recollection of a main antagonist. Once we got to 15, the doomsday weapon was back but now the summonings are treated like main characters. The remake of 7 flips everything on its head as it tries to force Midgar to be a world of its own, not realizing that the journey requires the player to leave the castle and get on an airship within the same game. As time goes on, the romanticism of its origins will be lost and it will just be building over itself without understanding where any of the structure comes from, because each installment comes with more deconstruction.
Final Fantasy started as romantic mythology, tied together with the fairy tale magic of Disney and Studio Ghibli. Everything about it is supposed to be cute, aimed at kids, hits hard enough to make an adult cry, and blessed by the presence of consistency. We don’t need the games to be more realistic, we need them to be more enjoyable. But hopefully, with this guide, you will be able to make your own Final Fantasy one day. You will make it better, make it proper, and it will certainly not be the final time we see it.

1. What is a Digital Assurance Platform?

A digital assurance platform provides project management, quality engineering, and asset assessment services. It is a comprehensive software solution designed to support organizations in ensuring the quality, reliability, and effectiveness of their digital initiatives across various dimensions.
Here's a breakdown of its key components:
1. Project Management: The platform encompasses advanced project management functionalities, including task scheduling, resource allocation, collaboration tools, and progress tracking, all managed within a unified framework to streamline project workflows and enhance project governance.
2. Quality Engineering: The platform offers a comprehensive suite of quality engineering tools and methodologies for the rigorous evaluation and improvement of digital assets. This includes automated testing frameworks, performance testing suites, security assessment tools, and usability testing protocols, all integrated to systematically identify and rectify software defects and vulnerabilities throughout the software development lifecycle.
3. Assessment Services
a. People: This aspect focuses on evaluating and enhancing the skills, competencies, and performance of individuals involved in digital initiatives. It may include training programs, skill assessments, performance evaluations, coaching, and mentoring to support the professional development and effectiveness of teams.
b. Leadership: The platform offers assessment tools and services to evaluate the leadership capabilities, strategic alignment, and decision-making processes of senior management and project leaders. This helps identify areas for improvement and ensures effective leadership support for digital initiatives.
c. Processes: It involves evaluating and optimizing the processes and methodologies used in digital development and delivery. This includes assessing adherence to industry standards, best practices, and regulatory requirements, as well as identifying opportunities for process improvement and optimization.
d. Platforms: This component focuses on evaluating the underlying digital platforms, technologies, and infrastructure supporting digital initiatives. It includes assessing scalability, reliability, security, and performance to ensure that the digital ecosystem can support business objectives effectively.

The digital assurance platform serves as a comprehensive solution for managing and optimizing digital projects and initiatives, ensuring that they meet quality standards, align with organizational goals, and deliver value to stakeholders. It leverages a combination of project management, quality engineering, and assessment services to address the multifaceted challenges of digital transformation.

What is PIEDAP? what does it provide?

PIEDAP: A Pioneering Digital Assurance Platform

In the fast-evolving landscape of digital transformation, ensuring the quality, reliability, and effectiveness of digital initiatives is paramount for organizations striving to maintain a competitive edge. PIEDAP – the next-generation Digital Assurance Platform is engineered to empower enterprises with unparalleled capabilities in project management, quality engineering, and comprehensive assessment services spanning people, leadership, processes, and platforms.
PIEDAP stands at the forefront of technological innovation, offering a seamless integration of advanced tools and methodologies meticulously crafted to address the multifaceted challenges of digital endeavours. From orchestrating complex project workflows to conducting rigorous quality assessments and optimizing organizational processes, PIEDAP provides a holistic solution designed to elevate digital initiatives to new heights of success.
At its core, PIEDAP embodies a synergy of cutting-edge technologies and industry best practices, empowering organizations to navigate the complexities of digital transformation with confidence and agility. By leveraging sophisticated automation, data-driven insights, and personalized assessment frameworks, PIEDAP enables organizations to drive continuous improvement, mitigate risks, and deliver exceptional outcomes across every facet of their digital journey.

With PIEDAP, organizations gain access to a comprehensive suite of capabilities, including:
Advanced Project Management: At its core, PIEDAP redefines project management by providing advanced tools and functionalities to streamline project workflows, optimize resource allocation, and enhance collaboration across teams. From task scheduling to progress tracking, PIEDAP project management software offers a centralized platform for orchestrating digital initiatives with unparalleled efficiency and agility.
Robust Quality Engineering: PIEDAP's robust quality engineering software has the capabilities to set new standards for software quality assurance, leveraging state-of-the-art testing frameworks and methodologies to systematically identify and rectify software defects and vulnerabilities. Whether it's automated testing, performance testing, security assessment, or usability testing, PIEDAP equips organizations with the tools they need to deliver flawless digital experiences to their customers.
Personalized Assessment Services: Recognizing the pivotal role of people and leadership in driving digital success, PIEDAP offers advanced assessment services to evaluate and enhance the capabilities of personnel at all levels of the organization. By providing personalized training modules, performance evaluations, and leadership assessments, PIEDAP cultivates a high-performing workforce aligned with organizational goals.
PIEDAP represents a paradigm shift in digital assurance, empowering organizations to embrace innovation, drive transformative change, and achieve unparalleled success in today's dynamic digital landscape. As organizations embark on their digital journeys, PIEDAP serves as their trusted partner, guiding them towards excellence and ensuring that every digital initiative achieves its full potential.

What benefits does PIEDAP provide?

PIEDAP, most innovative and easy to use digital assurance platform revolutionizes your digital landscape. Experience heightened efficiency, reduced risk, and seamless operations. Welcome to a future where assurance is not just digital but definitive. Let’s delve into some concrete numbers that demonstrate the tangible benefits of PIEDAP
a) Productivity Increase - 45%
b) Efficiency Increase - 100%
c) Collaboration Increase - 200%
d) Time to Market reduction - 60%
e) 360-degree Real-Time Metrics

What are the causes of inefficiency in projects?

Inefficiencies in projects can stem from various factors across project management, quality engineering, and quality of assets. Read our article “Unveiling Project Inefficiencies: How PIEDAP Reshapes Digital Success” to dive deep into the factors causing inefficiencies in projects impacting cost, quality and time-to-market.

How does PIEDAP Maximise ROI?

How does PIEDAP improve project efficiency? How does it improve the cost, quality and time-to-market?

PIEDAP provides comprehensive solutions to enhance cost-effectiveness, quality, and efficiency throughout the project lifecycle. Here's how PIEDAP addresses each of these aspects:

1. Cost Solutions:
   • Resource Optimization: PIEDAP includes features for efficient resource allocation, allowing project managers to allocate resources based on availability, skills, and project requirements. By optimizing resource utilization, organizations can reduce unnecessary costs associated with overallocation or underutilization of resources.
   • Budget Management: PIEDAP provides tools for budget tracking and management, enabling organizations to monitor project expenditures in real-time and make informed decisions to stay within budget constraints. By identifying cost overruns early, organizations can take corrective actions to mitigate financial risks and ensure project profitability.
   • Automation: PIEDAP automates repetitive tasks and processes, reducing the need for manual intervention and minimizing labor costs. Automation also improves efficiency and accuracy, leading to cost savings over time.

1. Quality Solutions:
   • Comprehensive Testing: PIEDAP integrates advanced testing frameworks and tools for comprehensive testing of software applications, including functional testing, performance testing, security testing, and usability testing. By ensuring thorough testing coverage, organizations can identify and address defects early, resulting in higher quality deliverables and improved customer satisfaction.
   • Continuous Monitoring: PIEDAP includes monitoring and analytics features that provide real-time insights into the quality and performance of digital assets. By continuously monitoring key metrics and performance indicators, organizations can proactively identify quality issues and take corrective actions to maintain high standards of quality.
   • Standardized Processes: PIEDAP establishes standardized processes and quality assurance frameworks, ensuring consistency and adherence to quality standards across projects and teams. By standardizing processes, organizations can minimize variability and improve the predictability of project outcomes.

1. Efficiency Solutions:
   • Project Management Tools: PIEDAP offers robust project management functionalities, including task scheduling, resource allocation, collaboration tools, and progress tracking. By streamlining project workflows and enhancing communication and collaboration among team members, PIEDAP improves overall project efficiency.
   • Automation and Integration: PIEDAP integrates with CI/CD pipelines and other automation tools to automate testing, deployment, and other repetitive tasks, reducing manual effort and improving efficiency. Integration with other systems and tools also facilitates seamless data exchange and workflow automation, further enhancing efficiency.
   • Continuous Improvement: PIEDAP fosters a culture of continuous improvement by providing actionable insights and recommendations based on assessment findings and performance metrics. By encouraging ongoing learning, feedback, and process optimization, organizations can continuously improve efficiency and drive operational excellence.

PIEDAP empowers organizations to achieve cost savings, deliver high-quality outcomes, and improve efficiency throughout the project lifecycle, ultimately driving greater success in their digital initiatives.

With 75% Cooldown reduction bloodhowl has 3.75 second cooldown, requiring 4 kills for instant refresh.
With Tyrael's might and Accursed Touch aspect, there may be a way to spam bloodhowl to spawn constant Accursed touch zombies and Tyrael's might 360 degree spears.
Catacylsm with flickerstep and the 75% CDR should be sought to create permanent uptime. Cataclysm has very high lucky hit chance to inflict Accursed touch and whatever lucky hit procs you want.
With a tempest roar and high crit chance, poison should be easily applicable from Cataclysm, which can be combined with Fleshrender to attack the whole map as well.
Despite taking up too many slots with uniques is there other ways to make this abomination build do adequate consistent damage?

