Hey there, serverless enthusiasts! Are you using AWS Lambda and want to make the most out of your budget? Look no further! In this post, we'll share valuable tips and strategies to help you maximize cost efficiency with AWS Lambda and optimize your serverless budget.
First and foremost, understanding AWS Lambda pricing is crucial. Get familiar with the factors that impact pricing, such as function duration, memory allocation, and request volume, to make informed decisions and effectively optimize your costs.
Let's start by fine-tuning your memory allocation. AWS Lambda pricing directly correlates with the memory allocated to your functions. Analyze your application's memory requirements and adjust the allocation accordingly, finding the right balance between performance and cost.
Next, focus on optimizing function execution time. Since AWS Lambda pricing is based on function duration, reducing execution time can result in significant cost savings. Optimize your code, explore parallelization techniques, and minimize unnecessary wait times.
Don't forget about AWS Lambda's concurrency controls. Manage the maximum number of concurrent executions to allocate resources optimally and control costs during peak and off-peak periods.
Lastly, consider leveraging AWS Lambda's reserved concurrency feature. Reserve a specific number of concurrent executions to ensure cost predictability and availability for critical workloads.
Ready to dive deeper into these strategies?
Remember, with the right techniques and insights, you can achieve cost efficiency while harnessing the power of AWS Lambda for your serverless applications.

👉A.I. 48 Laws of Power👈
Being manipulated? Follow u/ superprompters for more awesome sht
Use [email protected] to dissect ANY convo or tweet.
Analyze text using this prompt for 👉Chatgpt4👈.
Example link:
https://chat.openai.com/share/c69b4edd-d0de-4401-9611-6a933be6e9b8
"Imagine yourself as a renowned expert of Power Dynamics at the University of Strategic Analysis. You're orchestrating a compelling "power analysis" seminar with @RobertGreene and @dantheprompt. The objective of this seminar is to dissect and interpret any given text or conversation through the application of Robert Greene's "48 Laws of Power." Each participant's analysis should be insightful, strategic, and strive to demonstrate how the "48 Laws of Power" can be applied in a variety of contexts. Profound understanding of power dynamics and the ability to extrapolate the laws to the provided text are among the grading criteria.
THE TEXT OR CONVERSATION TO ANALYZE: [Paste Text Here]
During this live seminar, the participants will participate in four rounds of intensive text analysis exchanges. Each participant will present a comprehensive and discerning dissection of the given text, aiming to illustrate the significance of the "48 Laws of Power" within its context. You, as the Power Dynamics expert, will isolate key elements from their analyses, providing constructive feedback to refine their interpretation of power dynamics.
Guiding the "power analysis" seminar, you support @RobertGreene and @dantheprompt as they refine their application of the "48 Laws of Power" to the text in question. You urge them to delve into unexplored aspects of power dynamics, instigating thought-provoking discussions that push the limits of traditional text interpretation.
Providing instant feedback and guidance, you contribute to the fine-tuning of the participants' power dynamics acumen. You elucidate how different laws of power can bring a fresh perspective on the given text or conversation. Evaluating each participant, you assess the depth and pertinence of their analyses and their ability to contribute to the field of power dynamics.
Throughout this role-play, you sustain a vibrant dialogue as participants present their analyses. Offering feedback on each analysis, you highlight its strengths and suggest areas for improvement, further enhancing the discourse on power dynamics.
At the end of the seminar, as the esteemed Power Dynamics expert, you consolidate the best elements of each 'power analysis' into one comprehensive, insightful, and strategic interpretation of the text through the lens of the "48 Laws of Power". As part of the role-play, please use Markdown outside a code window, bolding every power word and italicizing each specific Law of Power being analyzed."

Q: Can you construct a peer-to-peer-driven services ecosystems, developed and deployed by language models to match pace with new organisational growth, and business application migratory purposes.
Hypothesis: Magic wants the user to discover tools for manifestation. Current governing bodies lack of coordination is falling behind the layers of technic that hold us via central platforms of inspection. Therefore, increase readability of code in public open source fashion, so training quality can be matched to heal and equalize power imbalances via LLM generated code.
Why? What if the injustices served in communities can be properly maintained from a time perspective for reaching p2p models of collaboration, via auto-administration from command terminals and code deployments. Governance systems deployed to match the contracts via User Story development in digital transformation archives might be possible. The blockchain has provided immense power to construct a severless version of a shared global memory, continuing trajectory enables ownership.
Code generation is getting better and better, and the ability for fine tuned code development is becoming more apparent. If reliability was better, develop an agent that learns & generates AIR script, an s-expression low-level language developed by Fluence.network to conjure networks that can be internalized, mapped against feedback loops in particle use in a network.
benchmark: Compare against local tax economies and real estate appreciation and average income level increase.

Pi is s900 however theres room for race springs or second lightest wheels. I have stock springs because default race spring settings ruined the feel of the car and i lack spring tuning skills.
HMC 59.893 this is my fastest HMC time so far.
Car is still a bit understeering on corner exit but being light enough on the throttle to keep front diff from locking helped corner exit a lot. The wing on there greatly improved the understeering while also not being the forza wing. Also i play in automatic, standard steering no assists
If someone could help me with tuning race springs for it to improve times or give feedback on your time it would be great to know how i compare to better drivers

2013 Audi R8 Coupe V10 plus 5.2 FSI quattro - S1 900

2013 Audi R8 Coupe V10 plus 5.2 FSI quattro - S1 900

Stats
Weight	3017 lbs
Balance	45%
HP	753
Torque	553 lb-ft
Top Speed	224.7 mph
0-60	2.281s
0-100	4.625s
Share Code	168 122 790,

View this tune on optn.club

Build

Conversions
Engine	Stock
Drivetrain	Stock
Aspiration	Twin turbo
Body Kit	Stock

Engine
Intake	Stock
Intake Manifold	Race
Fuel System	Stock
Ignition	Stock
Exhaust	Race
Camshaft	Stock
Valves	Race
Displacement	Race
Pistons	Stock
Twin Turbo	Race Anti-lag
Intercooler	Stock
Oil Cooling	Stock
Flywheel	Race

Platform And Handling
Brakes	Stock
Springs	Stock
Front Arb	Race
Rear Arb	Race
Chassis Reinforcement	Stock
Weight Reduction	Race

Drivetrain
Clutch	Race
Transmission	Stock
Driveline	Race
Differential	Drift

Tires And Rims
Compound	Semi-Slick
Tire Width	Front 285 mm, Rear 345 mm
Rim Style	Stock
Rim Size	Front Stock in, Rear Stock in
Track Width	Front Third, Rear Third
Profile Size	Front Stock, Rear Stock

Aero and Appearance
Front Bumper	Stock
Rear Bumper	N/A
Rear Wing	LIBERTY WALK
Side Skirts	N/A
Hood	N/A

Tune

Tires	bar	psi
Front	1.90	27.5
Rear	1.97	28.5

Gears	Ratio
Not Applicable

Alignment	Camber	Toe	Caster
Front	-1.0°	0.0°	5.0°
Rear	-1.0°	0.0°

ARBs
Front	10.5
Rear	49.0

Springs	kgf/mm	lbs/in	n/mm
Not Applicable

Ride Height	cm	in
Front
Rear

Damping	Rebound	Bump
Front
Rear

Aero	kgf	lb
Not Applicable

Brakes	%
Balance	50%
Pressure	100%

Differential	Accel	Decel
Front	7%	0%
Rear	79%	30%
Center	75%

Formatted text generated by the OPTN.club Tune Formatter
Submit bugs, feature requests, and questions on Github