Plot: [https://www.reddit.comSufficient-Win-6908/s/OwAvYWD7HH
I was experimenting with Python and ChatGPT and generated the attached plot. I started by analyzing the average monthly S&P 500 return and its associated standard deviation. To generate the probability of being at the target by a given date, the code runs several simulations. Each month’s return is varied based on a normal distribution using the specified mean and standard deviation. The code runs 10,000 simulations for each month and determines the percentage of simulations that reach or exceed the target value.
The ‘Required Annual Return (%)’ line represents the annual compounding rate needed to reach the target value by a given date, considering initial investments, monthly contributions, and annual bonuses.
I was quite surprised at how low the ‘% Probability of Being at Target’ was for annual returns of 7%-10%. A significant factor contributing to this is likely the substantial standard deviation in monthly returns.
For anyone interested in the code:
``` import numpy as np import pandas as pd import matplotlib.pyplot as plt

Parameters

initial_value = 1375000 monthly_contribution = 7200 annual_bonus = 20000 mean_monthly_return = 0.0074 std_monthly_return = 0.0551 num_simulations = 1000 max_months = 360

Define target values in one place

targets = { "1.5M": 1500000, "2M": 2000000, "3M": 3000000 }
def calculate_required_rate(initial_value, monthly_contribution, annual_bonus, target_value, months): total_contributions = initial_value + monthly_contribution * months + (annual_bonus * (months // 12)) required_rate = ((target_value / total_contributions) ** (1 / (months / 12.0)) - 1) * 100 return required_rate

Calculate the probability of being at the target for each month

month_probabilities = {label: np.zeros(max_months) for label in targets} for label, target_value in targets.items(): for sim in range(num_simulations): monthly_values = [initial_value] for month in range(max_months): # Generate a random return for this month from a normal distribution monthly_return = np.random.normal(mean_monthly_return, std_monthly_return)

 # Calculate the new value with monthly contribution and a normal random return new_value = monthly_values[-1] * (1 + monthly_return) + monthly_contribution # Add the annual bonus in December (months 11, 23, 35, ...) if month % 12 == 11: new_value += annual_bonus monthly_values.append(new_value) # Check if we've reached or exceeded the target value for this month if new_value >= target_value: month_probabilities[label][month] += 1 # Increment probability count # Normalize probabilities to get percentage month_probabilities[label] /= num_simulations month_probabilities[label] *= 100 # Convert to percentage 

Plot the probability of being at the target for each month

colors = ["blue", "orange", "green"] fig, ax1 = plt.subplots(figsize=(10, 6)) for i, (label, probs) in enumerate(month_probabilities.items()): ax1.plot(pd.date_range(start='2024-05-01', periods=max_months, freq='M'), probs, marker='o', linestyle='-', label=f'{label} Target (left)', color=colors[i])
ax1.set_xlabel('Date') ax1.set_ylabel('% Probability of Being at Target') ax1.set_title( 'Probability of Being at Target vs. Date\n' '{:.2%} monthly return; {:.2%} monthly std dev\n' r'${:,.0f} initial; ${:,.0f} monthly contributions; ${:,.0f} annual extra contribution'.format( mean_monthly_return, std_monthly_return, initial_value, monthly_contribution, annual_bonus ) ) ax1.grid(True) ax1.set_xlim(pd.Timestamp('2024-05-01'), pd.Timestamp('2034-05-01'))

Calculate the required annual return rate for each target

required_rates = {label: [] for label in targets} for label, target_value in targets.items(): for i in range(1, max_months + 1, 1): # Calculate every month required_rate = calculate_required_rate(initial_value, monthly_contribution, annual_bonus, target_value, i) required_rates[label].append(required_rate)

Create a second axis for the required annual return rate

ax2 = ax1.twinx() ax2.set_ylim(-5, 20) ax2.set_ylabel('Required Annual Return (%)') for i, (label, rates) in enumerate(required_rates.items()): ax2.plot(pd.date_range(start='2024-05-01', periods=len(rates), freq='M'), rates, linestyle='--', color=colors[i], label=f'{label} APY (right)')

Combine legends from both axes

lines_1, labels_1 = ax1.get_legend_handles_labels() lines_2, labels_2 = ax2.get_legend_handles_labels() ax1.legend(lines_1 + lines_2, labels_1 + labels_2, loc='upper left',bbox_to_anchor=(1.1,0.65))
fig.tight_layout() plt.show() ```

I want to use my Steam Deck as a local multiplayer console hooked up to my TV so that my son and I can play things like Stardew Valley or Sonic All-Star Racing together. I have an official steam dock that never worked well and eventually refused to connect to my TV at all, so I got a JSAUX 6-in-1 dock instead, and that has been working great.
When it comes to hooking up external controllers so we can play from the couch, getting the controllers to work inside the games has been extremely painful. I've read many posts about reordering the controllers to put the built-in Steam Deck controller first, and no matter what I do, I can never get the controllers to work reliably within any games. They work fine for navigating the Steam Deck UI, but as soon as I start up a game, it all seems to crap out, and I just can't figure out what I'm doing wrong.
FWIW, my Deck on the most recent beta because I need it for the Steam Families beta program.
I have 3 types of controllers that I have tried on their own and in various combinations and in all sorts of controller orders in the steam UI:

• 2 different wired XBox 360 controllers, connected via USB A to the dock
• a GuliKit Zen Pro Wireless controller (Switch Pro Controller clone) connected via bluetooth
• a Steam controller, that connects either wired or via a RF dongle, so is probably considered "wired" either way as far as the Deck is concerned

Sometimes I can get one or both of them to work, but most of the time I can't. Things I tried are:

• disconnecting and reconnecting them, including forgetting and re-pairing the bluetooth one
• rebooting the Deck
• reordering the controllers
• selecting or resetting controller layouts in the steam input config UI
• turning off steam input
• I even tried a full factory reset of the Deck

I have also scoured the settings to see if there's any settings I may be missing, but I haven't found anything that helps.
For the times when they don't work, they're not actually completely dead. While the joysticks, D-pad, ABXY buttons, shoulder buttons, and triggers won't work, the button that triggers the "Steam button" on the controller still works. And if I hold down that button, I can use the right joystick as a mouse and the right trigger as a mouse click, which usually at least lets me get out of a game without having to forcefully kill it.
Since this seems to affect both wired and wireless controllers, I don't think this is an issue with the dock.
I've been trying to get them going for a week, and I'm at my wits end. I see similar posts in various places about similar issues going back over a year. Usually the suggestion is to reorder the controllers and make sure the built-in steam deck controller is first, but that doesn't work most of the time. I also thought the last message on this thread on the steam forum was my answer. It talks about the desktop configuration for the controller being set to "disabled", and giving it an active profile instead. It seemed to fix it at first, but then it stopped working again after quitting the game and relaunching.

The success of traders is not always easy, since there are hundreds of losses behind. Their lives are marked by both triumph and drama and surrounded by money, speculation and fortune.
We prepared a list of the most famous market makers, including legendary traders in history and modern day traders. Learning from mistakes, thinking ahead and being flexible has helped them become successful traders. Keep reading this article to be inspired by their great feats.

1. George Soros

George Soros, alias "the man who broke the Bank of England," was born in 1930 in Hungary. Being Jewish, he survived the Holocaust and fled the country at the time. He is one of the most popular and famous traders in the world. In England, Soros worked as a waiter or railway porter before graduating from the London School of Economics. This led him into the world of banking when he rose to the position of merchant banker at Singer & Friedlander.
With the help of his father, he moved to the United States to work at a Wall Street brokerage firm. Following his successful results at several firms, George created his hedge fund in 1970, called "Quantum." There he rose to fame.
In 1992, Soros made a huge bet against the British pound and made one billion US dollars in just 24 hours.
Quantum accumulated £3.9bn, and Soros borrowed more to raise a total of £5.5bn. But sterling began to fall. Soros then shorted the £5.5 billion against the German mark on September 16, also known as Black Wednesday. This contributed to the fall in the price of the currency and forced the United Kingdom to leave the European Exchange Rate Mechanism.
The result was one of the fastest billion dollars anyone has ever made and one of the most famous trades in history, which later became known as “the Bank of England collapse.”

2. Jesse Livermore

Jesse Livermore's life could serve as the basis for a movie story. Born in 1877, he was destined to be a farmer, but ran away from home to become a multimillionaire. His story is wrapped up in money, lovers, bankruptcy and scandals.
At a young age, Jesse Livermore learned to read and write, became interested in news and economics, and learned to analyze prices. With experience, he mastered detecting trend reversals and popularized modern technical analysis. Livermore was one of the first to use stop losses, a risk management tool that traders still use today.
Jesse made his first $250,000 selling stocks just before the San Francisco earthquake. In 1925, he made US$3 million by shorting wheat. He then made about $100,000 in profits by short-selling American stocks before they crashed in 1929. One of the richest and most successful traders of his time, Jesse earned the nickname “The Gambling Boy.” .
However, Jesse went through several bankruptcies. He managed to get back on the market in the first two cases, but the third bankruptcy was fatal. He made a mistake and lost all his money in 1929.
Combined with family tragedies, stress, and other failures, Jesse Livermore realized he would never be able to operate the same way again. In 1940, he shot himself to death.
By the way, her son Jesse Livermore Jr. fell into the same habits as his mother, who suffered from alcoholism, and took his own life in 1975. This happened while he was drunk, after shooting his beloved dog and trying to shoot a police officer.

3. William Delbert Gann

If you are a trader who practices technical analysis, you have surely heard the name of WD Gann and his trading theory. William Delbert Gann was born in 1878 in Texas, the first of 11 children in a poor family dedicated to growing cotton. He did not finish primary or secondary school because his parents expected him to work on the farm.
Gann believed that the Bible was the best book and obtained most of his education from it. Her writing style is full of mystery, esotericism and an indirect style that many find difficult to follow.
However, Gann created powerful technical analysis tools such as Gann angles, the hexagon, the 360 ​​circle, the 9 square, and many more. Most of them are based on ancient mathematics, geometry, astronomy and astrology, and are widely used by traders today.
Critics claim that there is no real evidence that Gann did not make profits from investments in the market and that he made money selling investment books and courses. It is unclear to what extent WD Gann became rich from his trading analysis, but when he died in the 1950s, his estate was valued at just over US$100,000.
But the amazing thing is that, a hundred years ago, Gann created trading rules, ranging from basic money management principles to mind games, that still apply.

4. Paul Tudor Jones

Paul Tudor Jones is undoubtedly one of the greatest stock market insider traders in history, with an estimated net worth of around US$7.5 billion.
After graduating from the University of Virginia in 1976, Paul began trading cotton futures on the New York Cotton Exchange. As a curious fact, he lost his job because he fell asleep at his desk after a night of partying with his friends. Paul then worked as a commodities broker and, in 1980, he founded his investment and trading company, Tudor Investment Corporation. The fund managed to achieve a 100% return during its first five years, which is a surprising fact for today.
Paul's biggest prediction was the market crash of 1987, known as Black Monday. Thanks to his accurate prediction, Jones made about $100,000 in profit instead of losing money.
Paul Tudor Jones developed his own trading strategy, which helped him be successful. His main rule is to be consistent and not expect quick money. His great risk management skills and realistic expectations of his possible operations allowed him to have a stable income.

5. Jim Rogers

From his youth, Jim Rogers had business acumen selling peanuts and used plastic thrown away by baseball fans. He graduated with honors in History and obtained a second degree in Economics from the University of Oxford. Currently, Rogers' estimated net worth is over 300 million US dollars.
In 1964, Rogers joined Dominick & Dominick, LLC on Wall Street, where he traded stocks and bonds. But from 1966 to 1968, Jim was in the Army during the Vietnam War.
Two years after his military service, Jim joined an investment bank where he met his partner George Soros. In the early 1970s, they co-founded the Quantum Fund, which gained an impressive 4,200% in ten years.
The biggest skill that helped Rogers become a successful trader was his ability to make clear forecasts. In the 1990s, he was right in his bullish forecasts on commodities. Jim has also criticized the inability of the Bank of England and the US Federal Reserve to fight rising inflation, warning that it could worsen before stabilizing.
When he retired, Rogers embarked on a three-year tour of 116 countries in a custom-built Mercedes. He broke the world record for the longest car trip made uninterrupted. He also wrote books detailing his adventures.
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I’m torn between these 2…
I’m currently practicing driving manual, pretty much got it down and can drive everywhere, just need more practice to make it smoother.
Been driving automatics for about 13 years now and have always wanted to learn and drive one but never had the opportunity.
However, everyone in my family including my gf are against me buying a manual due to them not knowing how to drive one and it being impractical on roadtrips since none of them can help me drive.
Aside from that below are some of my personal pros and cons of the 2 cars.
Integra PROS - looks amazing! Mean and sporty, love both the front and rear - love the interior looks, simple and clean - 1st hatchback, really excited about more storage in the back - aftermarket/parts in general should be easy to find and cheaper compare to Lexus (I assume it’s very similasame to Honda civic parts, I could be wrong though, please correct me if I am) - performance wise it should be better than the Lexus
Integra CONS - expensive, wish starting MSRP was ~45k instead - interior missing a few luxury features like ventilated seats, memory seats, rear passenger usb ports or vents, rear passenger middle seat, if no middle seat at least add an arm rest, 360 camera or front camera - FWD and no AWD option - compare to Lexus may not be as reliable - compare to Lexus may not retain its value as much - may be harder to sell manual cars compare to automatics
IS350 PROS - looks great! Mean and classy, love the front and rear lights - RWD, can whip the tail out and have some fun - interior more luxurious and comfortable than Integra - overall more reliable than Integra - will most likely retain its value better than Integra
IS350 CONS - rear lights look great, but still iffy about the rear shape/design, prefer the front more - heavier and doesn’t perform as well as the Integra - even though the interior is more luxurious some stuff still looks outdated, not a fan of the touchpad, also looks like it’s got too much going on in the center console.
The Integra may have “more” CONS than the Lexus but performance is a pretty big factor for me, I want to feel alive on the road and enjoy my drives, I WFH so I don’t do all that much driving on the weekday. Don’t get me wrong, I’m sure I’ll enjoy driving the IS350 too but maybe not as much as the Integra.
The stitched pictures are just the builds I’ve been playing around with, ofc the options can be changed, but those are my personal must-haves. Without the add-ons the Lexus MSRP is less than Integra’s.
All insights are appreciated, thank you 🙏

There may be something similar already in existence but without throwing my whole life at a college degree or service experience and already having a family I doubt I'll ever be able to pilot it. Just a cool idea I had! Feel free to add your features 😁

Hey!
I was wondering what unique technique could have been taught to Naruto that could have carried part 1 for him.
The setting: month of training before the finals.
Reasoning: Jiraiya gave Naruto the toad contract and didn't really did anything one could call teaching. Naruto was supposed to face Neji, not Shukaku, so Naruto should have been taught a technique that could help him fight Neji, not summon a mountain sized toad every once in a blue moon when all stars align and Naruto uses a ton of Kyûbi's chakra.
Technique: instead of or on top of signing the toad contract (since the best he got out of it until summoning Gamakichi was a tadpole and neither a tadpole nor Gamakichi could help fight Neji), Naruto learns the Lion Mane technique.
Result: with the Lion Mane technique, Naruto counters Neji's entire fighting style. He has an organic defense like Gaara's sand but the hair is also thick, soft and can become spiky without even using needle jizô which is another technique.
With this, Neji would be unable to access Naruto's body to deal damage and Naruto's clones would also be protected in the same way. His mane could be used as a massive whip like a grass Pokémon (vine whip, power whip), like a soft shield that doesn't care about being pierced unlike Kakuzu's dome technique or Jirôbô's actual earth dome. Neji can always use rotation to try and negate incoming attacks, but rotation takes like 25% of his chakra reserves in the chûnin finals (less in the Sasuke retrieval arc, he probably got more efficient and increased his chakra tank). Naruto and his clones can use Lion's Mane for hours at a time. Naruto massively outlasts Neji.
In the Gaara pursuit, well, honestly genin shouldn't even be expected to be sent after the vessel of Shukaku with sand magnet. If the Lee vs Gaara fight wasn't enough of a hint, then the adults are not shinobi, they're monkeys in human meat suits (just like anyone watching Hidan draw his ritualistic circle and do his thing without trying to cancel it, like blowing the dust away or cracking the flooground to break the circle, something any 12 YO would think about in a second).
Even then, if Naruto still has the toad contract, he can beg Kyûbi to give him chakra and summon Gamabunta who wouldn't want Konoha to be destroyed, but beforehand Naruto would be fighting Gaara on a much more equal ground thanks to his defensive technique.
Tsunade rescue arc: rasengan is pretty pointless here except as a chakra control exercise. Lion's Mane makes Naruto much less vulnerable to Kabuto who basically has no gap closer nor any ranged technique. If he still learns rasengan, he can make it while protected by a ton of hair and use any combination of clones' hair to grab Kabuto, pull his limbs away from each other and get a free shot at rasengan, maybe even a second, third and fourth one if Kabuto keeps pulling bullshi.t heals in advance out of his ass. At some point Naruto ends up killing him, Tsunade never has to bring him back from near death and Naruto starts becoming renowned for beating opponents much more skilled and experienced than himself.
Without rasengan, Kabuto can't hit him nor anyone under his protection due to constant int-hair-ference and gives up on fighting Naruto, Tsunade and Shizune. Kabuto, just like Neji, can't do anything but play a battle of attrition betweeb hairdresser and infinitely growing hair trying to grab him and incapacitate him. If Kabuto is caught and his limbs immobilized, he's pretty much going to be ragdolled by slamming him against the ground until his face looks like Mizuki's after the 1000 clones battering he took.
Sasuke retrieval arc: nothing changes until Naruto fights for real. Kimimaro can still kill him easily no matter Naruto's skillset because Kimimaro scales to Orochimaru if not higher (his ninjutsu scales above, but his taijutsu and kenjutsu are capped by his condition at mid jônin level).
Against Sasuke, Naruto claps and it's not even a fight. Sasuke only has fireball technique, which he won't be likely to use once Naruto has him grabbed unless he wants to burn himself. Chidori is totally irrelevant in this fight and neither toads nor rasengan are needed. Naruto's clones stomp Sasuke without being damage beyond the first surprise fireball (Kishimoto tm, characters never expect the first counterattack even when they know the entire skillset of their opponent).
Sasuke is wrapped and brought back to Konoha like a hairy spring roll.
Part 1 ends, Naruto hasn't lost a fight since Orochimaru and can now improve his skillset further, for example by adding needle jizô, using wind chakra on his mane to change it into a giant organic whip-scythe with which he could cut Deidara or Hidan in 2 parts, counter Kakuzu's black threads, cut his masks from a distance, shield his allies and himself with a furball and counter with needle jizô. Maybe even apply wind chakra to needle jizô and create a piercing gattling. Who needs 5 million paper bombs when you can use an infinite uses gattling gun with complete 360° defense and attack simultaneously?

(continuation of part 4)
I already considered this piece the second greatest musical evidence for Clerith after the London Symphony Orchestra’s Final Fantasy VII Symphony’s second movement “Words Drowned by Fireworks” and its guide, but now that I know about the Clerith reunion that was baked into the ending, the gap between the two is narrower. Each time I hear Cloud begin to call out for Aerith in part 3 (3:04), I immediately start crying. It sounds so much to me like Cloud’s voice in the dark saying “Aerith…?”, meek and scared. If you’ve read everything so far, you know how long Cloud has been looking for Aerith, lost without her, searching relentlessly for decades in real-life time. Through FFT, DFF, Advent Children, MFF x FFVII… all of it spent looking for his Promised Land. In OG, Cloud was so tormented by Jenova’s manipulation and so consumed by the chase for Sephiroth that he could not realize what or how much he felt for her until she was taken away forever. The piece we’ve just analyzed tells the story of Cloud and Aerith intertwining and separating against their will, and you can truly feel Cloud’s anxiety as he struggles to wrench Aerith out of fate’s cruel grasp. Perhaps it is because of Aerith’s ultimately fatal responsibility, inherited from her mother, that this iteration of her theme is called “The Cetra”.
Though in part 5, Cloud and Aerith reunite… could this reunion symbolize their meeting again in Remake, or something more permanent? I think it’s meant to leave us wondering.
I’m very sensitive to music, and as I’m typing this, I’m crying a bit. I wanted to share my interpretation of “Aerith’s Theme - The Cetra” with you very badly, because it makes me feel so much and really enhances Clerith’s story. I’m overjoyed to have found out about the reunion at the very end. And it’s all because you guys showed love for my last analysis! You guys are giving me gifts every day.
V. b) i. 3) Combined Analysis
Please listen to and watch the scene of Cloud’s MOTF 6 (4:21-8:46) again, and consider section “V. b) i. 2)”. What is Uematsu telling us? Similarly to how main world theme of FFVII informs us that Jenova is sabotaging Cloud’s identity far before it becomes a plot point in OG, “Aerith’s theme - The Cetra” is telling us what not even Remake Cloud consciously knows at this point: he’s been searching desperately for her, and fears losing her once more.
As if that wasn’t proof enough, the timing of the shots and musical phrases is absolutely damning. Recall that part 3 of “Aerith’s theme - The Cetra” specifically symbolizes Cloud’s anxiety surrounding Aerith’s safety. It is this particular part of the piece that plays for the entirety of Aerith’s allusions to her murderers and her death (7:25-7:54), including the very moment where “Cloud feels his chest constrict tightly” (7:51-7:54). What’s more, part 5 the piece, which specifically Cloud freeing Aerith from the restraints of fate, coincides with the moment Tifa grabs Aerith’s hand and pulls her out from the circle of Whispers closing in on her (8:42-8:45). This moment leads me to believe that the reunion in part 5 of the piece indeed symbolizes Cloud succeeding (perhaps with Tifa’s help) in saving Aerith from her tragic fate and reuniting with her for good.
It’s heart-wrenching and brilliant. Our theory stands strong.
V. b) ii. Credits: Piece Inclusion
I find it very telling that the character themes included in the credits of Remake are Cloud’s “Hollow” (0:00-5:24), an orchestral arrangement of Aerith’s theme (5:24-9:24), and an orchestral arrangement of the main world theme, (9:24-14:27) which of course includes Cloud’s true theme. No other character themes appear during the rest of the credits (14:27-18:09). This is telling: the credits are communicating to us that Remake is about Cloud and Aerith. Our Mission Theory only gets stronger.
V. b) iii. Showing Relationships Through Music: Intermingling Character Themes
This doesn’t have to do with the Mission, but here’s a pretty good anti-Cloti argument while we’re here.
As shown in section “V. a) i.” where we explored the roles of Cloud, Jenova and Sephiroth’s themes within the FFVII world theme, the way character themes interact in a piece can tell you a lot about those characters’ relationships. This is certainly the case in “Aerith’s Theme - The Cetra” as well (see section “V. b. ii. 2)”).
I’d like to mention that in all of my listening to the Remake OST and rewatching playthroughs of Remake, I’ve never encountered a single piece that united Cloud and Tifa’s themes. Not once. Let alone a piece that depicts them as intimately or emotionally as “Aerith’s Theme - The Cetra” depicts Cloud and Aerith. Even the most Cloti cutscenes in Remake aren’t supported by pieces mixing or even juxtaposing Cloud and Tifa’s themes. I can’t find any of Cloud’s motifs anywhere during the orchestral arrangement of Tifa’s theme that plays during her resolution scene in chapter 14. I can’t find either of their motifs in the track the plays when Cloud calls Tifa beautiful at Seventh Heaven in chapter 3. A motif from Tifa’s theme does appear in the track that plays during the childhood promise scene in chapter 4, (0:00-0:25), but it never plays at the same time as or even near Cloud’s motifs (1:23-1:47 and 2:03-2:29). They’re distant or otherwise unaffiliated.