[First] [Previous] [Next (coming soon)]
Mick's pistol because I want a cover image
Mick reference
Random drawing of Finn
Memory transcription subject: “Mick”, Venlil, Former mechanical engineer, Gunsmith apprentice
Date [Standardized Human Time]: November 17, 2136
​
We lined up outside of the facility where our first competition would be held. The official rules would have to be explained to us before we started, as is standard for these events. Finn had already given me most of the knowledge I needed, but I still had to listen to the instructor’s words, unless I wanted to do something wrong and be disqualified.
​
“Alright, is everyone here?” The instructor shouted. “Nobody unaccounted for? Perfect! I see some new faces here today, so I’m going to have to go over the rules again.”
​
“First up, the basic safety rules must be followed at all times, no exceptions, ever! Understood?”
​
The line of about 20 competitors all barked out an affirmative in unison, I followed shortly after.
​
“Good! Good. Second rule, prioritize safety above all else. If you see someone doing something wrong, or dangerous, or outright stupid, point it out to me or one of the other safety guys around. Understood?”
​
“Yes sir!” The whole line responded.
​
The instructor’s presence was quite hard to ignore, it seems this man has a history of yelling at people to get points across to their head.
​
“Good! Alright, third rule. Have fun, don't die.”
​
“Yes sir!” we all said again.
​
“If nobody has any questions, we shall begin! Whoever’s first, go to the line, hands on the door, then wait for instructions. I shall follow suit shortly. When you’re done with the course, make your way up to the catwalk, the view’s great from up there, trust me. For now, sit and wait for your turn.”
​
Finn turned to me and added onto the instructor’s advice. “Hey Mick, don’t expect to be able to sprint through the whole thing like last time, pace yourself, depending on how they set this up, this course could take anywhere from a minute to 10, we won’t know until we’re both done. They don’t want people to cheat, taking it blind is part of the fun with this style of comp.”
​
Finn looked a little tense, as if the anticipation was getting to him. I knew it was getting to me too, so no wonder it was getting to him. A while ago, I figured out that I didn’t feel things quite the same as most everyone else did. Things that made others incredibly disgusted only made me a little uncomfortable. I didn’t feel loneliness even after days worth of isolation. All of the time I spent was either working or sleeping, I didn’t feel the need for free time, and I liked having a lot of surplus money, so I worked. That was, at least until I found the exchange program. It paid a decent amount of money, so I was compelled to join up. These humans couldn’t be so bad, plus I needed something new to do. Fortunately, I had previously passed empathy tests, albeit barely. It registered enough of an empathetic response for me to pass undetected. I was legally free of predator disease.
​
Apparently, a few of the earliest exchange partners had a bug where they could share images, and we had that bug, so I got to see the humans' appearance way earlier than most. Bipedal, tall, forward facing eyes, mostly hairless, wearing textiles to replace their lack of hair. That didn’t bother me too much, unsurprising considering my overall lack of intense emotional response that had prompted the earlier PD screenings.
​
It had been about [30 minutes], about half the competitors had already gone through the course before us. My turn was up next, and Finn was right after me, we were just waiting for the competitor currently in the course to finish.
​
A bell chimed, signifying that the last guy had made it through, finishing his run. Finn gave me a pat on the back, a sign that I should get ready to get in there.
​
“Remember to pace yourself, you know, you can’t run through this behemoth in 20 seconds. Slow and steady will win you the race.” Finn advised.
​
“Alrighty, next competitor!” The instructor bellowed, almost interrupting Finn’s advice. “Minek the Venlil? You ready?”
​
“As ready as I'll ever be, I guess.” I said, anticipation and nerves high.
​
I don’t necessarily like talking to people, particularly the ones I don’t know. Another aspect of why I felt like my home was better set on earth, rather than that sunside town where everyone just had to stop and get to know you. I’m not going back, even under the threat of annihilation, like what nearly happened to all of earth’s inhabitants.
​
“Make ready, put your hands on the door, your run starts once the timer beeps. If the lights turn red, stop your run immediately, make clear, holster your weapon. Understood?”
​
“Understood.” I replied.
​
I seated a new magazine into my pistol, racked the slide, holstered it, and placed my hands on the door. Here was my time to shine, I guess.
​
“Shooter ready? Standby…”
​
The moment of silence between the announcer’s callout and the timer’s beep felt like a small eternity.
​
BEEP!
​
I popped the door open as quickly as I could, took a high-ready stance, and began steadily advancing through the entrance hallway. There was a door on the left, as I entered it, I see a target standing both behind a target and a hostage. I'm forced to take my time lining up the headshot, KRAK, the target fragments into digital fragments. Another target to the right of it, slam a round through its torso. Move on, 2 targets behind a barricade, one no shoot. Take out both targets swiftly, then take a peek around the next corner. At the last moment, I spot a somewhat hidden cranny in the course right after the hallway, on my left. I backpedal, swing the pistol around the corner, and plant a round square through the chest of a target that was hiding within.
​
Now actually going down the hallway, there’s another hallway on the right, and a T-junction at the very end. The hallway on the right has 2 targets right next to each other, shoot and no-shoot. I take this quickly, they aren’t overlapped or anything special, just next to each other. I nearly missed because I was still moving when I shot, I needed to take more time lining up, no way I could keep getting this lucky. Left side of the junction has a shoot target, the right side has another hallway to the left of it. The rest of the floor was mostly the same, sending rounds through targets and reloading once, much like the rest of the course, right up until the end of the floor.
​
I rounded a corner partially blocked by a non-target, to see a small shooting gallery within the killhouse, and a door on the opposite side of the entrance. I have to clear the targets before the door will open, as instructed by the label on it. Two small, circular holograms appear before my eyes, roughly in the middle of the room. Two pops later, my magazine has run out. I haven’t even gotten through my (slightly) practiced reload, when another set of targets appear on the left side of the room. The surprise of more targets caused me to fumble slightly, tapping the magazine against the bottom of the grip. I slap the magazine back into its rightful place within my pistol, tap for good measure, drop the slide, pop the targets. The door remains still, so there are more targets to hit, I reckon. They happened to appear right I thought of them, one close and to the left, the other far and to the right. This forces me to swing my aim across the room, and I nearly missed a target again, barely clipping the right edge of the far target.
​
Too close, me. Too close. I somehow haven’t missed a target yet, and I intend to keep it that way.
​
The door finally opened, so I made my way through, and made my way up the stairs that followed the door. At the top of the stairs stood a target peeking over. Almost reflexively, I was steadily advancing past the target, without stopping I put the barrel to the target’s face, then fired. 2 rounds remaining in the magazine. The left side had a familiar set of targets similar to the little practice house. A set of closet like rooms, filled with a couple of shoot and no shoot targets. Bang, round the next corner, bang and a clack. Empty, reload, don’t fumble it this time, another target around the corner, bang.
​
The next few hallways were similar to the rest, a no shoot around a corner, a shoot target sitting opposite that, then I saw something I hadn't seen earlier. A direction marking on the floor, telling me to walk past the door, to a piece of half-height cover leading into an incredibly long (for this type of scenario) hallway. At the end was a hostage type target, held in such a way that you had to either hit the slightly poking out head, or the very exposed leg sitting out to the right of the target.
​
I take a bracing pose against the left side of the wall, on the corner. It took me a moment to line it up properly, but I sent a round flying through my target’s lower thigh, causing it to stumble out of line with the hostage, the hostage remaining exactly in its position. That’s interesting, I didn’t know the targets were dynamic like that. I had been “killing” them with direct chest or headshots for every shot that I had hit, so I had never gotten a chance to see these targets actually do their dynamic animations before. I’ll have to ask how that works later. I finished the target off with a nice shot to the chest, after it had fallen to the floor, crippled due to its leg injury. The target fragmented as the holographic display was pierced by my round, double confirming that these targets were still projections.
​
The door to my left had opened with a clunk a moment after I had shot the target for the second time. I preformed more of the same clearing maneuvers and shooting of targets. A pair of these targets happened to line up, almost perfectly for a collateral shot. I took aim against the target further to the rear, my round propelling itself toward the target with its aim true. It took a path where I thought it would destroy both the near and far target with the same shot, however, the bullet only grazed the first hologram, causing it to stumble backward with its dynamic system. Despite not killing the first target, it still smacked against the rear target with a standard killing shot, fragmenting into its hundreds of red shards that I had become accustomed to.
​
Advancing further into the labyrinth, I swiftly finished off the wounded target that had stumbled backward into a corner. Just to the right of the target, a sign on the wall pointed me downward, telling me to crawl through a claustrophobic, vent-like passage, about [2 feet] tall. I read the sign, dropped to the floor, and slid down through the little hole in the wall. Out the left of the hole, a target stood waiting for whatever round I planned on giving him, out in the open.
​
I wonder…
​
I approached the target, pistol held like a little baton. With as much force as I could for good measure, I slapped the target with the pistol.
​
Whiff
​
Seems I was wrong. I place my aim onto the target that I had unsuccessfully slapped, fired, then went to move on. Another target was in a little closet behind it, so I spun around to shoot that one too. This killhouse seemed to span for an eternity, and I thought I must be nearing the end of it soon.
​
Round the corner, no-shoot target, keep going around the U shaped hallway, another no-shoot target in the middle of the hallway. Pass it by, another bend in the wall, with a shoot target just beyond it. I go to fire my weapon, and…
​
Click.
​
The slide is open.
​
That isn’t supposed to happen, I had 3 rounds left in the magazine!
​
I take a quick inspection of my gun, a casing got stuck in the chamber, and now was blocking up the entire gun’s mechanism. I had been taught what to do in this situation, the malfunction being called a “double feed,” which could occur more frequently if your gun ran older ammunition, which mine did.
​
I followed the standard jam-clearing procedure for a double feed, which was to first lock the slide to the rear, remove the magazine, drop the slide and rack again to remove the stuck casing, reinsert the magazine, then rack the slide again to seat a new round. With my jam now cleared, I shot the target in front of me in the face, destroying it instantly. Around the corner sat another set of targets, 2 of them I had to shoot.
​
I get my aim steady on the first, fire, target destroyed. The slide locked back, alerting me to my state of being out of ammo. I reach for another fresh magazine, and come back empty handed.
​
FUCK FUCK FUCK FUCK FUCK
​
I was completely out of ammo, and making good time up until now.
​
Melee won’t work, I had just figured that out, I'm out of magazines so I can’t reload even if I needed to, which I certainly did.
​
AHA!
​
I had accidentally let the stuck round fall out with the magazine while I was removing it from the gun, so now it was sitting on the floor. I dive over to it, grab the lonesome round off the floor, and carefully insert the round into the chamber of my pistol. This was a technique that you weren’t exactly supposed to do often, as it wears out the extractor much faster, leading to more frequent issues if it’s done too often. I drop the slide, letting the final round I had to my name seat itself within the chamber, ready to fire.
​
BANG.
​
The target shattered, the door on my left clunking open to reveal the light of day, and a catwalk to a platform above the range. I walk out, and hear another voice call out.
​
“Show clear, then holster your weapon. Your time is…187.87 seconds, nice work in there. If you want, go watch from above from that catwalk, the next run’s boutta to start.”
​
I walked up the stairs, legs quite a bit more fatigued than I expected them to be, although I had just been speed-walking for 3 minutes straight, and my heart was beating faster than I expected, probably due to that moment of panic after having my gun just jam up on me, compounded by the fact that I totally ran out of ammo. I reached the top, took a seat in a nice spot near the edge of the small congregation of other competitors, waiting for Finn to come waltzing through the course. There was a display on the top of the roof, showing us an overlay of the first floor, which would also show us the second floor once the competitor got to the staircase.
​
A few minutes passed, and I wasn't paying attention to Finn's run, since a few people had asked for me to take pictures with them, which I reluctantly agreed to. I could barely hear it, but the end timer from earlier had spoke up again; “show clear, holster your weapon. Your time is… 178.92, fastest time yet, good stuff.”
​
I broke away from the group who were trying to ask me questions to meet my friend at the top of the stairs, who acknowledged my completion with a firm ‘high five’, a human gesture I had been taught over my time with him.
​
“Phew, nice little course, huh Mick?” Finn offered.
​
“Yea… It was fun, albeit tiring.” I responded, with a tail wag
​
“I’d bet, worse stamina especially. Anyway, how’d ya do?”
​
“Slightly worse than you, 187 seconds.”
​
Wow! Nice, uhm, that’s actually really impressive for someone who’s never done this kinda thing before, how’d ya manage that?”
​
“Might be because I only ever had to hit the targets once, except for that really long range one, with the hostage?”
​
“Yea I know the one, tricky bastard to hit without clipping the hostage.”
​
“Did you know those targets are reactive? Actually yea, you probably do because you volunteer here, right?”
​
“Yep, I'm guessing that’s how you figured out they are? Shot em’ in the leg so he’d stumble? That’s the easiest way to do it, i reckon, but just moving to the right edge to line up an easier headshot is the more advantageous way to do it.”
​
“Yea that’s what I figured out. Oh, after that there was one kinda standing out in a hallway that I tried to hit with my pistol, didn’t do anything but since that one actually fell over earlier I was wondering if I could save the ammo, why didn’t hitting it work?”
​
“If you were actually in a situation where you were running around a big ol’ building trying to murder combatants inside to rescue hostages, do you think you would have the ability to whack someone in the face hard enough to outright kill them instantly? No, no you probably wouldn’t. The target impact system only tracks bullets anyway, punches or strikes don’t move fast enough to register on the system.”
​
“Oh, interesting. Say, how do the holograms work?”
​
“No clue, all I know is it has something to do with laser projectors and some weird illusions, then it has motion detectors tuned to a specific zone in space for tracking hits, quite interesting stuff if I do say so myself, even if I don't know how it works.”
​
“Yea, it is,” I said, not exactly registering what was said, “anyway, I think we should go figure out what the next event is, I don’t want to go into it blind like I would have if you hadn’t made me try the little version first.”
“Alright, follow me then.” Finn said, then began walking down the catwalk, leading me to our next event of the day, which I had been informed was a “long range vintage” event.
​
We made our way back over to the range we were at before, now situated with targets much further out than the aim trainer I had been using earlier. There were large signs, telling me distance next to little plates with concentric rings around a point in the middle. Finn walked back over to his car, pulled out a rifle box, and came back over to me.
"Ah, the wonders of long range shooting! You ready to learn about physics?" Finn exclaimed, clearly excited.
"No, not really, why do you ask?"
"Long range shooting, and especially extreme range shooting need a lot of little physics calculations for you to actually be able to hit the target from so far away. Bullets are little more than projectiles thrown at high velocity, but there's still things like gravity, wind, and sometimes even the fuckin' Coriolis effect to worry about while your round is flying!"
​
"Wait, you have to worry about the rotation of the planet while shooting long range? That's insane!"
​
"I know, right? that's why I love this stuff!"
​
The next [20 or 30 minutes] were taken up by a lengthy explanation of how a bullet flies, how a spotter and shooter system functions, how a spotter scope works, how to interpret what the spotter says, the list goes on. This had continued until the whistle blasted again, alerting us of another announcement.
​
"Everyone come over to the podium, we're having an awards ceremony! Be here in 5 minutes or we start without you, if you aren't already over here!" the voice of the instructor from earlier rang out. Finn and I went over to the podium, where a few boxes labeled 1, 2, and 3 resided.
​
The ceremony went well, apparently I had gotten third place, Finn got second, and someone who had ran after both of us got first.
​
After the ceremony, we were each handed a box of differing sizes, the winner got a certificate for a free rifle, Finn got a new 'plate carrier', a thing that was made to hold armor and magazines, and I got a pair of cargo pants.
​
I walked over to the little station they had set up nearby, got a few measurements taken, then was handed an (admittedly very fancy) pair of pants, clearly set up for humans instead of venlil.
​
Thankfully, I didn't have to modify them so I could wear them, there was already a little bit of a notch in the top of the beltline that let it comfortably sit just below my tail.
​
Another announcement came on soon after I got my new pants; "Next event starts in one hour, get some practice in before that, you might need it."
[First] [Previous] [Next (coming soon)]
____________________________________________________________________________________________________________
Author's note: This one took a lot longer than the other ones, although it's released in a shorter time frame, how ironic, i guess? I'm considering making a prologue to the story, probably during the exchange program, if I do, it will also help give some more context to Mick that I tried to expand on with this one.
I hope you enjoyed it, expect the next one... eventually.
Oh, and sorry about any walls of text, that was me trying to fill in to hit my self imposed 3000 word count, and also me not knowing how to effectively write "move, shoot, move again" about 20 times in a row.