The only exception is that an altered version of Cloud’s theme’s section A phrase 1 appears in the background of Tifa’s theme (1:17-1:23). This symbolizes her connection to Cloud and how much of her attention and worry revolve around him— a reference to how she cares so much that it borders on dependency. Of course, it doesn’t go both ways: Tifa isn’t in Cloud’s theme at all. To me, this lack of reciprocity concerning the inclusion of Cloud’s motif in Tifa’s theme signifies that the only time Cloud and Tifa are together is in her head. She does think about him a lot, which we witness in her chapter of Trace of Two Pasts. Tifa loses sleep over him even two years after he left Nibelheim, despite the fact that she barely knew him at all:

“The moment she heard the word “Soldier”, the few memories she had with Cloud Strife came flooding back. He never contacted her after they parted ways two years ago […]. She tossed and turned all night. When she counted them again, her memories with Cloud were so surprisingly few that others might find it hard to believe that they grew up as next-door neighbors” (Trace of Two Pasts, translated by pekotranslates on Tumblr).

FFVII Remake Ultimania also comments on the superficial nature of Cloud and Tifa’s water tower promise, and how regardless of its naïveté, it became fundamental to Tifa:

“Though rooted in a jejune heroine fantasy of being rescued in a pinch by her hero, this promise is clearly etched in Tifa’s memory” (Tifa’s profile in section 01 of “Character & World”, “An Enduring Childhood Promise” in “Topics of Tifa” page 20).

You could argue that “Aerith’s Theme - The Cetra” is only one song wherein Cloud and Aerith’s themes interweave, but you’d be proven wrong by the Rebirth OST…
V. c) The Rebirth OST
Unfortunately, the full Rebirth OST isn’t out and available where I can listen to it right now. However, based solely on the incomplete OST that’s available to me right now, I can tell you with certainty that the composers were told to incorporate Clerith into the musical storytelling: Cloud and Aerith’s themes intermingle in multiple pieces. I can’t imagine what else I’ll discover once I listen to the full OST. For now, I checked out what was available on YouTube and listened to cutscene audios. This section would be eternal if I included every time Cloud and Aerith’s motifs interact, especially in chapter 14. Trust me, I’d love to talk about every single one, but this thing is long enough already, so let’s just address what pertains to our Mission Theory specifically rather than stopping at every single Clerith reference in the OST.
V. c) i. Ending Cutscene Music
Ending cutscenes are often used to address the next step the characters will be taking as well as their emotional and mental state. They also open up new questions to make the player curious. Indeed, Rebirth’s ending cutscene (18:56-25:00) gives us an impression of how the party members feel by the end of the game: everyone misses Aerith. Barret looks upset and confused at the mention of her (19:35-19:45), the girls are crying and Nanaki is mourning (19:58-20:35). Additionally, we are shown the empty White Materia and Black Materia in Cloud’s possession (20:40-21:24), foreshadowing that they will come to be important in part 3. Cloud and Aerith share a warm goodbye, and exchange promises: Aerith will send smoke signals if something happens to her so a worried Cloud can remain updated on her well-being and she will stop Meteor, and Cloud will stop Sephiroth (23:00-25:00). The fact that this scene is animated in CGI is enough to tell us that the devs consider it narratively important, just like they do Bugenhagen’s observatory and the party’s advance into the Forgotten Capital CGI cutscenes. What did the composers decide to communicate with us about the end of Rebirth and the plot going forward?
Big surprise: Clerith.
During the entire cutscene, only two themes play: Cloud’s and Aerith’s. The cutscene’s music begins only when Cloud notices Aerith among the party members and begins watching her (19:21). She interacts with the rest of the party without their knowledge, different segments of her theme playing one after another. Her theme only stops when Cloud finally looks away from her and to the empty White Materia in his hand (20:45). The music focuses on the mystery and ominousness of these materia, only returning to Aerith once Cloud hears her voice and repeats her message to the party (21:30).
Cloud’s theme appears when he asserts that Barret needn’t worry about him (section A of Cloud’s true theme, 22:41), though soft and tentative, only swelling when Barret and Tifa climb aboard the Tiny Bronco and Cloud finds himself alone with Aerith again (22:57). As he asks Aerith if “[she’ll] be okay getting back” (23:08), the final phrase of section A of his theme plays, but without its concluding note, the tonic. He waits for her to answer him as his theme waits for hers to complete and answer it, that final note dragging long over the seconds (23:09-23:13). She answers with a teasing remark that references their unwillingness to part from each other back in Remake’s Evergreen Park:

“[Cloud has] a chat with Aerith, from whom he’s reluctant to part” (chapter 9 in section 04 “Scenario”, “Main Story Digest”, “4. Saying Goodbye”, page 275)”.

As soon as Aerith answers Cloud’s question with this romantic callback, her theme answers his too: section C of Aerith’s theme begins with the key’s tonic, resolving Cloud’s incomplete phrase (23:13): she gives him resolution. He chuckles, getting her reference, and the music swells (23:16). The music ebbs and flows thusly, following the rhythms and underlying emotions of their conversation. Finally, the piece ends with phrase 2 of of section A of Cloud’s true theme, following a strong repetition of the first half of Aerith’s theme’s section A. The two make their promises to each other, and “No Promises to Keep” begins, leading us to the credits. This is most definitely a Clerith song, but more on that later.
What this shows us is that Cloud and Aerith’s relationship is fundamental to the plot of Rebirth and will also be fundamental to the plot of part 3: they are isolated one one-on-one in this cutscene, and the music depicts their warm, sweet interaction as well as the strength of Aerith’s character to contrast with Cloud’s somewhat meek personality. The composers are telling us that these two, specifically, together alone, are hugely important to the plot here. This was already true in OG, but no such emphasis was ever placed on their interactions and relationship in its music. Something is different, deeper, more intense now. The Mission Theory explains why. It also suits our theory that the composers are emphasizing the centrality of Clerith in the plot of the Remake trilogy. Cloud’s love for Aerith is the reason for the trilogy’s existence, and it will be the greatest motivator for Cloud in part 3. It’s a grand announcement.
Just like in Remake, I could not find a single instance of Cloud and Tifa’s themes interacting in Rebirth, apart from at the end of the intimate Skywheel date— but every girl receives this treatment in their intimate dates, so each of these instances can be crossed out. Additionally, the Tifa date is not the canon one, but I digress…
V. c) iii. Credits

1. Piece Inclusion

Once more, I find it very telling that of all the pieces included in the credits of Rebirth, the only character themes are Cloud’s and Aerith’s. We start with a song about Aerith’s point of view to mirror *Remake’*s “Hollow”, “No Promises to Keep” (5:18-11:10), followed by the FFVII world theme (11:10-16:12) which of course contains Cloud’s true theme, then we move into a piece whose unofficially translated title is “Parade Battle Ceremony - The Dawn of a New World” as an arrangement of the parade ceremony theme from chapter 4 (16:12-19:03), followed by a theme for the Lifestream springs whose name I don’t have (19:03-21:38), “Junon - Fortified Metropolis” (21:38-24:28), and finally, a gorgeous arrangement of Aerith’s theme (24:28-28:47). No other character is referenced in the credits music: the credits are telling us Rebirth is about Clerith. Our Mission Theory explains why.
V. c) iii. 2) “No Promises to Keep”
At the very end of this song written and performed by Aerith, we’re treated with a sweet little piano conclusion (10:46-11:10): it begins with a variation on Aerith’s theme’s section A (10:46-11:01), and concludes with two ascending arpeggios, each four notes long (11:01-11:10). Each of these ascending arpeggios is a variation of the phrase 1 of Cloud’s true theme’s section A. The differences are minimal. The phrase is usually five notes long rather than four, the first arpeggio ends on the tonic rather than Cloud’s iconic subtonic, and the second arpeggio starts on the subtonic rather than the tonic. The song Aerith wrote concludes with Cloud’s most famous motif. This is also the case in her Gold Saucer performance (3:31-3:41).
V. c) iii. 3) Arrangement of Aerith’s Theme
The final piece in the credits is an arrangement of Aerith’s theme (24:28-28:47) which has noticeably similar elements to the version of her theme that plays during the Jenova Lifeclinger battle in chapter 14 (0:12-3:36), such as the female choirs. Since these female choirs are only heard in the Forgotten City version of Aerith’s theme, and since the credits arrangement of her theme plays at the same time as clips from her chapter 14 pseudo-death roll across the screen, I estimate that this credits arrangement specifically reflects the event of Aerith’s pseudo-death. Recall that composers had access to the credits video as they composed, meaning this piece is specifically written for Aerith’s pseudo-death in Rebirth.
What I find fascinating is that, just like the arrangements of her theme that play during Aerith’s pseudo-death and the Jenova Lifeclinger battle, this credits arrangement contains the sound of Cloud’s pain, rage and protest. Phrase 1 and the first three notes of phrase 2 of Cloud’s true theme section A play on the strings and brass quite loudly and insistently, just as Cloud blocking masamune appears on the credits screen (25:11-25:21). Sephiroth’s dissonant, high and screechy violins appear just as his face comes onto the screen (26:33), and almost as a protective response, phrases 1 and 2 of Cloud’s true theme’s section A return (26:47-27:00). Finally, similarly to what we hear in part 5 of “Aerith’s Theme - The Cetra”, a slightly modified section A phrase 1 of Cloud’s true theme play along with section C phrase 3 of Aerith’s theme (oh wow section A and C section Aerith for Cloud’s theme and section Cloud for Aerith’s theme I just realized that’s such a cute coincidence), though unfortunately they do not meet in the middle like last time since they start two octaves apart (28:20-28:25). I’ve recreated it for you once more here so you can really appreciate it. The fact that their motifs don’t truly reunite like in “Aerith’s Theme - The Cetra” is sad, but the very last thing you see onscreen is Aerith’s goodbye to the Tiny Bronco (27:10-27:42), so it makes sense that this piano conclusion implies that Cloud and Aerith aligned, but not yet reunited for good. That’s exactly what you get from the ending cutscene. It does seem to imply that they will be reunited in part 3, as both the ending cutscene and this piano conclusion read as a “till we see each other again” rather than a “farewell”.

VI. Textual Evidence

Now that the musical evidence is done, let’s compile some textual story evidence that supports our theory!
VI. a) Remake Trilogy (Thus Far) Handholding Explained?
As I’m sure you’ve noticed, handholding is a motif in Cloud and Aerith’s relationship— and an extremely symbolic one at that! When researching for info to validate my theory, I found that this Clerith motif was extremely helpful! Its inclusion in the Remake trilogy, and especially in Rebirth, is hugely significant in my eyes.
VI. a) i. Pre-Remake Trilogy: Aerith’s Initiative
Before examining the significance of Clerith handholding in Remake and Rebirth, we should establish the meaning of this motif in OG and Advent Children.
Cloud and Aerith have reached out to take each other’s hands many times since 1997. Aerith used to literally drag him by the hand a lot, shocking the cold and distant merc, before she left. After her death in OG, Cloud surely longed to be able to feel her hand take his again, cursing himself for not enjoying it while she was alive, and for never being the one to grasp her hand first: he never got to tell her how he feels about her, or to save her. It was always her reaching out for him, saving him.
This is why the scene in OG when Aerith reaches for him from the Lifestream after Cloud defeats Sephiroth in chapter 3 of disk 3 is so touching: Cloud sees her hand and reaches out to take it, so close to finally establishing that mutual connection, but she soon fades, and replaced by Tifa’s hand in the tangible world. He doesn’t get to hold Aerith’s hand again.
That is, not until Advent Children, where near the end of his battle with Bahamut Sin, he sees Aerith reach out to him once again (1:08-1:30). Cloud finally gets to hold her hand for the first time in two years when he lost her. This moment was given extra importance by the devs. In fact, Nojima told us the following:

“The ending scene of the battle with Bahamut, the scene where Aerith reaches out her hand, is an homage to the last scene from a previous production. It was [Nomura]'s idea” (FFVII Reunion Files, “Story Digest”, “Summoned Beast”, page 113).

VI. a) ii. The Remake Trilogy (Thus Far): Cloud’s Initiative
As I’ve said before, if I’m right that Remake is all about Cloud stepping up to be more attentive and active in his relationship with Aerith in order to save her, there should be concrete evidence of this in the Remaketrilogy thus far. If OG Cloud’s memories of and love for Aerith exist somewhere within Remake Cloud’s subconsciousness, then Remake Cloud should be far more active in the Clerith dynamic than OG Cloud was— after all, he’s supposed to know better this time around. Thankfully, the motif of handholding can help us evaluate this. Since we know pre-Remake Cloud was quite passive when it comes to handholding, Cloud initiating handholding in the Remake trilogy would be a strong indication that our theory has validity. Keeping this in mind, let’s see what we can find thus far in the Remake trilogy in relation to handholding, and if Cloud is indeed more active than he was in OG.
VI. a) ii. 1) Hollow Hands
Remake’s theme song “Hollow” makes allusions to the handholding motif: “This time, I will never let you go” is pretty clear. And so is “No Promises to Keep”, wherein Aerith speaks of Cloud “[taking her] hand and never [letting her] go” multiple times. Interestingly, these theme song lyrics seem to suggest that Cloud will be much more active in the Remake trilogy than in OG. “Hollow” even promises that Cloud will come to his senses and take charge of the situation: “this time, [he] will” be the one to offer his hand to Aerith, unlike in OG and Advent Children. This makes a lot of sense with our theory: now that Cloud has lost Aerith once, “this time for sure, [he]’ll” be the one to reach for Aerith’s hand, take initiative and save her the way she saved him.
Even though theme songs are extremely telling of a game’s main themes and intentions, lyrics are still all talk and no proof. What about the game itself? Do Remake and Rebirth deliver on this promise? Let’s see!
VI. a) ii. 2) Resolution Hands
The only significant time Cloud initiates handholding in Remake is during Cloud’s resolution scene in chapter 14 (5:18-5:40), wherein he tries to grab Aerith’s hand but is unable to keep her with him. He fills with determination and tells her in no uncertain terms that he’s coming for her. Just as we predicted, Cloud is the active participant in this iteration of the Clerith handholding motif: he’s even explicitly insisting against Aerith’s wishes that he should “get a say in all this” and that he’s “coming for [her]”. Let’s not forget that Cloud’s resolution is meant to reflect not only Aerith’s kidnapping by Shinra, but also her fated death. Nojima implied this by commenting the following on Aerith’s “Even if you think you have, it’s not real” line:

“Those who know what befalls Aerith later on will find the line really heart-wrenching” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 744).

Given this note by Nojima, it looks like we’re supposed to watch Cloud’s resolution scene with Aerith’s fated death in mind. Considering this, Cloud’s “I’m coming for you” line sure seems like an subconscious promise that he will save Aerith from her tragic fate. This subconscious promise could be the result of post-OG Cloud’s feelings and intentions rising to the surface. Nevertheless, he’s absolutely determined and he’s staying true to the promise he made in “Hollow”. I think it’s fair to say that this instance of the handholding Clerith motif does indeed fit perfectly with our theory. This is only one strong example though, and we need a pattern in order to pat ourselves on the back on this. So, let’s keep looking! There isn’t any handholding initiated by Cloud beyond that point in Remake. At this point in my research, I moved on to Rebirth to go digging for handholding there.
Hoo boy. I was not disappointed.
VI. a) ii. 3) Golden Hands
Let’s begin with the obvious. In their high-affinity gondola date in chapter 12, Cloud bravely interlaces his fingers with Aerith’s: Cloud’s taken charge not only of handholding, but the most intimate kind of handholding. I’m sure you’ve encountered the phrase “こいびとつなぎ” or “koibito tsunagi by now (literally translates to “lovers’ tie” or “lovers’ connection”); this is the term used in Japanese to refer to the type of handholding Cloud initiates with Aerith on the Skywheel. It’s considered the most intimate form of handholding. In Japan, skinship is normally considered quite significant and indicative of the closeness between two people— you could say it’s a big deal. Cloud also offers Aerith his hand when they step off the Shywheel, once more making the first move. Though some might say that the Skywheel dates shouldn’t be counted as canon, I believe Aerith’s date is indeed canon (I have my reasons but this post is long enough). Even if we discount the Skywheel date however, Clerith's use of the koibito tsunagi returns in a non-optional scene we will touch on later.
For what it’s worth, Alfreid offers Rosa his hand in the Loveless play too. I can prove that Aerith is the canon Rosa too, but I’m going to save that for my next analysis! You can take my word for it now, or just wait for that analysis to drop. Take it or leave it!
VI. a) ii. 4) Meta Hands
However, the narrative weight of these Clerith handholding instances doesn’t even come close to my very favorite iteration of the handholding motif in Rebirth. I’m referring to what I consider a severely underrated Clerith moment in chapter 13. First, some context: Sephiroth manipulates Cloud into giving over the Black Materia. Cloud seems to be firmly under Sephiroth’s control. However, the sight of Aerith being swarmed by Black Whispers snaps Cloud back into the driver’s seat: he breaks out of Sephiroth’s grasp to run to her and save her. Aerith gets knocked off into a fatal free-fall by a Black Whisper before Cloud can reach her, but he won’t have it: he lunges forward, hand extended. What results is a beautiful shot of their outstretched hands (56:25-56:27).
Let’s analyze this great shot. Notice how the seconds where Cloud is reaching downwards to grasp Aerith’s hand are treated. This key moment is stretched longer by a slow-mo effect, building up the tension and drawing the audience’s focus to the distance between their hands before Cloud actually catches Aerith’s in his, fulfilling the promise he made in “Hollow”. Their hands take up the whole screen in a deliberate close-up shot. All the ambient noises of the scene go quiet: Aerith’s theme is all we hear as Cloud reaches desperately for her. These are blatant audiovisual cues, signalling to the audience that whatever is happening on screen is especially significant. We should therefore examine this specific instance of the Clerith handholding motif to see what the devs are trying to tell us, and maybe it will fit with our theory!
We should begin by comparing this Clerith hand-reach shot to previous ones. If you compare it to the Advent Children’s hand-reach that occurs during Cloud’s battle against Bahamut Sin, it’s evident that Cloud and Aerith’s roles are reversed: just as our theory states, Cloud gets out from inside his head and reaches for Aerith this time. She saved him and the world in OG, and now it’s his turn to save her. This change becomes especially evident when you juxtapose the two scenes and notice how their hands have switched places, reaching from above and below, from left and right. I think the Rebirth hand-reach was deliberately made to look like the Advent Children one —and even the OG one in disk 3, chapter 3—, just to highlight this role reversal.
This Rebirth hand-reach is my favorite out of all because it shows that Cloud is much more conscious and attentive toward Aerith in Rebirth than he was in OG. At this point in OG (disk 1, chapter 25), Cloud is meant to be beating Aerith up at Sephiroth’s command, to the horror of the rest of the party. In fact, a few minutes before Cloud rushes to save Aerith in Rebirth, he has absolutely no problem violently shoving Tifa to the ground when she gets in Sephiroth’s way (53:27-53:33). This shove and Cloud’s earlier attack on Tifa in Gongaga (Rebirth, chapter 9) proves that Sephiroth is just as capable of making Cloud hurt his party members as he was in OG… though Sephiroth can’t seem to make Cloud hurt Aerith. Why is this? Why is it that Cloud beats Aerith in OG, but doesn’t even lay a finger on her —and snaps out of Sephiroth’s control at the mere sight of her in trouble— in Rebirth?
Our theory provides the answer. In disk 1, chapter 25 of OG, Cloud had not yet realized he loved Aerith. Sephiroth was therefore able to make him hurt her. But things are different in Rebirth. The Cloud we see in the Remake trilogy has gone through the OG timeline and traveled back in time, kicking off Remake as his second try at the OG timeline— and he did this precisely because he loves Aerith. His love for her is clearer and stronger in the Remake trilogy than in OG because Remake Cloud is an amnesiac, post-OG, time-traveler Cloud. He’s been through the OG before, has fallen in love with Aerith and realized it before, so this time around, he can’t even lay a finger on her. This is made evident by how closely the moments where Cloud pushes Tifa and saves Aerith are juxtaposed, separated by mere seconds of gameplay. Merely seeing Aerith in trouble wrenched control from Sephiroth and put it in Cloud’s hands again— Sephiroth probably couldn’t have gotten Cloud to attack Aerith if he tried.
This isn’t the only time we get evidence of this though! As Cloud approaches Aerith’s praying form in the Forgotten City, Sephiroth’s Black Whispers swirl around the buster sword: Sephiroth is trying to kill Aerith with it, while Cloud’s struggle to wrench it away plays out visibly on his face. Interestingly, Cloud is not being controlled by Sephiroth here. We know this because we can quite literally see the Black Whispers trying to move his sword, but also because every time Cloud is being controlled by Sephiroth in Rebirth, he has an empty-eyed, zombie-Cloud look on his face. Either that or he laughs or smiles somewhat maniacally. There is never any resistance on his part. To see an example, simply pay attention to Cloud’s blank face as he attacks Tifa in Gongaga in chapter 9 (19:20-20:30). You’ll see the very same expression on his face if you watch this video of Cloud following Sephiroth’s orders in chapter 13 (53:36-54:15). Additionally, look at how strangely Cloud smiles (41:01) as he grasps the Black Materia. Cloud makes none of these faces as the Black Whispers try to take control of his sword: quite the opposite. Cloud looks like he’s trying his hardest to pull his weapon back down and away from Aerith, a horrified look on his face as he grunts from the effort. Once more, Sephiroth is unable to make Cloud hurt Aerith.
Back to my favorite handholding moment. Think about this devs intention for this shot for a minute. The devs have been teasing us as to whether or not Cloud will succeed in saving Aerith in the Remake trilogy since it was first announced, and this slow-mo shot of Cloud catching Aerith’s hand as she falls to her death is a reflection of this tension. The audience holds their breath during those slow-moed seconds, all that hope and fear hanging in the balance. This instance of the handholding motif is a meta way for the devs to reassure us that Cloud will indeed save Aerith. I firmly believe this.
VI. a) ii. 5) Self-Sacrificing Hands
Alright, alright, enough about my favorite! Let’s move to chapter 14 of Rebirth! There’s evidently a lot going on with Clerith in this chapter. Let’s address the Sector 5 date. The handholding is first initiated by Aerith as she tugs him toward the candy vendor and Cloud reacts with a quiet gasp (4:07-4:17). Soon, it becomes a reciprocal embrace: Cloud holds his hand out for Aerith’s and tightens his fingers around hers, smiling at her before they head to the photographer (7:07-7:17).
Then of course, when Aerith pushes Cloud into a portal in her church, you can see Cloud reach his hand up toward her desperately as he falls (17:38-17:58). What I find particularly emotional about this moment is that Aerith pushing Cloud away from her is kind of the opposite of reaching for his hand: it symbolizes Aerith accepting her fate and giving up on a life where she can be with him. This Aerith seems to be a post-OG Aerith who exists separately from the main world we experience in Rebirth, meaning she knows all too well that her fate is to die. In fact, it looks like she is the very same or a similar Aerith to the one who appeared to Cloud in his resolution scene in Remake. By literally pushing Cloud away, just like she figuratively did in Cloud’s resolution scene, she is sacrificing both herself and the happiness she could share with Cloud. She’s going against her heart’s wishes, just like she did in Cloud’s resolution scene when she would not let Cloud take her hand. Indeed, post-OG Aerith seems to be resigned to her fated death and completely devoid of hope: she only wants to ensure the planet’s survival, because she thinks she knows there is no way she can or should be with Cloud. In contrast, Cloud reaches his hand out toward Aerith as he falls into the portal, and even though he does not know that her push symbolizes her self-sacrifice, his outstretched hand represents his protest. So far, our theory is fitting beautifully.
VI. a) ii. 6) Grieving Hands
Later in chapter 14 of Rebirth, after Aerith’s death/non-death, there is more handholding. As Cloud cradles Aerith’s body close to him at the Forgotten Capital, Aerith places her hand on his cheek. Cloud covers it with his, curling his fingers around it (1:03:33-1:03:53). Before he leaves her lying down on her back to go fight Sephiroth, he squeezes her hand as he tells her “I got this”— or, per the Japanese version, “Wait for me”, meaning he’ll reunite with her once he’s done (1:04:56-1:05:10).
VI. a) ii. 7) Hero-Heroine Hands