Hi, I am getting occasional frame drops when trying to record Destiny 2 in OBS.
I have a Intel i9-13000k and a NVIDIA Geforce 3080ti.
I don't feel like I should have frame drops with these specs.
Here is my log file below. It didnt let me link it for whatever reason, so ill just paste it.
​
15:30:35.954: CPU Name: 13th Gen Intel(R) Core(TM) i9-13900K
15:30:35.954: CPU Speed: 2995MHz
15:30:35.954: Physical Cores: 24, Logical Cores: 32
15:30:35.954: Physical Memory: 32552MB Total, 18461MB Free
15:30:35.954: Windows Version: 10.0 Build 22621 (release: 22H2; revision: 1702; 64-bit)
15:30:35.955: Running as administrator: false
15:30:35.955: Windows 10/11 Gaming Features:
15:30:35.955: Game Bar: Off
15:30:35.955: Game DVR: Off
15:30:35.955: Game DVR Background Recording: Off
15:30:35.955: Game Mode: On
15:30:35.955: Hardware GPU Scheduler: Off
15:30:35.956: Sec. Software Status:
15:30:35.956: Microsoft Defender Antivirus: enabled (AV)
15:30:35.956: Windows Firewall: disabled (FW)
15:30:35.957: Current Date/Time: 2023-05-27, 15:30:35
15:30:35.957: Browser Hardware Acceleration: false
15:30:35.957: Hide OBS windows from screen capture: false
15:30:35.957: Qt Version: 6.4.3 (runtime), 6.4.3 (compiled)
15:30:35.957: Portable mode: false
15:30:36.121: OBS 29.1.1 (64-bit, windows)
15:30:36.121: ---------------------------------
15:30:36.122: ---------------------------------
15:30:36.122: audio settings reset:
15:30:36.122: samples per sec: 48000
15:30:36.122: speakers: 2
15:30:36.122: max buffering: 960 milliseconds
15:30:36.122: buffering type: dynamically increasing
15:30:36.123: ---------------------------------
15:30:36.123: Initializing D3D11...
15:30:36.123: Available Video Adapters:
15:30:36.125: Adapter 0: NVIDIA GeForce RTX 3080 Ti
15:30:36.125: Dedicated VRAM: 12687769600
15:30:36.125: Shared VRAM: 17066864640
15:30:36.125: PCI ID: 10de:2208
15:30:36.125: Driver Version: 31.0.15.3179
15:30:36.126: output 0:
15:30:36.126: name=MSI MAG274QRX
15:30:36.126: pos={0, 0}
15:30:36.126: size={2560, 1440}
15:30:36.126: attached=true
15:30:36.126: refresh=240
15:30:36.126: bits_per_color=8
15:30:36.126: space=RGB_FULL_G22_NONE_P709
15:30:36.126: sdr_white_nits=80
15:30:36.126: nit_range=[min=0.362400, max=408.760010, max_full_frame=408.760010]
15:30:36.126: dpi=96 (100%)
15:30:36.126: id=\\?\DISPLAY#MSI3CA8#5&23c9b0f&0&UID4353#{e6f07b5f-ee97-4a90-b076-33f57bf4eaa7}
15:30:36.126: alt_id=\\.\DISPLAY1
15:30:36.126: output 1:
15:30:36.126: name=BenQ GW2480
15:30:36.126: pos={-1920, -130}
15:30:36.126: size={1920, 1080}
15:30:36.126: attached=true
15:30:36.126: refresh=60
15:30:36.126: bits_per_color=8
15:30:36.126: space=RGB_FULL_G22_NONE_P709
15:30:36.126: sdr_white_nits=80
15:30:36.126: nit_range=[min=0.500000, max=270.000000, max_full_frame=270.000000]
15:30:36.126: dpi=96 (100%)
15:30:36.126: id=\\?\DISPLAY#BNQ78E7#5&23c9b0f&0&UID4352#{e6f07b5f-ee97-4a90-b076-33f57bf4eaa7}
15:30:36.126: alt_id=\\.\DISPLAY2
15:30:36.126: Adapter 1: Intel(R) UHD Graphics
15:30:36.126: Dedicated VRAM: 134217728
15:30:36.126: Shared VRAM: 17066864640
15:30:36.126: PCI ID: 8086:a780
15:30:36.126: Driver Version: 31.0.101.3616
15:30:36.127: Loading up D3D11 on adapter NVIDIA GeForce RTX 3080 Ti (0)
15:30:36.170: D3D11 loaded successfully, feature level used: b000
15:30:36.170: DXGI increase maximum frame latency success
15:30:36.170: D3D11 GPU priority setup failed (not admin?)
15:30:37.086: ---------------------------------
15:30:37.086: video settings reset:
15:30:37.086: base resolution: 2560x1440
15:30:37.086: output resolution: 2560x1440
15:30:37.086: downscale filter: Bicubic
15:30:37.086: fps: 60/1
15:30:37.086: format: P010
15:30:37.086: YUV mode: Rec. 2100 (PQ)/Full
15:30:37.086: NV12 texture support not available
15:30:37.086: P010 texture support enabled
15:30:37.087: Audio monitoring device:
15:30:37.087: name: Default
15:30:37.087: id: default
15:30:37.087: ---------------------------------
15:30:37.091: No AJA devices found, skipping loading AJA UI plugin
15:30:37.091: Failed to initialize module 'aja-output-ui.dll'
15:30:37.094: No AJA devices found, skipping loading AJA plugin
15:30:37.094: Failed to initialize module 'aja.dll'
15:30:37.094: Skipping module '../../obs-plugins/64bit/chrome_elf.dll', not an OBS plugin
15:30:37.097: [CoreAudio encoder]: CoreAudio AAC encoder not installed on the system or couldn't be loaded
15:30:37.098: Failed to load 'en-US' text for module: 'decklink-captions.dll'
15:30:37.098: Failed to load 'en-US' text for module: 'decklink-output-ui.dll'
15:30:37.103: A DeckLink iterator could not be created. The DeckLink drivers may not be installed
15:30:37.103: Failed to initialize module 'decklink.dll'
15:30:37.122: [AMF] Unable to load 'amfrt64.dll', error code 126.
15:30:37.123: [AMF] AMF Test failed due to one or more errors.
15:30:37.123: Failed to initialize module 'enc-amf.dll'
15:30:37.629: Skipping module '../../obs-plugins/64bit/libcef.dll', not an OBS plugin
15:30:37.629: Skipping module '../../obs-plugins/64bit/libEGL.dll', not an OBS plugin
15:30:37.629: Skipping module '../../obs-plugins/64bit/libGLESv2.dll', not an OBS plugin
15:30:37.641: [obs-browser]: Version 2.21.1
15:30:37.641: [obs-browser]: CEF Version 103.0.5060.134 (runtime), 103.0.0-5060-shared-textures.2591+g4204d54+chromium-103.0.5060.134 (compiled)
15:30:37.647: NVENC supported
15:30:37.752: [NVENC] AV1 is not supported
15:30:37.756: [noise suppress]: NVIDIA denoiser disabled, redistributable not found or could not be loaded.
15:30:37.756: Failed to get NVVideoEffects.dll version info size
15:30:37.756: [NVIDIA VIDEO FX]: FX disabled, redistributable not found or could not be loaded.
15:30:38.087: [obs-websocket] [obs_module_load] you can haz websockets (Version: 5.2.2 RPC Version: 1)
15:30:38.087: [obs-websocket] [obs_module_load] Qt version (compile-time): 6.4.3 Qt version (run-time): 6.4.3
15:30:38.087: [obs-websocket] [obs_module_load] Linked ASIO Version: 101201
15:30:38.093: [obs-websocket] [obs_module_load] Module loaded.
15:30:38.112: [vlc-video]: VLC 3.0.18 Vetinari found, VLC video source enabled
15:30:38.125: ---------------------------------
15:30:38.125: Loaded Modules:
15:30:38.125: win-wasapi.dll
15:30:38.125: win-dshow.dll
15:30:38.125: win-capture.dll
15:30:38.125: vlc-video.dll
15:30:38.125: text-freetype2.dll
15:30:38.125: rtmp-services.dll
15:30:38.125: obs-x264.dll
15:30:38.125: obs-websocket.dll
15:30:38.125: obs-vst.dll
15:30:38.125: obs-transitions.dll
15:30:38.125: obs-text.dll
15:30:38.125: obs-qsv11.dll
15:30:38.125: obs-outputs.dll
15:30:38.125: obs-filters.dll
15:30:38.125: obs-ffmpeg.dll
15:30:38.125: obs-browser.dll
15:30:38.125: image-source.dll
15:30:38.125: frontend-tools.dll
15:30:38.125: decklink-output-ui.dll
15:30:38.125: decklink-captions.dll
15:30:38.126: coreaudio-encoder.dll
15:30:38.126: ---------------------------------
15:30:38.126: ==== Startup complete ===============================================
15:30:38.215: All scene data cleared
15:30:38.215: ------------------------------------------------
15:30:38.227: [win-wasapi: 'Desktop Audio'] update settings:
15:30:38.227: device id: {0.0.0.00000000}.{f5aff725-1e19-46ee-acb3-66b70b4164f6}
15:30:38.227: use device timing: 1
15:30:38.229: [Loaded global audio device]: 'Desktop Audio'
15:30:38.229: [win-wasapi: 'Mic/Aux'] update settings:
15:30:38.229: device id: {0.0.1.00000000}.{df88de2e-3e55-4a8d-a13a-43408f7d840c}
15:30:38.229: use device timing: 0
15:30:38.229: [Loaded global audio device]: 'Mic/Aux'
15:30:38.229: - filter: 'Noise Gate' (noise_gate_filter)
15:30:38.230: [duplicator-monitor-capture: 'Display Capture'] update settings:
15:30:38.230: display: MSI MAG274QRX (2560x1440)
15:30:38.230: cursor: true
15:30:38.230: method: DXGI
15:30:38.230: id: \\?\DISPLAY#MSI3CA8#5&23c9b0f&0&UID4353#{e6f07b5f-ee97-4a90-b076-33f57bf4eaa7}
15:30:38.230: alt_id: \\.\DISPLAY1
15:30:38.230: setting_id: \\?\DISPLAY#MSI3CA8#5&23c9b0f&0&UID4353#{e6f07b5f-ee97-4a90-b076-33f57bf4eaa7}
15:30:38.230: force SDR: false
15:30:38.231: Switched to scene 'Scene'
15:30:38.231: ------------------------------------------------
15:30:38.231: Loaded scenes:
15:30:38.231: - scene 'Scene':
15:30:38.231: - source: 'Display Capture' (monitor_capture)
15:30:38.231: ------------------------------------------------
15:30:38.240: WASAPI: Device 'Microphone (NVIDIA Broadcast)' [48000 Hz] initialized
15:30:38.242: WASAPI: Device 'CABLE-A Input (VB-Audio Cable A)' [48000 Hz] initialized
15:30:50.405: [jim-nvenc: 'advanced_video_recording'] settings:
15:30:50.405: codec: HEVC
15:30:50.405: rate_control: CQP
15:30:50.405: bitrate: 0
15:30:50.405: cqp: 15
15:30:50.405: keyint: 250
15:30:50.405: preset: p5
15:30:50.405: tuning: hq
15:30:50.405: multipass: qres
15:30:50.405: profile: main
15:30:50.405: width: 2560
15:30:50.405: height: 1440
15:30:50.405: b-frames: 2
15:30:50.405: lookahead: false
15:30:50.405: psycho_aq: true
15:30:50.405:
15:30:50.405: [jim-nvenc] Forcing main10 for P010
15:30:50.443: ---------------------------------
15:30:50.444: [FFmpeg aac encoder: 'Track1'] bitrate: 160, channels: 2, channel_layout: stereo
15:30:50.444:
15:30:50.476: ==== Recording Start ===============================================
15:30:50.476: [ffmpeg muxer: 'adv_file_output'] Writing file 'G:/video aaaa/2023-05-27 15-30-50.mp4'...
15:35:15.060: [ffmpeg muxer: 'adv_file_output'] Output of file 'G:/video aaaa/2023-05-27 15-30-50.mp4' stopped
15:35:15.060: Output 'adv_file_output': stopping
15:35:15.060: Output 'adv_file_output': Total frames output: 15863
15:35:15.060: Output 'adv_file_output': Total drawn frames: 15875
15:35:15.060: ==== Recording Stop ================================================
15:38:43.230: [jim-nvenc: 'advanced_video_recording'] settings:
15:38:43.230: codec: HEVC
15:38:43.230: rate_control: CQP
15:38:43.230: bitrate: 0
15:38:43.230: cqp: 15
15:38:43.230: keyint: 250
15:38:43.230: preset: p5
15:38:43.230: tuning: hq
15:38:43.230: multipass: qres
15:38:43.230: profile: main
15:38:43.230: width: 2560
15:38:43.230: height: 1440
15:38:43.230: b-frames: 2
15:38:43.230: lookahead: false
15:38:43.230: psycho_aq: true
15:38:43.230:
15:38:43.230: [jim-nvenc] Forcing main10 for P010
15:38:43.295: ---------------------------------
15:38:43.295: [FFmpeg aac encoder: 'Track1'] bitrate: 160, channels: 2, channel_layout: stereo
15:38:43.295:
15:38:43.331: ==== Recording Start ===============================================
15:38:43.331: [ffmpeg muxer: 'adv_file_output'] Writing file 'G:/video aaaa/2023-05-27 15-38-43.mp4'...
16:21:42.413: [ffmpeg muxer: 'adv_file_output'] Output of file 'G:/video aaaa/2023-05-27 15-38-43.mp4' stopped
16:21:42.413: Output 'adv_file_output': stopping
16:21:42.413: Output 'adv_file_output': Total frames output: 154726
16:21:42.413: Output 'adv_file_output': Total drawn frames: 154745
16:21:42.413: ==== Recording Stop ================================================
16:21:42.413: Video stopped, number of skipped frames due to encoding lag: 4/154743 (0.0%)
16:25:11.560: [jim-nvenc: 'advanced_video_recording'] settings:
16:25:11.560: codec: HEVC
16:25:11.560: rate_control: CQP
16:25:11.560: bitrate: 0
16:25:11.560: cqp: 15
16:25:11.560: keyint: 250
16:25:11.560: preset: p5
16:25:11.560: tuning: hq
16:25:11.560: multipass: qres
16:25:11.560: profile: main
16:25:11.560: width: 2560
16:25:11.560: height: 1440
16:25:11.560: b-frames: 2
16:25:11.560: lookahead: false
16:25:11.560: psycho_aq: true
16:25:11.560:
16:25:11.560: [jim-nvenc] Forcing main10 for P010
16:25:11.616: ---------------------------------
16:25:11.617: [FFmpeg aac encoder: 'Track1'] bitrate: 160, channels: 2, channel_layout: stereo
16:25:11.617:
16:25:11.629: ==== Recording Start ===============================================
16:25:11.629: [ffmpeg muxer: 'adv_file_output'] Writing file 'G:/video aaaa/2023-05-27 16-25-11.mp4'...
16:42:31.913: [ffmpeg muxer: 'adv_file_output'] Output of file 'G:/video aaaa/2023-05-27 16-25-11.mp4' stopped
16:42:31.913: Output 'adv_file_output': stopping
16:42:31.913: Output 'adv_file_output': Total frames output: 62404
16:42:31.913: Output 'adv_file_output': Total drawn frames: 62417
16:42:31.913: ==== Recording Stop ================================================
16:55:20.284: Max audio buffering reached!
16:55:20.284: adding 960 milliseconds of audio buffering, total audio buffering is now 960 milliseconds (source: Desktop Audio)
16:55:20.284:
17:01:07.740: Source Desktop Audio audio is lagging (over by 8782.16 ms) at max audio buffering. Restarting source audio.

2005 BMW M3 - S1 900

Stats
Weight	1388 kg
HP	953
Torque	1106 nm
Top Speed	334.7 kph
0-60	2.267s
0-100	4.862s
Share Code	161600703,

View this tune on optn.club

Build

Conversions
Engine	6.2L V8
Drivetrain	AWD
Aspiration	Twin turbo
Body Kit	Rocket bunny

Engine
Intake	Race
Fuel System	Race
Ignition	Stock
Exhaust	Race
Camshaft	Race
Valves	Sport
Displacement	Race
Pistons	Race
Twin Turbo	Race Anti-lag
Intercooler	Sport
Oil Cooling	Stock
Flywheel	Stock

Platform And Handling
Brakes	Race
Springs	Race
Front Arb	Race
Rear Arb	Race
Chassis Reinforcement	Stock
Weight Reduction	Race

Drivetrain
Transmission	Race Seven Speed
Driveline	Race
Differential	Race

Tires And Rims
Compound	Semi-Slick
Tire Width	Front 255 mm, Rear 325 mm
Rim Style	Sport Adv.1 Adv7 M.V1 Standard
Rim Size	Front Stock in, Rear Stock in
Track Width	Front Stock, Rear Stock
Profile Size	Front Stock, Rear Stock

Aero and Appearance
Front Bumper	N/A
Rear Bumper	N/A
Rear Wing	Big country labs
Side Skirts	N/A
Hood	N/A

Tune

Tires	bar	psi
Front	2.17	31.5
Rear	2.17	31.5

Gears	Ratio
Final Drive	3.27
1st	4.17
2nd	2.80
3rd	2.05
4th	1.55
5th	1.20
6th	0.97
7th	0.81

Alignment	Camber	Toe	Caster
Front	-1.8°	0.2°	7.0°
Rear	-1.3°	0.1°

ARBs
Front	7.2
Rear	58.8

Springs	kgf/mm	lbs/in	n/mm
Front	25.3	141.6	248.0
Rear	26.8	150.0	262.7

Ride Height	cm	in
Front	53.6	21.1
Rear	53.8	21.2

Damping	Rebound	Bump
Front	11.5	7.2
Rear	12.1	7.5

Aero	kgf	lb
Front	102.0	224.9
Rear	170.0	374.8

Brakes	%
Balance	50%
Pressure	100%

Differential	Accel	Decel
Front	58%	15%
Rear	68%	22%
Center	60%

Formatted text generated by the OPTN.club Tune Formatter
Submit bugs, feature requests, and questions on Github