Next, the koibito tsunagi returns as Cloud and Aerith interlace fingers back to back in a classic hero-heroine pose, right after their two-versus-one fight against Sephiroth. This time, they both reach for each other simultaneously (7:42-8:18), without even having to look down at their hands or talk to each other, as though perfectly in sync. As you can see, Aerith and Cloud are now on the same page. This is different from post-OG Aerith’s attitude in the Sector 5 church earlier in chapter 14, as well as in Cloud’s resolution scene in Remake— my interpretation of this mutual koibito tsunagi is that both of them are agreeing to hold onto each other now, with neither of them pulling back or being inattentive of the other: their priorities are now the same. It seems now they are aligned, and hopefully this means that Aerith will be working together with Cloud so they can reunite again in part 3. Even if she doesn’t prioritize her life and happiness though, we know for sure Cloud will.
VI. b) Blocking Masamune Explained?
Another piece of evidence that Cloud has been through the events of OG before is the fact that he is able to block masamune. Cloud looks up and sees Sephiroth descending with his blade poised to kill Aerith. Screaming, Cloud instantly rips the buster sword from the Black Whispers’ hold and successfully blocks masamune. Hatred and determination fill his eyes as he rallies his strength and successfully pushes Sephiroth away, saving Aerith’s life (6:00-7:26)— at least, in one reality.
Obviously, something about Cloud is different in Rebirth from in OG, otherwise, the events of Rebirth’s chapter 14 would be the same as the events of OG’s disk 1 chapter 28. In my opinion, what happened here is that upon seeing Sephiroth swoop down with masamune, Cloud remembered Aerith’s death in OG, and the post-OG Cloud’s determination to stop it came surging up from within him. This is frankly the very best proof there is that Cloud is far more ready, stable, determined, and clear-headed about Aerith in the Remake trilogy than in OG. Our theory explains why! In fact, this very moment is what our entire theory banks on: Cloud saves Aerith in one reality, as is shown by the rainbow effect produced by the event, and just like that, the promise made in “Hollow” has been fulfilled! However, now we face the question of how to make sure that Aerith is alive and by Cloud’s side when the multiverse converges again into one protected timeline. I’m sure it will be done; we will see how in part 3.
VI. c) Theme Song Lyrics
What the theme songs’ texts have to say about the trilogy so far is quite important, as they summarize the feelings of the characters they represent: Cloud and Aerith. We can glean a lot from their perspectives that could help support the Mission Theory.
VI. d) i. “Hollow” Lyrics
“Hollow”, Remake’s theme song, was written about Cloud’s feelings and rumination. Nojima confirmed that, when he was given directives for the lyric-writing, “Nomura just gave [Nojima] the keywords: ‘told from Cloud's point of view’ and ‘standing in the rain’. [Nojima] interpreted that as ‘a ballad for a man who lost something/someone important’” (Nojima and Uematsu interview “‘I wanted to put the word ‘empty’ in the theme song of Remake. That was how it started’ - Music-Related Interview Part 6: Kazunari Nojima”, by Famitsu). Our theory is about Cloud’s motivations and mission to save Aerith, so “Hollow” is especially relevant.
Let’s run through the lyrics and analyze, starting with the song’s first verse:

“I would be lost, drifting along
Floating up high, time after time
And there you'd be, shining brightly
Your smiling face to guide my way
Bloody and bruised, brought to my knees
When beaten down, when broken up
You would appear, reach out to me
Heal every wound and make me whole”

Makes sense with our theory in mind, doesn’t it? This is post-OG Cloud remembering Aerith and what she means to him. “Hollow” seems to be told from the perspective of the post-OG Cloud hidden somewhere in Remake Cloud: a suppressed or eroded part of him that remembers Aerith clearly. Or maybe it’s told by Cloud after the events of the MFF x FFVII Remake collaboration and before the start of Remake, asserting his mission to save Aerith.
Next, here are the pre-choruses:

“Was it all, a dream? Will I never know?
Foolish and blind to everything
Had I realized, had I thought it through
Would you be here in my embrace?”

&

“With your every smile, hiding something more
Dark mysteries lurking beneath
But I was consumed with this emptiness
This selfishness, this void to fill”

(continued in

I have this question haunting my brain for quite some time now. I know what I ask for. Essentially capturing the next image while the previous one still gets captured.
Please correct my if I'm wrong with anything. But to my understanding, for native 720 degree (or anything beyond 360 for that matter) you would need a camera with 2 image processors behind the image sensor and have each basically capture every second frame of the film and combine them back in the saved file. Means if you set frame rate to (for example) 30, both would capture at 15 fps with 360° shutter. And when both save into the same file, each frame only lasts for 1/30s again, giving you your 30fps with 1/15 shutter speed aka 720 degree. But if such a camera with the correct software exists, I couldn't find it.
My idea of a "workaround" for this, tbf, non-existing problem (while "problem" might not even be the right term here) would be to simulate 720 degree, by doubling the frame rate and combining 4 images to one exposed frame.
The math would check out. 4 images of each 1/60s exposure combined are 4/60 aka 1/15s exposure. If we hold this frame for 1/30s, we have a 270 degree exposure.
If we do the same with the naxt frame we can't use images 5-8, because 5-8 are the third frame. Second frame is made from images 3-6. Aka the last to images for a frame are the first two for the next frame. (hence the two image processors in native 720 degree.)
I don't know how "native" this simulated 720 degree motion blur would look like but theoretically it shouldn't be any different from the real deal. (This might even be possible to programm into a casual camera.)
Please let me know it this a completely stupid idea (which I know it probably is) or what I have missed and so on etc. What are your thoughts?
(I use the behind the scenes flair because it's basically a post processing thing and one flair is mandatory and there is no "random idea" flair and I don't know where else to put it.)
[edit: had to correct my autocorrect]

Fighting/Normal: OHKO (One Punch Man but instead of one effortless punch it’s a touch of death combo he has to )
Species: Mugen
Planet: Sonof
Appearance

• Humanoid blank white body
• Thick Smooth/Blocky appearance (like made of pillows)
• Headband and Gi are common wares

Powers and Abilities

• Enhanced Strength
• Unlimited Stamina
• Extremely High Pain Tolerance
• Semi-Mechanical Nature does not need to eat, sleep, or breathe
  • Unaging
• Slight combat prowess
• Slightly stuns the opponent on contact with physical force (specifically after a physical hit. Applies to non living beings as well)
• Once an attack lands, it’ll receive enough energy to continue physically attacking it in a never-ending combo. Dealing blows significantly faster, gaining strength with each hit and eventually able to deal noticeable damage to almost any target with each hit.

Weaknesses/Drawback

• Slow movement
• Limited Fighting Capabilities
• Attacks are usually short
  • Can extend reach but takes notable time so it needs to make an effort to land combo
• Combo can be interrupted, loses momentum and needs to land another hit when it does.

Species/Planet Fact: The Mugen started as semi-organic creations by a long dead civilization who sought to try experiments designing different types of warriors. Eventually the planet will be inhabited by foreign researchers. These researchers have been working on enhancing them with various effects to increase their capabilities, and give them more movement and combat options. But during testing it was discovered that watching the Mugen fight with or without enhancements is incredibly entertaining resulting and a strong source of combat study. This discovery redirected their experiments being used for sports instead of warfare even preventing what would’ve been an interplanetary war by turning it into a competitive sport, exploding the planet in popularity. During this explosion there was the discovery of a single fight between two Mugen that have went on for centuries before the first immigration and has been fiercely protected from interruptions since its discovery.
Fighting/Grass: Doungwun Nemetrix predator of the Chunwin (See Kung book in Grass Types)
Appearance

• Green Body
• Mantis like Body
• 2 Pairs of claws with sharp fanged ends, each with a long membrane hanging off of them.
• Multiple pair of locust-like wings under where abdomen should be.
• Reptilian head
• Pupilless Eyes

Hunting Method

• Flight
• High reflexes
• Claws able to capture and break of Chunwin limbs, and attach to body of prey.
• Membranes absorb attack from Chunwin
• Long retractible tongue able to launch with precision and strength, able to pierce the body and grasp onto vital organs.

Planet/Species Fact: Despite the Doungwun seemingly biologically engineered to beat Cunwin on one to one combat, countering their various techniques. They rather take less ‘honorable’ tactics whenever possible. In populated areas they’d quickly overwhelm their prey with high numbers and quickly attack before the Chunwin gets a chance to swing. If there are aren’t any others nearby it’ll try to ambush its prey from hard to reach angles in the air. Only when it’s alone and has caught the attention of its prey, will it attach itself and engage its prey in close range combat. Most Chunwin societies simply use traps, or other tools to protect themselves from these predators. But a predator that chooses to engage in a one on one duel is more respected and results in a more respected death (for either one). So some Chunwin warriors leave themselves open to solo Doungwun attacks as some form of test.
Fighting/Fire: Racaln the Nemetrix predator of the Clabestro (See Firing Squad in Fire types)
Appearance

• Large translucent viscous puddle with various organs inside, including left overs from prey
  • A lot of mouths and eyes
  • Able to reconfigure organs inside body
• Able to raise body in multiple large bumps of various sizes, which usually containing organs

Hunting Method

• Raises body with jaw to consume prey on its body
• Full sensory of targets on its liquid body
• Viscous body can regenerate (and even split into multiple organisms)
• Prey stable on body is inflicted with Hallucinogenic and Auditory illusions, to make them unable to see and hear others allowing the Racaln to strike admit this confusion
  • Also able to block telepathic and electronic communication
• Able to use the natural weapons of digested prey (ie the guns of the Clabestro)

Planet/Species Fact: Racaln only prey on the Clabestro when they’re split up and small. They don’t do any harm when they’re merged on one bigger body. But since most Clabestro combat (which happens very often) has them in their small split up forms. This makes it common for Racalns to be collected from the wild or bred in captivity to be utilized as excellent traps, and denying area. This practice would also be used as a mark to safeguard places from violence, to prevent Clabestro from splitting to engage in combat. This practice has spread to official gatherings like courts and diplomatic meetings.
Fighting/Water: Ultimate Slush (See Original in Water Types)
Appearance

• Dark Green Body
• Loses gourd
• Various sharp attachments that have the appearance of the sharp bottlenecks of broken bottle
• Core with an unbalanced changing color in head

Powers/Ability

• Retain expert flexibility
• More aggressive fighting style (while retaining it’s drunken boxer like moves)
• Fire Projection
• Can’t feel pain
• Core hypnotizes targets on sight, intoxicating them
• Able to use sharp accessories

Weaknesses/Drawbacks:

• More Violent personality
• Can’t spill out body to trip opponents
• Loses Elasticity

Fighting/Elctric: Ultimate Fightning Rod (See Web Work in Electric Types)
Appearance

• Long thin build made of lightning
• Normally invisible

Powers/Ability

• Invisibility
• Intangibility
• Invincibility
• Whenever an Influx of energy (Any kind) in an area appears:
  • Able to instantly teleport to any place where the energy is dispersed
  • Doing so attacking the target with massive strength directly proportional to energy
  • Once energy subsides or moves outside of energy influx, body becomes invisible/intangible again
• When visible, can absorb all kinds of energy
• Able to unleash a large burst of both sound and light with absorbed energy

Weaknesses/Drawbacks:

• Unable to extend body parts
• Can only deal damage in large bursts of energy
• Is no longer invincible when exposed a large energy influx in a prolonged duration

Fighting/Flying: Ultimate Fight and Flight (See original in Flying Types)
Appearance

• Black/Brown coloring scheme
• Face is more crow like
• Tails are longer
• Hawk-like eyes and wings
• Larger body

Powers/Ability

• Stronger
• Faster
• Enhanced Senses
  • Slight Danger Senses
• Hypnotic Stare
  • Invokes Intimidation into targets provoking them into either fighting or running
  • When staring at foes, they’re able to read gains seconds precognition into multiple visions whether they fight or fly and combinations of timelines when they do both. Visions show what they would do, but is able to be altered with the newfound knowledge in real time.
  • Precognition can predict unknown interferences like hidden dangers
  • Heightened intelligence and brain processing speed to plan out effective strategy to hunt or combat their attempts

Weaknesses/Drawbacks:

• Unable to split self into two forms
• Using hypnotic stare on multiple targets can overwhelm self
• Predicted precognitive visions can be avoided if target resists hypnosis making them prep for things that won’t happen

Fighting/Ice: Giengar Nemetrix predator of the Ashe (See Burrzerker in Ice Types)
Appearance

• Skeletally thin limbs
• Very lanky frame (usually hunched over)
• Large Wooly body
• Long clawed fingers
• Sharp Teeth

Hunting Method

• Immunity to cold
• Silent movement
• Inflicts hallucinations on target nearby especially Ashe
  • Inflicts shadowy hallucination of a competitive animal (usually the same as the affected prey) causing the target to continuously attack hallucination.
  • Target eventually tires out attacking hallucination, losing adrenaline and succumbing to hypothermia or exhaustion.

Planet/Species Fact: Giengar are omnivores. In cold seasons they eat large predators with their primarily skill of inducing hallucinations that tire out its target before having its body frozen over for it to consume with its teeth designed to crush frozen objects. They gain this power by consuming mushrooms from warmer, jungle biomes that contain spores which has a similar effect to targets that breathe them in (though less concentrated and ends with less fatalities). Giengars are immune to these spores so during the warmer seasons they migrate to the jungle to consume high amounts of these mushrooms to expel their spores in large concentrations during hunting season. Normal Ashe that occupy these jungles stay away from the dangerous arctic biomes the Giengars hunt in, so to them the Giengar are seen as harmless. Since even if the Giengars try to use the spores against them, the conditions aren’t lethal and the lack of the Ashe’s adrenaline won’t inhibit their ability to recognize their condition and react accordingly instead of wasting their energy fighting.
Fighting/Ground: Ultimate Mudripper (See Original in Ground Types)
Appearance

• Diamond Skin
• Loses eyes
• Elongated Snout
• Six pairs of short legs
• Clawed Hands
• Glass Hairs
• Loses Tail

Powers/Ability

• Enhanced Smelling Senses
• Heatproof
• Durable and ough Diamond Skin
• Sharp Claws
• High Speed Burrowing
• Thermo-adaptation
• Able to resurface lava and create lava motes/small volcanos on ground from underneath
• Drooling Lava Saliva
• Able to walk on surfaces
• Vacuum Adaptation

Weaknesses/Drawbacks:

• Loss of Eyesight
• Can’t Jump
• Unable to grab object with claws as well as base form hands
• Can’t Swim

Fighting/Rock: Ovivine Nemetrix predator of the Sabter (See Mountain Goat in Fighting Types)
Appearance

• Sheep-based body
• Green Wool
• Flowers growing on body

Hunting Method

• Wool is able to absorb strong impacts
• Vine-like tendrils on side of body able to connect to cliffsides
• Able to camouflage selves into a grass pile
• Grows a disconnected field perpendicular to the cliffside making it look its prey is on the ground
  • Field camouflaged to be unable to be seen from below
• Able to communicate with Sabter to trick it on standing on the field, of the cliff before falling to their deaths.

Planet/Species Fact: While Ovivine can talk and mimic sentient emotions its only purpose is to gain the trust of prey as a mere predatory mechanism, their brains aren’t capable of deeper introspective thought or sentience when alone. Sabter are worn of the Ovivine though largely they are seen as myth with how very few sightings they are and how little the Ovivine are actually active due to their slow metabolism. Ovivines cover their prey on the floor and slowly consume it whilst morphing its body to appear as a mere lump of ground covered in grass, which is another factor into how little they’re seen. Occasionally they encounter some Sabter who are very much aware of them, and their tricks so in those cases they simply push them off the cliff side. Though this method relies on the element of surprise since their physical strength is much weaker than the average Sayter.
Fighting/Bug: Ultimate Float Stinger (See Original in Bug Types)
Appearance

• Slightly bigger body
• Longer wasp like structure
• New Vertical striped black and white body

Powers/Ability

• Able to summon a near indestructible hive shaped structure
  • This pocket dimension draws in 2 individuals (which can include the creator) into an arena pocket dimension.
  • Telepathic communication with all individuals in pocket dimensions
  • Individuals in the pocket dimension must follow certain reality altering conditions to set a “fair fight”
    • This usually includes removal of “powers” but can also vary to have no removal or even the addition of powers
    • Fight doesn’t have to be direct combat and more of a much as a sport
    • Individual size are usually scaled to be relatively similar
  • Individuals leaves once one or both is considered ‘defeated’ or by the creator’s permission

Weaknesses/Drawbacks:

• Rules set in arena must be made to be fair for both individuals
• No longer able to project honey to prevent powers
• Slightly slower and weaker outside of hives
• Reality altering rules only affect targets inside a hive

Fighting/Psychic: Muscle Memory (Alien Taskmaster)
Species: Reffox
Planet: Arbeitar
Appearance

• Tall Humanoid muscular appearance
• Body looks skinless and made of muscles
• Egg-shapd head and single eye

Powers and Abilities

• Enhanced Atleticism
• High combat p rowess
• Able to slowly build up strength and speed
• Photographic reflexes
• When looking at any moving target, able to quickly learn, memorize, and mimic that targets moves allowing them to be able to come up with a counter for it.
  • Also applies to their use of tools

Weaknesses

• Can only memorize and mimic movements not powers
• Can only enhance strength and speed in short bursts
• May be at risks for learning ineffective techniques

Planet/Species Fact: Due to the fact that all Reffox are all physically the same and that any unique skill that are developed is quickly assimilated by one another. Reffox populations share a yearning for a sense of identity. So many Reffox head off to other cultures/planets to use their learned skills to be able to make an identity of themselves, whether it be an athlete a performer, a warrior, a hero, or in some cases a criminal or ruler. This feeling is felt through all Reffox and when two of them meet, they silently agree to not show their skills to each other to keep their identity. Though if they do want to share they return to Arbeitar to tell their stories or inspire new skills for the next generation who would tell their story.
Fighting/Poison: Biolence (Fist of the North Star Powered by drugs, and can weaponize their own explosions )
Species: Gomane Planet: Omawoshindyu
Appearance

• Rough Green Skin
• Orc Like Head
• Muscular Build
• Costume comes with a mouth-covering mask
• Large Hands

Powers and Abilities

• Enhanced Strength
• Strength and size are gradually enhances from absorbing normally hazardous or even just unhealthy substances
• Body is slowly producing its own internal toxins
• Noxious Stench
• Poisons eventually build up into large cysts on skin that eventually bursts into powerful noxious and slightly toxic gas expulsion when ‘popped’, able to do damage from force
  • Able to control cyst development early
  • Cysts become more powerful with more hazardous substances given
  • Able to transfer poisonous cyst development onto others from force of contact, usually other species skin is not built to handle the expulsion causing damage when they pop

Weaknesses

• When exposed to hazard substances, the Cysts become faster developed and harder to control possibly hindering the body
• Loses strength build after cyst has popped
• Mind can be altered to be more violent depending on hazardous substances consumed, commonly manifests in an addiction or violent temperament (usually removed when expelled)

Planet/Species Fact: Eons ago a large vapor of toxic alien pollutants was mysterious dropped on Omawoshindyu mutating all inhabitants and killing off massive amounts of life, however life stiff have adapted and eventually evolved resulting in the modern Gomanes. By the time their own society has formed, the pollutants have been absorbed into the earth or dissipated from the atmosphere allowing fertile greener life to grow. Ironically most of Gomane society promotes healthy activity like proper diet in exercise, for it allows them to control their cyst development more effectively even when there sped up, which they use in hunting and combat sports. However crime activity is still noticeable involving addiction, violence, and gang activity. Mostly originating in highly polluted/deserted wastelands. As various poisons are being produced and mines
Fighting/Ghost: Body-structor (Havik from MK1 with hints of Water Law from One Piece)
Species: Rankensain
Planet: Taxodoom
Appearance

• Tone “Action Figure like structure”
• Smoothed out Joints
• Skeletal head
• Sharp Claws
• Retractable Spikes on limbs
• Leathery skin
• Large tail

Powers and Abilities

• Enhanced Strength and Stamina
• Combat Prowess
• Immortality
• Quick Cellular Regeneration
• Able to detach own limbs/body parts and effectively control them when attached.
• Able to grow a detached body part on the detached body
• Able to detach others limbs/body parts of target on contact
  • Able to attach body parts detached this way to self
  • Body parts detached this way can still be controlled and are controlled by the head/brain they are attached to (all head/brain are in control of themselves). If their original head/brain is detached they can still be controlled by that head/brain unless it’s on attached to another of the same body part in which case they can’t move.
    • With the exception of Rankensains who can control their own body parts even while their heads are on a different body.
  • Different body parts can be reattached to other bodies detached this way, even in places the body parts don’t go
  • Specifically in the Omnitrix after retransformation original rankensain body parts will dematerialize and all new attached body parts from detached bodies will fall off.

Weaknesses:

• Slightly slow
• Detachment requires strong force of contact
• Targets dispatched bodies can reattach their own parts, and can’t take them off again when put back into place (Can only be detached again by a Rankensain)
• Body parts attached to wrong part of body can be dispatched by anything even by accident
• Targets can disconnect different a body part that wasn’t originally there’s
• After regrowing a body part that was already attached, the original detached body part will lose its structure and melt
• Will die if all body parts are destroyed too fast
• Only their own body parts can detach other limbs

Planet/Species Fact: Body parts are the Rankensains main currency. While most body parts are gathered from hunted animals on their world. Rankenstains have developed interplanetary transportation to gather valuable alien body parts. Often by nefarious methods like warfare, grave robbing, or even homicide, making them a disdained and feared species across multiple planets. There are labs made to create clones of existing limbs to replace active hunting to remove the need for travel, but with how often exploration is used and how slow the cloning process is, Rankensains still commonly hunt aliens for their limbs as part of a darker slightly underground culture. To get around their negative reputation, Rankensains would remove their own brains and implant them into other bodies to disguise themselves.
Fighting/Dragon: Medisnake (Combat Snake with Street Fighter Chi abilities)
Species: Ansatryu
Planet: Chakrenin
Appearance:

• Long Reptilian Body built similarly to a Skink
• Dragonoid Scales
• Small Limbs
• Bipedal

Powers/Abilities:

• Enhanced Combat Prowess
• Slithering
• Easily able to enter a meditative state for enhanced self-control, psychological/emotional balance, mental clarity, and even healing
  • Able to access pressure points that puts allies in a similar state
• Natural chi-like energy and mastery
  • Energy skills normally manifest as enhanced athletic skills and energy projection at a basic level
  • Energy can be personalized into a different element or even power

Weaknesses

• Personalization initially requires a level of training that the Omnitrix transformation doesn’t initially give.

Planet/Species Fact: Initially Ansartyu were seen as pets of another more human-like species called the Shotogun and as intelligent as their owners. However, eventually the Shotogun would discover their ability to tap into their own personal well of the same chi-like energy and start practicing it for various means. However back then only a handful of masters would be able use it, and only at a very basic level. Until one Shotogun prince discovered that his treasured Ansatryu was able to tap into and unlock further levels of mastery. With this knowledge the prince learned from his Ansatryu and developed a closer bond with it, even teaching his pet higher levels of intelligence as he was taught further mastery of chi. Later he would teach others how to learn from their Ansatryu and his own Ansatryu will give intelligence to others of his species, leading to the point where Ansatryu are now partners living in the same world as the Shotogun in relative harmony.
Fighting/Steel: Weapon Blaster (Tank Knight with hand guns that shoots bladed weapons) Species: Arthmo
Planet: Palawar
Appearance

• Tall metal body
• Tank treads for legs
• Knight-Like Helmet
• Short cannons for arms

Powers and Abilities

• Enhanced Durability
• Enhanced Eyesight
• Full rotating body
• Canon arms launch out metal objects commonly melee weapons like swords, spears, axes etc at high speeds
  • Weapons are animated and “preprogrammed to move in ways/fly in a direct path and can be “preprogrammed’
  • Can be locked onto a focused target and rotate/swing in a specific way whilst following the target
• Other different types of weapon shooting