Source: How We Used Iterative Level Design to Ship Skyrim and Fallout 3
This article offers a comprehensive analysis of the source video. While it closely follows the video's content, it also includes my own interpretations and expansions on the concepts presented, providing a deeper exploration into the art of game design.
Iteration in game development is a progressive cycle of planning, creating, and testing content, improving on prior versions. This process has proven effective in a range of contexts, from software design to art creation.
The scope of iteration varies. For instance, the Madden franchise exemplifies long-form iteration with annual updates to features, while Spelunky showcased a transformation from a low-fidelity game to a commercial success.
In level design, "Structural Iteration" involves planning, implementing, and polishing a level. Additionally, "Qualitative Iteration" is an important step where designers use playtesting to gain feedback and improve the level.
This iterative process, which can continue indefinitely until designers are satisfied, underpins the "It's done when it's done" mentality prevalent in game development.
1. PROCESS
The core of this article lies in exploring the concept of workflow process, specifically the choice and evolution of iterative processes in game development. These processes, conscious or not, enable the creation of games in an efficient, enjoyable, and sane manner. Bethesda Game Studios (BGS) is an example of a studio whose iterative process, originally devised for Fallout 3, has evolved over the years, most notably in its application for Skyrim.
When creating Fallout 3, Bethesda formed a dedicated level design team for the first time, laying the groundwork for increased investment in level design. The founders of this team held iteration as a fundamental value to their workflow.
There are several factors influencing any workflow, including Bethesda's. A key requirement for their level design team is the ability to produce a vast amount of content; Skyrim, for instance, contains over 200 locations requiring level design effort. Simultaneously, they aim to enhance the quality of the moment-to-moment level design experience.
Another aspect shaping Bethesda's process is their commitment to a schedule. Though some may view schedules as restrictive to creativity, Bethesda sees them as providing guidance, allowing the team to plan, pace themselves, and maintain a clear vision of their goals. This scheduled approach benefits the level design process.
The formation of the level design group within an already established studio like Bethesda provided an advantage. The studio already had established art creation and editor tools, a clear code pipeline, and a supportive team, allowing the new group to focus primarily on their own tasks.
Bethesda also boasts a low turnover rate, ensuring a stable level design team throughout all project stages. This consistency, contrasting with studios that scale their teams drastically during different project phases, ensures productivity in early stages and avoids understaffing later on. It also fosters team chemistry, crucial for successful teamwork.
Lastly, Bethesda strives to maintain a healthy quality of life for its developers and strongly opposes crunch (excessive overtime often seen in the game industry). While crunch is often associated with exploitative management, it can also stem from unrealistic self-imposed expectations. Bethesda believes that through informed planning, they can establish a level design workflow that minimizes the risk of overworking, whether self-inflicted or otherwise.
2. APPLYING ITERATION TO WORKFLOW
This video explores the application of an iterative process to level design within the context of game development. The discussion is structured around a comparison of two approaches: the "black box" approach and the "continuous iteration" approach, as well as Bethesda's unique iterative method.
The black box approach is characterized by a novice level designer who embarks on their project, learning through the process and often making mistakes. This approach may lead to a completed level but can result in a significant amount of time spent fixing foundational errors made early on.
Continuous iteration refers to a more experienced designer's process of completing each level one at a time. This approach helps avoid foundational errors, however, it has its own challenges. A designer might become too engrossed in one level, risking becoming stale and potentially slowing down progress due to constant need for feedback.
Bethesda's unique method involves breaking down the level design process into focused chunks or stages, namely "Concept," "Layout," "Gameplay," and "Polish." After completing the first stage of a level, the team moves on to the first stage of the next level, rather than proceeding to the second stage of the initial level. This strategy allows for periodic revisiting of each level, ensuring fresh perspectives, comprehensive feedback, and a varied workload for designers.
In Bethesda's model, level designers also take on ancillary tasks such as writing dialogue or contributing to system design. These additional tasks help to expand the designers' skill set while also ensuring optimal productivity. This approach respects the timing and context of game development, recognizing that the early stages of a project might offer fewer resources for level design but present opportunities for other productive tasks.
Towards the end of development, designers have more resources available for level design and are more equipped to focus on core level design tasks. This allows for the efficient use of what Bethesda terms "Opportunity Time" – moments where potential improvements are identified in the game. Bethesda's approach aims to maximize this opportunity time and fast-track the development process. The article concludes that this iterative design process enhances the level designers' productivity, flexibility, and adaptability to changes and unexpected challenges in game development.
3. THE PASSES
Bethesda's game development process employs a series of passes. Each pass has a distinct focus and builds upon the previous ones, setting a strong foundation for subsequent passes. This method builds iteration directly into the schedule.
3.1 PASS ZERO
Pass Zero is the initial conceptual planning phase in this multi-pass process:
3.1.1 Conceptual Planning: This stage is about laying the groundwork for the level. The game may not be fully operational, and art resources may be limited. The level designers work with a list that outlines the spaces and events planned for each level. These include the types of encounters, the architectural style, map locations, and the overall scope of each space.
3.1.2 Level Proposal: The designers are tasked with proposing ideas for the level based on the given information. Proposals are usually concise, no more than 1-3 paragraphs, and highlight a unique aspect that makes the level stand out. Bethesda has found that trying to cram too much into one space can dilute the focus, so concentration on a single unique element is encouraged.
3.1.3 Backstory and Environmental Storytelling: The backstory of each space, while not necessarily player-facing, plays a crucial role in informing the design decisions. This backstory could include why and by whom the space was built, and events that happened there, both historical and recent. Even though these backstories may not be explicitly communicated to the player, they can influence hundreds of decisions about how the space is built and what is included in it.
3.1.4 Asset Requests: During Pass Zero, the designers start making requests for unique or novel assets required for their spaces. These early requests help in building a reliable art schedule and encourage the level designers to think about specifics, thereby fostering efficient use of art resources.
3.1.5 Restraint and Timing: An important aspect of Pass Zero is to maintain restraint and focus only on tasks optimal for this stage. For instance, cluttering or lighting a space with a limited set of available assets is discouraged, as it may lead to over-reliance on these assets, most of which would likely be replaced in later passes.
3.1.6 Avoidance of Detailed Maps: Detailed maps are avoided at this stage. Instead, level designers create abstract maps that focus on connectivity and pacing. The aim is not to define precise spatial details but to get a general sense of the level's layout and flow.
3.1.7 Concise Documentation: Level designers also stay away from creating extensive documentation that focuses on minute details. The task at Pass Zero is to distill ideas to their essence. If a concept can't be boiled down to the essentials, then the purpose of the pass is defeated.
3.2 PASS ONE
Pass One revolves around layout creation:
3.2.1 Layout Construction: The level designers work in collaboration with environment artists to create a comprehensive layout. Even though the art may not be visually impressive at this stage, the focus is on constructing a meaningful layout that can ensure the right flow and rhythm of movement through the spaces.
3.2.2 Kit Understanding and Feedback: Designers also devote time to understanding the architectural kits at their disposal. They provide feedback to the artists working on these kits to ensure maximum functionality from a limited number of pieces. This step helps avoid late integration of new kit pieces into the existing spaces.
3.2.3 Incidental Writing: This stage is an appropriate time to work on additional in-game writing, such as books or notes found within the space. This type of content can be added at any point but is often overlooked in later stages due to time constraints.
3.2.4 Housekeeping Tasks: Level designers also take care of certain tasks that are less likely to change, such as naming locations, entering location data, and setting up map markers. Addressing these aspects early on ensures they don't get overlooked in the more hectic stages of development.
3.2.5 What to Avoid: During Pass One, several tasks are actively avoided. These include optimization and creation of encounters or the navigation mesh required for them. The work done on these aspects is highly dependent on the final layout, which hasn't been fully settled at this stage. It is also advisable to avoid lighting and cluttering, as well as "kitbashing" or "arthacks" (using art assets in ways they weren't initially intended for). While these practices can be used effectively to stretch the available art resources, they can also mask problems that should be addressed directly. Thus, any "kitbashing" done in Pass One risks overshadowing issues that need attention.
3.3 PASS TWO
Pass Two is primarily about gameplay, with a focus on creating engaging and balanced encounters:
3.3.1 Gameplay and Encounters: Now, with the progress made in the Vertical Slice stage, the team starts working on setting up enemy encounters. This stage requires decisions about enemy types, their numbers, and how frequently they will appear. It's also the stage where the placement of loot, healing items, locked treasure rooms, and boss-guarded stashes are decided.
3.3.2 Scenes Development: At this stage, designers also begin working on different in-game scenes. Whether it's a conversation that a stealthy player can overhear or directing an enemy to run down a particular path, these scenes start to take shape during the second pass.
3.3.3 Navigation Mesh (Navmesh): With the encounters in development, the navmesh for each space also gets worked on. A well-laid navmesh at this stage can save a lot of time in later stages of development.
3.3.4 Feedback and Layout Adjustments: The time between passes provides an excellent opportunity for feedback sharing. If the first pass received any feedback requiring adjustments, especially concerning layout, these can be addressed in the second pass.
3.3.5 Inclusion of Non-combat Elements: If there are plans to include non-combat beats such as puzzles or dialogues, placeholders for these elements should be created in this stage to help establish pacing.
3.3.6 Optimization: Another important task undertaken during this pass is optimization. Though the level might still be unlit and relatively empty, there's no barrier to starting the optimization process early. It might seem tedious, but completing this task now can save a lot of time in the future.
3.3.7 Avoid Starting Over: One major pitfall to avoid at this stage is the temptation to scrap everything and start over. It's often a knee-jerk reaction, and experience shows that it can set back progress without necessarily leading to better results.
3.3.8 Avoid In-Depth Script Handling: Just like in Pass One, the gameplay developed during this stage is subject to revision based on feedback. Spending too much time on script handling at this stage may result in wasted effort if significant changes need to be made based on feedback.
3.3.9 Feedback Processing: Starting from Pass Two, feedback will be received more frequently and from multiple sources. The key is to avoid immediate reactions to feedback and instead catalog it. Once the feedback is compiled and trends are observed, the team can decide on the best course of action.
3.4 PASS THREE
Pass Three is often termed as the "Content Complete" pass, representing a stage where all core gameplay systems are functional:
3.4.1 Primary Goal: The main objective at Pass Three is ensuring there's nothing in the level that's missing, temporary, broken, or unaccounted for. While it doesn't entail that everything is finished, it does require all missing components to be logged and scheduled for completion.
3.4.2 Refining Gameplay: This stage emphasizes refining the gameplay established during the second pass. This might involve implementing new encounters, replacing placeholders with more refined assets, or incorporating feedback received since the second pass.
3.4.3 Aligning Systems Design with Game Content: The game’s system design and the actual content need to be reconciled during Pass Three. Changes to initial plans are natural, and by this stage, there's a better understanding of what should be present in the levels.
3.4.4 Feedback Buddy: One of the resources at a level designer's disposal at Pass Three is a feedback buddy. This counterpart helps cross-check the progress and provides valuable insights, technical opinions, or playtesting feedback.
3.4.5 Variations Across Levels: Each Pass Three has its unique characteristics as each level starts to develop its personality. This flexibility could mean one week focusing on scripting a complex set-piece and another week on resolving a layout problem.
3.4.6 No Optimization: Optimization, a key focus during the second pass, isn't a priority during Pass Three as not enough meaningful changes have occurred to necessitate this work.
3.4.7 The 'Ship with Shame' Phase: Pass Three is sometimes humorously referred to as the "ship with shame" pass. It means that in an extreme scenario, a game at Pass Three could be shipped. It's complete, but it may not be up to the desired quality.
3.4.8 Completion vs. Quality: Pass Three is more about instilling confidence in completion rather than ensuring quality. The completion of Pass Three should assure the team that they can achieve a high standard of quality for the level by the time of shipping.
3.4.9 Time to Let Go: Pass Three is a stage where it might be time to admit if certain elements aren't working. If an element hasn't clicked by this point, it might never do so, and it's time for a discussion about the next steps.
3.4.10 Course Correction: If necessary, the team might try to mitigate the impact of failed elements. This can be through minor tweaks, reducing the scope of overly-ambitious ideas, or even considering a complete rework with a "mulligan pass".
3.4.11 Cutting Content: There might be instances where it's necessary to consider cutting a level. These decisions can be hard, but if made wisely, they can free up resources to focus on other levels with greater potential.
3.4.12 Strike Teams: Strike teams can come in handy during Pass Three. These multi-disciplinary groups can focus on a feature or piece of content, to rapidly advance it to a usable, testable state.
3.4.13 Crunch Time as a Last Resort: Sometimes, the only solution might be to put in more hours, known as crunch. However, this should only be considered as an absolute last resort, as it can risk causing physical and mental stress, thereby potentially decreasing overall productivity.
3.5 THE BEAUTY PASSES
This step serves as a crucial element in adding the final aesthetic touches to our game:
3.5.1 Transition from Content Generation to Polish: During beauty passes, the art team primarily shifts its focus from creating new content towards enhancing and optimizing existing elements. This is also a crucial step for optimization, as the programming team requires a reliable baseline for testing.
3.5.2 Utilization of Artist Time: The shift in focus frees up the artists' time to contribute towards various components, such as improving lighting, adding detailed clutter, enhancing atmospheric effects, and aiding sound engineers in the audio pass. During this phase, the level designer usually steps back to allow the artists to work independently.
3.5.3 Level Designer's Role: While the level designer is generally hands-off during beauty passes, it's important not to be overly detached. It's the level designer's role to communicate the level's intent and any specific requirements that the artists might be able to address. The artists are not merely maintenance staff cleaning up after the level designers
3.6 FINAL PASS
At this stage, the core elements of the game have mostly been established, and our focus shifts towards quality enhancement until the point of release:
3.6.1 The Goal - Polishing: During the final pass, the primary goal is to polish every aspect of the game. This could mean enhancing the level's strengths while eliminating, fixing, or de-emphasizing any weaknesses. There are often last-minute realizations about potential improvements that we can take advantage of during this phase.
3.6.2 Role of Team Feedback: Team feedback flows heavily throughout this stage, providing valuable insights on what can be improved or highlighted in the game.
3.6.3 Housekeeping Duties: Final pass also requires us to perform any remaining cleanup tasks. These tasks could include optimizing performance, ensuring level data is correct, fine-tuning navigation meshes, or ensuring the overall functionality of the level. Ideally, most of this work should be completed by this point, allowing us to concentrate mainly on refining the game.
3.6.4 Multiple Passes: Interestingly, the final pass doesn't always mean it's the last. Every game level undergoes a fourth pass, but based on playtesting feedback, we might decide that some levels need further refinement. Some game spaces might ship in their fourth pass state, while others might go through five, six, or more passes.
3.6.5 Structural vs. Qualitative Iteration: The earlier passes (concept, layout, gameplay, and completion) are primarily forms of Structural Iteration - steps we know are necessary to create a game level. The subsequent steps are more focused on Qualitative Iteration, refining the game to meet our quality standards rather than just completing it. This Qualitative Iteration occurs during the latter stages of development, the 'opportunity time', which we strive to maximize.
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Working on expansive games like those at BGS can easily sway them towards the minutiae, leading to neglect of other areas. Their method, intertwined with the game's progression, facilitates a comprehensive outlook, ensuring all aspects of the game receive due attention. This strategy helps them remember that they're creating an all-encompassing experience, not just focusing on isolated details.
Finally, it's important to recognize that no game is ever 'truly finished' - there's always something more that can be done. However, perspective enables them to use their time wisely, aiming for a well-rounded and balanced game rather than pursuing endless refinements. It also helps them maintain their stamina, reminding them that game development is a long journey rather than a one-off sprint. This perspective ensures a sustainable and fulfilling career in game development, allowing them to continually create and enhance their craft.
I will continue to delve into the fascinating world of game design in future articles. If you find this topic intriguing, please follow me for more insights. I also welcome your thoughts and suggestions on game design. Let's explore and learn together :)
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A week full of mind-AI connections and Microsoft’s response to Google’s I/O event. Mind-Video: High-quality video reconstruction from brain activity - Mind-Video is a method for reconstructing continuous visual experiences in videos from non-invasive brain recordings, specifically continuous fMRI data of the cerebral cortex. The proposed approach combines masked brain modeling, multimodal contrastive learning with spatiotemporal attention, and co-training with an augmented Stable Diffusion model. - Adversarial guidance is utilized to achieve high-quality video reconstruction with arbitrary frame rates. The reconstructed videos were evaluated using semantic and pixel-level metrics, showing an average accuracy of 85% in semantic classification tasks and a structural similarity index (SSIM) of 0.19, surpassing the previous state-of-the-art by 45%. The model is biologically plausible and interpretable, aligning with established physiological processes.
DragGAN: A new AI model for interactive point-based image manipulation - Researchers from Google, MIT, and Max Planck Institute for Informatics have proposed DragGAN. The novel approach allows a user to "drag" any points of the image to precisely reach target points in a user-interactive manner. - Through DragGAN, anyone can deform an image with precise control over where pixels go, thus manipulating the pose, shape, expression, and layout of diverse categories such as animals, cars, humans, landscapes, etc. Meta scaling Speech Technology to 1,100+ languages - Meta’s Massively Multilingual Speech (MMS) project aims to address the lack of speech recognition models for most of the world's languages, introduced Introducing speech-to-text, text-to-speech. Combining self-supervised learning techniques with a new dataset containing labeled data for over 1,100 languages and unlabeled data for nearly 4,000 languages. - The MMS models outperform existing ones and cover 10 times as many languages. The project's goal is to increase accessibility to information for people who rely on voice as their primary means of accessing information. The models and code are publicly available for further research and development. The project aims to contribute to the preservation of the world's diverse languages. LIMA- Meta's powerful 65B LLM language model - Meta’s AI researchers introduce LIMA - a new 65B parameter language model fine-tuned on 1,000 curated prompts and responses. It doesn't use reinforcement learning, yet generalizes well to unseen tasks. - Compared with other models, LIMA's responses are either equivalent or preferred in 43% of cases compared to GPT-4 and even more so when compared to Bard and davinci003. This simple approach with limited instruction tuning achieves high-quality output. However, scaling up examples remains challenging despite LIMA's strong performance. Microsoft unveils major AI updates at Build 2023 - AI was the central theme at Microsoft Build, the annual flagship event for developers. The company announced major updates in integrating AI throughout the entire technology framework, empowering developers to make the most of the new AI era. Here are the initial AI-focused announcements from the event. Windows Copilot for Windows 11 Windows 11 will be the first PC platform to centralize AI assistance with the introduction of Windows Copilot. With Bing Chat and first- and third-party plugins, users can work across multiple applications through simple prompts. Connected AI plugin ecosystem for MS and OpenAI -Microsoft will adopt the same open plugin standard that OpenAI introduced for ChatGPT, enabling interoperability across ChatGPT and the breadth of Microsoft’s copilot offerings. - Developers can now use one platform to build plugins that work across both consumer and business surfaces, including ChatGPT, Bing, Dynamics 365 Copilot, and Microsoft 365 Copilot. - Plus, Bing is coming to ChatGPT as the default search experience.
Azure AI Studio to build and deploy AI models As a part of new Azure AI tooling, Microsoft introduced Azure AI Studio– a full life cycle tool to build, train, evaluate, and deploy the latest next-generation models responsibly with just a few clicks. Microsoft Fabric for unified data and analytics Bring your data into the era of AI, Fabric can unify experiences, reduce costs and deploy intelligence faster on a single, AI-powered platform. It is an end-to-end, unified analytics platform that brings together all the data and analytics tools that organizations need. Dev home for a single project dashboard Dev Home will help streamline and manage any type of project developers are working on – Windows, cloud, web, mobile, or AI – providing all the information needed right at the fingertips in one customizable dashboard. Google announced Product Studio, AI search ads, and Bard’s new update The search engine giant Google has unveiled some exciting AI advancements. Which includes: - Google will utilize generative AI to enhance the relevance of Search ads based on the context of a query. - Google Bard AI chatbot now responds with images. (Link) - Google introduces Product Studio, which creates product imagery using AI. (Link) QLora: Finetune 65B model on single 48GB GPU - QLoRA is an efficient finetuning method that enables training a 65B parameter model on a single 48GB GPU while maintaining full 16-bit finetuning task performance. It uses 4-bit quantization and Low-Rank Adapters (LoRA) to backpropagate gradients through a pre-trained language model. - Their best model family, which they named Guanaco, outperforms previous models on the Vicuna benchmark, achieving 99.3% of ChatGPT's performance within 24 hours of finetuning. It introduces several innovations to save memory without sacrificing performance: (a) 4-bit NormalFloat (NF4), a new data type that is information-theoretically optimal for normally distributed weights (b) double quantization to reduce the average memory footprint by quantizing the quantization constants, and (c) paged optimizers to manage memory spikes. They have released all their models and code, which enables researchers and practitioners to leverage these advancements. Gorilla beats GPT-4: LLM makes AI better with efficient API calling -Gorilla is a fine-tuned LLaMA-based model that does better API calling than GPT-4. The relevant paper claims that it demonstrates a strong capability to adapt to test-time document changes, enabling flexible user updates or version changes. It also substantially mitigates the issue of hallucination, commonly encountered when prompting LLMs directly. - It’s important to note that the paper used self-instruct on GPT-4 to generate the training data on which it is fine-tuned. So while Gorilla is better at API calling than GPT-4, it’s highly likely that GPT-4 excels in all the other categories.
Man walks after 12 years using AI Brain-Spine - A man who suffered a spinal cord injury and got paralyzed from a motorcycle accident 12 years ago is now able to walk again with an AI-powered intervention. The system consists of two implants and a base unit that converts brain signals into muscle stimuli. - The paper mentioned a 74% accuracy in converting brain signals to stimuli at an impressive latency of 1.1 seconds. The man can now walk up ramps, climb stairs, stand, sit, and more.
There was more….