  • Machine Gun type: able to launch out multiple imprecise smaller metal weapons that can’t be animated
  • Sniper: Able to launch a singular fast powerful far reaching weapon
  • Giant: Able to launch one giant weapon a short distance that stays out longer.

Weaknesse

• Drawbacks of each weapon shooting
• Slow Tank like movement
• Can only create simple metal objects
• Weapon projectiles can be moved offcourse
• Weapon projectiles can only stay out a minute before dissipation
• Weapons take time and varying degrees of focus to charge before launch which increases with duration of animation
  • Shooting out a large powerful weapon increases load time, and can’t shoot more weapons while the giant weapon is out

Species/Planet Fact: Arthmo is an artificial species created from a combination of alchemy and engineering by a master at both, commissioned by a great king. They were meant to be used as weapons of warfare and even companions. However an enemy army raided the kingdom, and killed both the lord and creator after the first Arthmo woke up. So the lab was well hidden so the Arthmo followed the instructions of its creator and created more of it, and slaying the enemy army. Now they defend the remaining members of their kingdom to allow it to rebuild. However, rumor has it that a surviving enemy found the original Arthmo lab.
Fighting/Dark: Spotshot
Species: Dalmate
Planet: Cerberence
Appearance

• Dalmatian white and black spotted pattern body
• Monkey like proportions and arms
• Dog like head
• Paws for feet
• Long tail with a forked end

Powers/Abilities:

• Enhanced Athleticism
• Enchanted Acrobatics
• Wall Crawling
• Able to use forked tail and string-like mucus in between split as a slingshot
• Shoots able to launch “spots” from tail
• Dark skin works good for camouflage
• Combat Prowess
  • Spots inflict a strong force on impact
  • Leaves a spot mark on the target, and can potentially blind a living target
  • Projectile spots are able to fly out of marks
  • Able to make spots launch off objects on impact before making mark
  • Hitting mark with multiple projectile creates a bigger mark, and a bigger projectile by extension
  • Able to absorb Dalmate spots on own body

Weaknesses/Drawbacks

• Spots dissipate after minutes
• Unable to projects spots marked on body

Species/Planet Fact: The spotted biological materials that generate the Dalmate’s projectile “spots”, is a shared trait amongst a handful of different Cereberence animal species and even some plant life. Those species has a spot of a different color that was meant harm all other species/subspecie for predation or predator avoidance. Other species that don’t have this projectile ability do have spotted patterns on them to warn predators, or even create similar marks on objects to protect territory by intimidation.To weaponize their own “spots” Dalmate tribes would farm different animals and use them in different methods that changes their spot markings to battle other tribes with their own spot slinging skills to prevent it from being simply absorbed into its targets body.
Fighting/Fairy: Best-O Change-O (Magical Girl/Boy Recruiting Bunny)
Species: Usegin
Planet: Lunakessho
Appearance

• Anthropomorphic Bunny
• Biological Crystal accessories on head
• Natural mask-like fur pattern on head and pupils eyes (males only)
  • Crown like horns on females
• Standard outfit of a Tuxedo-like suit, or School-Girl dress based on gender

Powers/Abilities

• Natural magic potential
• Enhanced leaping
• Enhanced Athleticism
• Costume transmutation
• Able to enhance a small hand held object
  • Transmutes the object into a specialized weapon and usually able to project a specialized material/force/or element (depends on a combination of both the individual and object)
• Able to enhance another object allowing an Ally to gain a similar weapon and the same powers of an Usegin except the ability to enchant other objects.

Weaknesses

• Only able to utilize one weapon at a time
  • Applies to allies, they can only utilize their chosen object
• Takes a while to enchant another object for an ally after the first
• After an allies enchanted objects breaks they lose their gained abilities
  • Ally abilities also go away when the Omnitrix Transformation ends

Planet/Species Fact: Lunakessho is a magical planet where all the inhabitants would practice magic, protected by an order of Usegin knights. However dark forces used by villains and monsters would arise practicing this dark magic and almost threatened to corrupt the universe. The Usegin order managed to fight them off but with a threat on that kind of scale and some remaining presence of their enemies they decided to seal of the planet into another realm. However, now there is an occult group mages summoned the order on various points of different moons using a ritual that was meant to be used in case they’re needed. While the Usegin heroes did manage to get involved in their traditional hero work. They’ve learned too late that this ritual will eventually corrupt them once all the full rituals is complete, and they’re powerless to stop them. So they now go to various planets and recruit and train other magical warriors to stop them when the time comes.

Hey everyone,
So myself and my partner, 23 and 21 respectively, have combined savings of roughly 150K. Neither of us are very financially literate, as we both just keep our money in savings accounts, nor do we have family that would be able to give advice either as we do not discuss finances with our families.
My question is where should we go from here? Our expenses are both quite low, she lives with her parents and I only pay $150 a week for board in a single room. I plan on moving in with her and have agreed on the same $150 a week rent that will go towards her parents. Apart from that, my only other major expense is my car, which costs about $360 a month in payments and insurance, will be fully paid off within the next 4 months. She has no major expenses.
Income I receive about $800 a week, $140 of that goes directly to a savings account which I use for emergencies and $200 into my regular savings, while her income is marginally lower at only about $300 a week. I also do not claim the tax free threshold and pay a bit extra tax each week, which usually nets me a few thousand as a tax return.
We have both discussed finances in depth and keep each other up to date with exactly how much we each have, and are both incredibly frugal with our spending.
Any sort of advice would be greatly appreciated!

So i was just thinking about a potential continuation of FMA:B were the story follows an entirely different character after the original story that's starts being called "Fullmetal" due to Edwards... deal. havent fleshed out who he and his companion would be (still just a thought) but the main antagonist would be an alternate version of Dante and the goal of the story would be to find/acquire/read the Akashic records which lie in the world beyond "the" gate of truth, a place nobody could reach because it required alchemy AND alkahestry to reach (transmutation from both native to each respective side of the gate).
this basic, and probably predictable, idea is that Dante finally starts moving because Father obviously controlled the most powerful nation in the world and was trying to eat god, so they couldnt just run out the open but now the most powerful threats to them have all been eliminated and only a small can even begin to understand the significance of combining alchemy and alkahestry. also transmuting one's own gate of truth becomes important.
from what ive thought so far i wouldnt say the scale of power would really go beyond FMA;B, it'd more move laterally as new alchemy techniques and methodologies would take center stage

I'm am making parts on my new lathe (DN Puma 2600 Y II with a Fanuc control) that I used to run on one of my other machines (Haas ST-30Y). For the sake of conversation, I will describe the part as an aluminum tube with engraving on the OD. When the feed rate is higher than 28 IPM on my new machine, it adds or misses some of the contours of the text. For example, a capital letter "A" has one diagonal leg that is longer than the other and longer than it should be. Also, some of the bottom legs of the number "2" are not fully completed. I have fully verified that the toolpath is correct in CAM (Fusion 360), I have also played with every toolpath settings and combinations in Fusion I could imagine. The toolpath is a 2D contour that I wrapped around the OD of the part using a text font that is made of straight lines as opposed to block style letters. I have been running Fusion since 2018 and I have been making these parts since 2021. What I find to be very strange is that rather than poor kinematics where you would see the machine make shuttered or faceted motions, it is adding or missing features of the simplest style of text you could think of. Again, no issues until I surpass 28IPM. This engraving opp is taking about a minute longer on the DN than it would take on the Haas, and considering I am making thousands of these parts a year, any added cycle time is no good. I am new to DN and Fanuc, but I imagine (and hope) that the issue is some sort of simple setting or parameter. My fingers are crossed that it is some stupid mistake I am making or something obvious that I am missing. I am more than aware that I have years of learning ahead of me before I am remotely proficient on the new control, but I am confident that the learning curve will be worth it in the end. Any and all help would be greatly appreciated! Thanks!

I'm lucky enough to live in GA and have access to one of the top haunts in the country, Netherworld in Stone Mountain. Been going to it for years. Have also gone to HHN a few times. Production value is very high for both places. However, there are some things that Netherworld undeniably does better than HHN, which is somewhat understandable since Netherworld is able to be worked on year round and has some permanent sets and such. There are some things that HHN does better than Netherworld, too, and if I could combine the two, it would just be Halloween heaven!
First of all, Netherworld houses are better lit which means you can see and experience more of the haunt itself. I feel like I miss so much of set details in the houses at HHN because of the darkness as well as the rushed feeling to just get through the attraction. So much effort and thought go into the making of these houses and it seems like you need to have multiple walk throughs to take it all in. But that's really hard at HHN if you don't live in Orlando or are able to go for multiple nights. Lines are just too damn long.
Which brings me my second complaint, the crowds. Scare actors can't really re-set themselves to allow for true jump scares when people are herded through like a conga line. At Netherworld, groups that are together are allowed to go in and there is spacing in between the groups. Netherworld does have multiple houses which are rather long (warehouse sized) and they don't have people in the houses constantly urging you forward. You can go at your own pace, for the most part. At least until you encounter another group and you either pass them or they pass you. But, in fairness, Netherworld handles A LOT less people and limits ticket sales more. It's set up differently where you can reserve entry times and such which Universal can't do. But it might be nice if Universal capped ticket sales so that crowds were more manageable as it does make for a more enjoyable experience. No one likes to spend more than half of their night standing in a line and then being rushed through the very attraction that you've been waiting for.
My third complaint is that HHN doesn't seem to make full use of their space inside the houses. By that, I mean there could be more stuff coming from above, more bungee actors, more 360 scares instead of the usual boo holes. Netherworld has people and things coming at you from all angles-ceiling, floor, walls, boo holes, smoke screens, etc. They truly utilize the element of surprise. HHN seems to stick more to the tried and true sightline scares. They don't seem to think outside the box much. The exceptions this past season were the Monsters house and the Village house where scares and elements came from above, which was great!
And my fourth complaint is that HHN needs to be more "adult", more scary, more gory. It's Halloween, I want to scream. I want to feel fear. I want to be grossed out. I want to be immersed in the scary. I know that that's not always possible. I know that some houses and themes don't lend themselves to that. I know that Universal is still a family theme park and that HHN doesn't have an actual age limit.
Now, what HHN does better, it does REALLY well. The scare zones are top notch. The theming, the food, the merchandising are incredible! Whatever show that they have (recently it's been Nightmare Fuel) is insanely great! Universal has the talent, the vision and the budget to pull off something magical and it's always enjoyable.
In fairness, I don't attend HHN every year as I'm just not able to. So if some of my above complaints are unwarranted, then I apologize. Maybe they were just present in the years that I went.
Netherworld has its issues too. It's far from perfect. They tend to re-use sets way too much and can be too predictable. Some of these permanent sets don't always fit into the theme that year so it's kind of jarring and weird and doesn't flow well. The carnival area at the end of the first house needs some new games before you go into the second house and they need more food truck options. And the bubble room is just downright awful. So I'm not all saying that Netherworld is perfect by any means. But I would love to combine the best of the two events which would make them just *chefs kiss.