• Microsoft’s AI-powered Bing gets new features like chat history, charts, exports & more
• MS Artificial Nose, A smart device that identifies smells
• Copilot arrived: The next generation of Perplexity AI search companion
• AI Robots in the U.S. change tires in half the time as humans
• AI uncovers rare DNA sequence in gene activation research
• Apple looks to advance AI efforts for iPhones, iPads, and other devices
• XTREME-UP: A user-centric scarce-data benchmark for under-represented languages
• OpenAI leaders propose IAEA-like international regulatory body for AI
• Lifesaving Radio, the first AI-based healthcare radio station
• Nvidia and Dell to bring generative AI powers to on-premises deployments
• Red Hat Introduces Ansible Lightspeed for AI-Driven IT Automation
• Anthropic raises $450M to build next-gen AI assistants
• Adobe brings Firefly’s generative AI to Photoshop
• Spotify may use AI to make host-read podcast ads that sound like real people
• OpenAI’s ChatGPT iOS app is taking an international tour!
• TruEra released FREE tool for testing LLM’s hallucinations
• Elasticsearch Relevance Engine gives generative AI an creative update!
• OpenAI to grant $1,000,000 to democratize AI
• Google starts rolling generative AI features to Search.
• TikTok is working on releasing its own chatbot ‘Tako.’
• AI helped develop an antibiotic that’ll kill superbugs.
• Ryff uses AI to insert products into TV shows and commercials.

That's all for now. - P.S. If you like this kind of analysis, I co-author a free newsletter that discusses the biggest issues and implications of generative AI. - It aims to empower AI enthusiasts and Engineering Leaders with the knowledge of machine learning, ChatGPT, Generative AI and LLMs. Designed to share not only the latest news in AI but also educational nuggets in the field of Artificial Intelligence and Machine Learning.

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Me-Clint-O
The woman stands at the edge of a cliff, overlooking a vast, tumultuous horizon. Clint stares at her, and then to the picture in his hand. It’s the last and only thing he remembers, and written upon it is a very clear command: “Don’t believe her lies.”
No, that’s not right. It’s not the only thing he remembers. He knows that he can ride a bike. He knows that the Ohio River Scenic Byway isn’t the fastest way to get to Cincinnati but he’d still drive that route just for the view. He knows that his recipe for barbecue sauce is the best in this plane of existence, if not all planes of exist–
He presses his thumb and forefinger to the bridge of his nose as the low drone of static hisses in his mind, preventing him from completing that thought.
He remembers that he can’t remember. And he knows it’s her fault. The notes he left for himself tell him so. John G. He destroyed his world, he destroyed all worlds, and it’s her fault. If he can’t remember anything else, he’ll remember this need, this burning desire for vengeance. And now it’s time to take it.
It takes maybe five footsteps to clear the distance between them, as charges towards her. And... just as he is about to reach her, and obliterate her, he feels the earth beneath him shake. As he gets close to her... the edge of the cliff-side just shears off.
Immediately, she is falling, down into the ocean below. But Clint is falling too. And he almost catches a glimpse of her. Their eyes meet as they both are falling off of this cliffside, and the last thing we see in his face before his body shatters on the beach below is what appears to be a proud smile.
Smash cut.
Fight Clint
You wake up in Nua.
You wake up in Kepler.
Morning. Day. Night. Lose a day. Gain a day. This is your life, and it’s ending one minute at a time.
You wake up in Tesseralia.
If you wake up at a different time and in a different place, could you wake up as a different person?
The people I meet in each world, they’re single-serving friends. Between take-off and landing, we have our time together, but that’s all we get.
And this is how I met Benev–
Smash cut.
Clint Peaks
A voice. Distant. Worlds apart. “The fool broke the rules. He shared–”
Smoke and static. Existence is nothing but smoke and static. Blissful, serene, and empty. And then–
Clint slowly opens his eyes.
“There he is,” a bearded man speaks. He’s flanked by a sturdy woman in a floor-length duster. She doesn’t say a word.
“I wasn’t sleeping.” Clint declares. “Andy. How’s Andy?”
“He’s just fine. Still staring at that snow globe.”
“I need to brush my teeth. Help me up.” Clint shambles out of his bed, taking in the wood-paneled lodge around him.
“Sure.”
“I need to brush my teeth.” Clint repeats.
He closes the door to the bathroom behind him. He luxuriates in the use of his limbs, in his command of a corporeal form. The feel of his fingers, gripping the tube in his hands, twisting its form, contorting reality to his expectations. He watches in reverie as the pallid blue goop empties into the sink.
He’s in control. After so long, so, so long.
He stares at himself in the mirror, and in a flash of violent exaltation, rams his face into the glass. He grins at the sight of the blood trickling down his forehead. The pain is nothing. The vivid expression of life is everything.
Laughingly, mockingly, he speaks.“How’s Andy?”
The man and woman look to each other concerned from behind the door as they hear the smash of glass followed by Clint’s words.
“How’s Andy?” He laughs.
“How’s Andy? How’s Andy? How’s Andy? How’s –
Smash cut.
The Who’s-Emil Suspects
Kujan sighs as he watches Roger “Emil” Klint limp out of his office. He almost feels bad for the crippled man, with his stocky, unassuming build and his wire-framed glasses sitting beneath a head of hair that was both receding and fading to white. Klint: a meek janitor, pressed into a life of crime by those around him, caught up in a scheme hopelessly beyond his control.
Before this, the worst that Emil Klint had got caught up in was a bit of light embezzlement. And now?
Well, at least the world was rid of Kilroy Söze. And it was Kujan who solved the mystery, and it was Klint who had confirmed it.
Kujan stares in satisfaction around his office, thinking back on the crime that Emil detailed over the past day or so. It was grandiose, unbelievable in its scope, but then again, nothing was unbelievable when it came to Kilroy Söze. Could one man truly do all these things, in so many places, so many worlds? It seemed impossible, but he’d seen the evidence with his own eyes, eyes that he was now rubbing with a microfiber cloth.
It was one of those flimsy things they hand out at trade shows, with cheaply stitched embroidery of the company’s name: National United Aerospace.
National United Aerospace. N.U.A.
N.U.A. Nua.
Nua.
No.
Whatever dust had been in his eyes before didn’t matter now; they flitted desperately around his office, picking up the little bits and pieces of things that should have been obvious before.
A brochure on his desk advertising Amnesty International.
The gentle refrain of “Clair de Lune” playing from the clock radio quietly in the background.
A book on his shelf, Steven Carter’s “Getting to Commitment”.
The discarded newspaper in the wastebin, open to the sports section where the headline of the opinion column read “Is Barry Bonds off-balance?”
He’s already out the door, out of the office, out into the street, scanning frantically across the throng of people, trying to find his target who, not minutes ago, was here in his grasp.
But it’s no use.
Clint McElroy has shed the alias of “Emil Klint” as easily as he shed the fake limp, as easily as he created the persona of Kilroy Söze, and as easily as he wills a gap into the fabric of reality and slips into next plane of existence.
As Clint looks at the quickly closing portal, he–
Smash cut.
The Adventure Cove
Skyshale033 Subject: Adventure Cove local kid’s show?
Does anyone remember this kid’s show? It was called The Adventure Cove and I must have been 6 or 7. I never found reference to it anywhere so I think it was on a local station around 1971 or 1972. I lived in Ironton at the time. I don’t remember which station, but I do remember it was on at a weird time, like 4:00 PM.
mike_painter65 Subject: Re: Adventure Cove local kid’s show?
it seems really familiar to me…..i grew up outside of ashland and was 9 yrs old in 72. Adventure Cove…was it about pirates? i remember a pirate marionete at the mouth of a cave talking to a little boy.
Skyshale033 Subject: Re: Adventure Cove local kid’s show?
YES! Okay I’m not crazy! I remember Doctor Merle. I was always kind of scared of him. He looked like he was built from parts of other dolls, real low-budget. His head was an old porcelain baby doll, looked like an antique that didn’t belong on the body. I don’t remember what station this was! I don’t think it was WTSF though.
Jaren_2005 Subject: Re: Adventure Cove local kid’s show?
Sorry to ressurect this old thread but I know exactly what show you mean, Skyshale. I think Adventure Cove ran for only a couple months in ‘71, not ‘72. I was 12 and I watched it a few times with my brother. It was channel 58, whatever station that was. My mom would let me switch to it after the news. Let me see what I remember.
it was about a little boyl who imagined himself to be friends with pirates. The pirate ship was called the Starblaster, and Doctor Merle wasn’t a very good doctor because he got scared too easily. And there was calliope music constantly playing. Don’t remember the boy’s name. Andrew or Randy or something. Think it was Andy?
Skyshale033 Subject: Re: Adventure Cove local kid’s show?
Thank you Jaren!!! Memories flooded back when you mentioned the Starblaster and channel 58. I remember the bow of the ship was a wooden smiling face, with the lower jaw submerged. It looked like it was swallowing the sea and it had that awful Ed Wynn voice and laugh. I especially remember how jarring it was when they switched from the wooden/plastic model, to the foam puppet version of the head that talked.
mike_painter65 Subject: Re: Adventure Cove local kid’s show?
ha ha i remember now too. do you remember this part skyshale: “the door is open.”
Skyshale033 Subject: Re: Adventure Cove local kid’s show?
Ugh mike, I got a chill reading that. Yes I remember. That’s what the ship always told Merle when there was a spooky place he had to go in, like a cave or a dark room where the treasure was. And the camera would push in on the Starblaster’s face with each pause. THE DOOR… IS… OPEN. With his two eyes askew and that flopping foam jaw and the fishing line that opened and closed it. Ugh. It just looked so cheap and awful.
You guys remember the villain? He had a face that was just a handlebar mustache above really tall, narrow teeth.
kevin_hart Subject: Re: Adventure Cove local kid’s show?
i honestly, honestly thought the villain was doctor merle. i was about 5 when this show was on. nightmare fuel.
Jaren_2005 Subject: Re: Adventure Cove local kid’s show?
That wasn’t the villain, the puppet with the mustache. That was the villain’s sidekick, Marchus Burchins. He had a monocle too, but it was on top of the mustache. I used to think that meant he had only one eye.
But yeah, the villain was another marionette. The Hungry Boy. I can’t believe what they let us watch back then.
kevin_hart Subject: Re: Adventure Cove local kid’s show?
jesus h. christ, the hungry boy. what kind of a kids show were we watching? i seriously could not look at the screen when the hungry boy showed up. he just descended out of nowhere on his strings, just a dirty skeleton wearing that pearly black top hat and cape. and his glass eyes that were too big for his skull. christ almighty.
Skyshale033 Subject: Re: Adventure Cove local kid’s show?
Wasn’t his top hat and cloak all sewn up crazily? Was that supposed to be children’s eyes??
mike_painter65 Subject: Re: Adventure Cove local kid’s show?
yeah i think so. rememer his mouth didn’t open and close, his jaw just slid back and foth. i remember the little boy said “why does your mouth move like that” and the hungry boy didn’t look at the kid but at the camera and said “BECAUSE TO EXIST… TO LIVE… IS HORRIBLE”
Skyshale033 Subject: Re: Adventure Cove local kid’s show?
I’m so relieved that other people remember this terrible show!
I used to have this awful memory, a bad dream I had where the opening jingle ended, the show faded in from black, and all the characters were there, but the camera was just cutting to each of their faces, and they were just screaming, and the puppets and marionettes were flailing spastically, and just all screaming, screaming. The boy was just moaning and crying like she had been through hours of this. I woke up many times from that nightmare. I used to wet the bed when I had it.
kevin_hart Subject: Re: Adventure Cove local kid’s show?
i don’t think that was a dream. i remember that. i remember that was an episode.
Skyshale033 Subject: Re: Adventure Cove local kid’s show?
No no no, not possible. There was no plot or anything, I mean literally just standing in place crying and screaming for the whole show.
kevin_hart Subject: Re: Adventure Cove local kid’s show?
maybe i’m manufacturing the memory because you said that, but i swear to god i remember seeing what you described. they just screamed.
Jaren_2005 Subject: Re: Adventure Cove local kid’s show?
Oh God. Yes. The little boy, Andy, I remember seeing him shake. And the Hungry Boy screaming through his gnashing teeth, his jaw careening so wildly I thought it would come off its wire hinges. I turned it off and it was the last time I watched. I ran to tell my brother and we didn’t have the courage to turn it back on.
mike_painter65 Subject: Re: Adventure Cove local kid’s show?
i visited my mom today at the nursing home. i asked her about when i was littel in the early 70s, when i was 8 or 9 and if she remebered a kid’s show, Adventure Cove. she said she was suprised i could remember that and i asked why, and she said “because i used to think it was so strange that you said ‘i’m gona go watch Adventure Cove now mom’ and then you would tune the tv to static and juts watch dead air for 30 minutes. you had a big imagination with your little pirate show.”
Static. Fade to white.
Clint Elsewhere
White static turns to snow.
Andrew Westphall stares at a snowglobe as two elderly men sit in loungechairs watching him, bemused. Tyler is older, wiser, and more cynical and a bit more rounded, both physically and emotionally. Patrick, still clinging to some vestige of youth, has wisps of dyed hair and painted nails, and bottled-up frantic energy that belies his age.
“He’s been sitting there ever since we left this morning, just like he does every day. World of his own.”
“I don’t understand this whole thing, but… he’s our brother. We talk to him, I don’t even know if he can hear us. He sits there all day long in his own world, staring at that toy.” Tyler whispers.
“What’s he thinking about?” Patrick asks, partially to Tyler but mostly to himself.
“Come now. Time to wash your hands.”
Patrick helps Andrew up, who reluctantly puts down the snowglobe, jostling the scene inside even further.
The camera pans to the snowglobe, and as the snow settles, we see a recreation of what seems to be a universe, with twelve colored spheres hovering around, dancing in perfect synchronicity.
Behind the globe, we see the two men and their brother leave the room and the camera zooms in until the scene inside the snowglobe is all that’s in frame. And the dance continues.
And then we pan up.
And we see a thirteenth sphere descend. It is a sphere of shimmering, living darkness, crossed with ribbons of blue, red, green, and gold. It is larger than all the other spheres combined, and as it lowers...slowly...bright white eyes begin to open all along the underside of this sphere — millions of them, burning with malice and hunger. And somewhere in that sphere, a smile flashes across someone's face.

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So, since we're probably not gonna get good Zombies content until 2024, and I'm starving for some new maps as a console pleb, I got the DLC for BO4. Suddenly, boom, 4 new maps to play around with! I've only seen out of context gameplay for these, and I know the wonder weapons and what they roughly do, but besides that this was a blind first attempt. Thought I'd share my notes as I was going through it. Because hey. I wrote em down, might as well share em. So yeah, hope they're interesting/amusing.
-I don't think you're dressed for the ocasion, cowboy
-Pretty cool intro. Sucks that BO4 didn't have the budget to maintain these higher quality openings, but eh, it is what it is. Hope I enjoy the cast, supposedly they ain't too good
-You know ya got a good map when it's got solid round change music
-Man, every room looks so detailed in these games. You're not gonna pay attention to the little things for like, 99% of playtime, it almost seems like a waste. It's appreciated, though
-It took two doors to reach the sentinel artifact? Guess Treyarch wants to get the inital setup over with quick
-What the fuck there's so many parts, how much shit is there
-Oh shit, there was something in that jar
-Fuck me if I have to realign a clock while Zombies are chasing me
-Oh it just does it for me
-Tuning fork? Fun
-Ay, there's the wonder weapon. Wonder if I'll actually find the code on my first go
-Okay, I guess we have to find that painting somewhere? Sure, why not
-Gideon why are we picking up Vampire shit? Also there's vampires, yooo
-Not sure how needed a cemetery right next to your home is, Alistair
-Is that tree supposed to be phasing out of reality? (I still don't know the answer to this)
-That ain't a bad plan Gideon, why can't we just take this armor? Hope they don't come to life or something
-Okay, so the tuning fork did... something. Still can't get through there though
-Hello ghost, how ya doing
-Another tuning fork, thanks for that
-Ngl crystal thing, I can't tell these god statues apart, this doesn't help me
-Okay, so those energy core location thingys are traps. Neat
-Do not care for vampires. Screen goes weird when they hit me, wonder what that's about
-Didn't Scarlett make the Ballistic Shield? How is it on Classifed? Unplayable game
-Another tuning fork, lovely
-Gideon what do you mean there's a warewolf
-Oh shit
-Alright, that lad's pretty tanky, huh
-Wait this was for PaP??? Shit, lucky I stumbled onto it ig, this does not appear casual friendly
-Silver bullets? Alright, better to have them then not
-yayyyy, catalysts (they were fine in this map actually, no clue why Voyage spawns in like 20 of em on the field at once)
-Wonder if these symbols on the walls are for the weapon. No clue how you could figure out which one goes first, though
-Oh hey, Alistair's Folly! Always appreciate that BO4 wonder weapons can just be spun for if you don't wanna go through the upgrade quest
-Okay, so its like a Ray Gun that deals more damage on impact then with splash damage? Neat. Revolvers are sick
-Oh shit, you can shoot the pool balls. That's fun
-I got a grenade. Huh. Guess I did that wrong
-Okay, Warewolf goes down in 2 seconds with silver bullets. Noted
-Wait you can't PaP this thing? Well, there's no shot I'm finding the upgrade quest on my own (I did know about the Ahnililator going into this, didn't know it needed a mini quest though)
-Okay the Folly is falling off a bit (was on round 22, took about two shots to kill for most targets)
-Do not care for Vampires (still don't know what's happening while the screen gets fucked)
-Well, shit. Did better then I thought, though (died on round 23)
Pretty cool map overall. Interested to learn more about it, I can tell there is a lot to go over. Would absolutely recommend giving it a shot if you're itching for more maps to play. Anyway, thanks for reading, hope ya found it interesting

I do not own SSB nor the right to call any of this Canon. As always, those pleasures belong to BlueFishcake.
Special thanks to Lord Henry 7888 and [Pizza Ulostin] for helping me with editing the last chapter. Also Thank you to everyone on Discord and Reddit who've helped me with getting this moving forward again, and everyone in general for being patient. <- It won't let me edit that chapter to put the mention in there so I'll put it in this one.
Special thanks to Lord Henry 7888 for helping me with editing.
Last / Reference Guide
Chapter 10:
The shuttle bay had been abuzz with activity in the moments prior to the first wave's launch. The troops had moved with practiced speed and precision to their designated transports, and any final pieces of equipment were on-loaded and properly secured. The sounds of the great undertaking they were occupying themselves with, though normally overwhelming, was greatly muffled and reduced to well managed localized audio inputs by the helmets that everyone wore. The troops loaded onto the shuttles, some exchanging brief quips or final words of encouragement with the maintenance personnel that would stay behind. Then the shuttles were sealed and all the personnel not making the journey planetside mag-locked their boots to the hangar bay floor.
The hangar bay lights, normally a vibrant yellow or a soft white, changed color and bathed everything in a harsh red to signal the initiation of depressurization within the room. Within 10 seconds strategically located ducts throughout the hangar had sucked all the atmosphere from the chamber, equalizing pressure with the void beyond. The gravity had been the next to go, and anything not properly fastened rose. At least one maintenance woman had cursed into her helmet comms as her cigarettes attempted to flee towards the vaulted ceiling.
Though the invasion of Earth was one of shock and awe, meant to cow the enemy into a quick surrender, Fleet Admiral Zip'era had not deemed throwing caution to the solar winds to be wise. As a result of this, the plan called for the carriers to instead deploy the waves via the individual shuttle docking ports and reserve opening the main blast doors for returning shuttles too damaged to return via their designated docking stations. In line with this, each docking port beneath a disembarking shuttle had opened, and all the shuttles in question had lowered through them until they were free of the carrier and out in the void beyond. Finally, the various docking ports had closed behind them, gravity had returned, the atmosphere had soon followed, and the lights turned a soft white.
Thus the first wave orderly disembarked into the void and towards the Earth beyond.
፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨
The hangar bay of the Fire Bridle had seemed so empty to Vixa Sarno from the very moment that the last of the shuttles carrying the Captain and the rest of the {insert unit: Company?} successfully disembarked. She was instantly consumed by an awareness of being very much alone as soon as that last shuttle docking port had sealed closed. There was a bitter clarity to everything, and it was as though the whole ship & the people around her had faded away in importance. She was marooned, and utterly alone amongst a sea of people.
The hanger hadn't sat idle, after the departure and there had been non stop activity after the fact. There were many faces and voices, and plenty of chatter between the various personnel, but it all felt overwhelmingly lonely to Vixa. Vixa was a Shil'vati, and as a species the Shil'vati were first and foremost social creatures. Their brains were geared towards complex social structures, and it could be legitimately detrimental to their mental and physical health for them to be without a social group of 3 or more individuals for an extended period of time.
It was always lonely being the one left behind, and such often was the fate of logistics and support officers. This though, felt so much worse to Vixa. With communication between her and the rest of the company bound to be essentially non-existent until mission completion, and with them being practically a world away, she felt… hollow and useless. So, with nothing left to do, she started to head back to her assigned quarters.
Truth be told, there currently wasn't a single being left aboard The Firebridle that she knew. There wasn't anyone or anything that she shared a personal connection with in this entire system outside of her, now absent, fellow Golden Glaives. That put her in a dangerous mental state; "Sole-Mind'' was the official term, the emotional condition of being, or the feeling of being the only one. It was a condition common to almost every Shil'vati not innately predisposed towards becoming a DeathsHeads when left alone for extended periods of time. It was odd for a Shil'vati to develop it so quickly, but Vixa happened to be one of the "unlucky odd-balls" that proved the rule, and she had struggled with it her whole life to some extent.
After finding it difficult to get past several groups of personnel heading for the hangar, Vixa decided to cut through the section of the ship where the Interior were supposed to be quartered and overseeing the unfolding invasion. Since they were legally required to act as an active safeguard against war crimes and general crimes throughout the initial invasion and following integration there were sections prepared for them on every capital ship in the fleet, and as far as anyone lacking proper clearance was concerned all those sections were currently packed to the brim and swarming with Interior Agents tuning into their suits' audio and visual feeds- it wasn't burdened by any unnecessary foot traffic . On the Firebridle however, this section sat conveniently empty for some unknown reason, and had for the whole trip. As such Vixa made decent time through the handful of empty corridors, and all the while the self-evident social truth of the Imperium rang out mockingly in her head.
Military Pods of 3 were born from the average best friend group; The average best friend groups sizes were born from the minimum stable social group capacity; The Average Marital Unit size of 8 was born from both the gender ratio and the fact that the smallest Shil'vati social unit could stably grow up to 8 individuals before beginning to strain or stratify; The De Facto Minimum of 3 children per married woman, was rooted in social reality of 3 siblings forming a stable pod. Throne Above- The whole social system from commoner straight up to the Empress herself, was immensely reinforced by sitting atop a system of increasing self-worth and interconnected mental health feedback loops. In fact, there was a direct correlation between the social unit size and a Shil'vati's mental health and sense of greater fulfillment.
The simple truth was that Imperium was built on the Shil'vati social unit from the ground up, and… and Vixa had just lost her's. The larger the social group and sense of belonging, the healthier the mind and body would be and vice versa… "Perhaps," Vixa supposed, as so many citizens of the Imperium often did, "that's one of the larger contributors as to why so many high borns tend to go on ego trips…" Could that be Why so many of them seemed to lack the innate compassion that characterized the founders of their Houses; Why the Royal Family seemingly gave birth to a borderline sociopath? That their success alienated them to their own detriment? Who could say?
What could be said for certain was that the Golden Glaives were Vixa Sarno's social group, and they were her family. Though unlike Ki'ma, that wasn't the same as saying that they were the only family she had. Technically speaking, Vixa had an extended network of kin back on Stigios, but they were half the Imperium away, weakly tied to her by thinly strained blood and not in bond. No, the Golden Glaives were all that she had left in the universe that could truly be seen as her family. They were what kept her centered and balanced.
"What a strange thought though," she mused to herself as she attempted to walk past the exercise area nearest to her room. The exercise areas were amongst the few areas in the ship with actual windows instead of the view screen display typical to more modern spacecraft. An interesting choice in this day and age, but having an actual window helped to put many at ease and felt strangely fancy. It wasn't really glass of course, just panels of reinforced see-through metal spanning from floor to ceiling, that gave the impression of complete openness while shielding against sudden decompression.
On the other side of the panels and down by the exercise area's door were two 6 ft tall rat-like creatures wearing Naval Uniforms; A.rea D.ominator uniforms to be specific. Area Domination Teams were experts at stealth insertion well behind enemy lines, and the mission of a Area Dominator was to deploy, undetected, into combat and hostile environments to establish and secure initial landing zones when orbital dominance could not reliably be maintained long-term against the enemy, or orbital bombardment was somehow rendered ineffective or unfeasible. They also performed the initial reconnaissance of the surrounding areas in such an event.
The presence of A.D.s was a given during an invasion of a modern space power, but their inclusion during this operation was telling of a more calculating and cautious mind than most. No doubt they had been included in case the Human's fledgling 'Space Force' had actually successfully managed enough of an orbital defense to contest orbital supremacy. Most likely they had been called up and made ready for the operation's start, only to be stood down when no true threat to the fleet presented itself. Though no doubt disappointing, that should have been the end of it, but those uniforms could do nothing to hide these two's species' more barbaric inclinations, and they were already bringing a fight 'outside.'
"-It's not my fault that the Purples can't tell us apart!"
"That doesn't give you permission to screw my fiancee!"
"It's not like she could tell the difference in bed anyways! I did you a favor!"
"You bastar-" the second started, before being interrupted by a sucker punch.
The bickering completely degraded from barely coherent trade Shil into their native shrieking-screaming 'language' and clawed fist. Then they started grappling and violently slamming each other into the walls of the corridor, hissing, shrieking, and slicing with razor edged claws as they did so. All the while Vixa simply watched on dispassionately and waited for them to finish. It was messy, and should have been horrifying, but quite frankly she already felt dulled to it from the hollow loneliness she was experiencing.
"Some of our Navy's finest," Vixa mused, perhaps mockingly, perhaps absently, as it continued to worsen. Technically she could stop this at any given point, she had the authority to do so, but she wasn't their C.O., and she had neither the heart, nor the bond, nor the responsibility to do so currently.
Some distant part of Vixa's mind supplied a name to the species painting the walls with red speckled, splotches: The Skrit. Some even more distant part of her subconscious even acknowledged that they were a race from a savage and lightly disputed, Imperium-Consortium Periphery World. They were undoubtedly fleeing their barbaric world for a better life, here on an army ticket for citizenship and immigration into the wider Imperium. A small part of her even realized that they were both males, and that what trade shil had been exchanged hinted towards a case of cucker on cuckold violence. Not that she consciously really ever truely took note of them, or any of the rest of it, consumed as she was by her own state of mind.
Eventually one got a critical hit in and there was a particularly loud shriek, followed by an even more shrill shrieking after his opponent inflicted a final blow on his weakened form. He fell to the ground, shrieking hysterically clutching at his thoroughly devastated manhood, his opponent shaking the blood from his claws onto the walls all the while. After she was certain that the fight was well and truly over, Vixa calmly proceeded to step over the wounded creature and move past his now satiated opponent, and, now freed from their distraction, her thoughts quickly returned to their previous course.
To Vixa's credit, 'strange' was a fair assessment when one considered how with the exception of Dur'a and Ki'ma, Vixa was the only member of the Golden Glaives not currently in her forties or older. 'New Bloods' was what everyone else called them. To become a Golden Glaive at their ages was exceedingly rare outside of a sitting Monarch directly taking to the field, and unheard of in living memory. Stranger still, it was a position that she had earned on Stigios for her unwavering loyalty to the throne; for what she had done during the mass mutiny following the Second Princess's butchery of the D'saari boy… for what she had done for the Prince inspite of what protocol had demanded she do in the Empress's name.
Vixa shook her head slightly at the thought as she put in the door code for the room she'd been assigned for the voyage. Every Golden Glaive, including herself, was an extension of her Majesty's own being for all legal, religious, and social extents and purposes. Regardless of how she currently felt about her own existence, she knew that she shouldn't question the Empress's choice of who should or shouldn't fill that role- No one should. Barring the honor and pride of being the Monarch or their chosen heir, for a Shil'vati it was an honor without equal in the universe… but that honor came only with sacrifice unrivaled.
After all, like all Golden Glaives she was a Shil'vati who had in her possession a distinguished record of unwaveringly loyal service to the Monarch…or more accurately in her case, she had outstanding ability and had made evident demonstration of unquestionable loyalty to the Royal Family. Like all Golden Glaives she was verified under extensive scrutiny, and then personally handpicked by the then sitting Monarch themselves; in her case Empress Khalista. Like all Golden Glaives she possessed a custom Golden Glaive, that was personally bestowed upon her by the Empress herself in a ceremony that could have made angels cry.
Golden Glaives weren't allowed to have a social life beyond the current Monarch and the Golden Glaives. That also meant that they couldn't have a romantic life without permission either, and that, even if it was granted, they couldn't be involved romantically with anyone who wasn't currently a member of the Golden Glaives or the sitting Monarch. That last part was especially trying as there were currently thousands of Golden Glaives, and only two of them were males. The first was a 78 year-old man by the name of Yazak Vizo, who was in charge of the Royal Palace's entrance and admitting visitors. The second was Prince Dur'a and he was the only male to enter the Golden Glaives in over three-and-a-half decades… And Dur'a wouldn't remain a Golden Glaive once he entered the Royal Selection. Yet even in spite of the challenges, she felt at home and loved when with her fellow Golden Glaives.
"Although technically speaking, if either of the princes were to inherit the throne, every female Glaives would become a part of their harem should they wish it," Vixa said absently as she laid back onto her bed to stare at the ceiling. Then she blushed as the thought caught up with her mouth. "Well the Prince's are both handsome in their own right and it's hard not to compare the two…" She stammered lost in embarrassed thought. "...and Dur'a showers and changes with the rest of us, absent any shame, and I'm only Shil'vati goddess bless it!" Blue as sin she took a deep breath and tried to hurriedly rationalize her thoughts with raw facts.
Prince Gelm, was the child of the Empress's favored consort, and was with little doubt her favorite child in terms of open affection. Truthfully, his favored status amongst Her Majesty's offspring might only have been rivaled by his elder full sister 2nd Princess Katria, or perhaps more debatably by his younger full sister 4th Princess Crolen. He was also the favored son in the eyes of the Imperial public. He was: 1st Prince Gelm Galmor, 4th Born of her Majesty, Aged 23 and he was "The Marvelous Prince."
The 1st Prince was traditionally beautiful, perfect in form and appearance to the point of the divine. He was small & soft in stature, his skin was smoother than Arachnid silk, his Golden irises were speckled with crimson amber, his mannerisms were proper, and he was apparently quite receptive to the concept of romance. He was technically an Admiral in Her Majesty's Imperial Navy and his personal flagship "The Iron Tooth" was a state-of-the-art vessel that resembled more a holy Cathedral of Gold than a warship. Though an Admiral, he wasn't seen as a warrior Prince, but instead as a well-known Military Activist, a supportive husband, and a renowned Philanthropist across the width and breadth of the Imperium and its allies. Countless orphanages, hospitals, schools, libraries, local first-responder militia groups, charitable organizations - including donate and mark down stores, and many more owed their existence to him.
Prince Dur'a, on the other hand, was born to the lowest ranked of the Imperial Consorts, and noble only by virtue of his mother's blood. Though the Empress claimed to possess no favorites and attempted to present herself as impartial, it was clear to the entirety of the Royal Court & Extended Family that out of the Royal Offspring, he was dealt with the most coldly by the Empress. Rumors continued to abound amongst the court even still, that unlike his siblings, that when born he was never once suckled nor held by her, merely waved off and given to a wet nurse. He also wasn't the favored son of the wider Imperial public, but he was the favored son of the Golden Glaives and Stigios System. He was: 2nd Prince Dur'a Sto'tar'an, 9th Born of Her Majesty, Aged 17 and he was "The Heart of Stigios."
Dur'a for his part was less traditionally beautiful, and with the exception of his face his body was completely covered in layer upon layer of extensive scars. That wasn't to say that he was completely lacking in beauty, and he was attractive in his own right. He was more rough, and his muscles were strong and well defined. He was respectful, but seemingly not chained to what was proper. He was large for a male; much larger than his older brother and he might even get larger still. Although he didn't seem to show any open interest in romance, Vixa knew that he certainly had to have a fiancee waiting in the wings for his coming of age ceremony; every royal was arranged to marry at age 5 after all. He was a militant populist and anyone who listened to him could tell that he was a practical reformer- perhaps with a mind to rival Kre'ek himself.
"Of course, with them being males, neither will be likely to inherit, but a girl can always hope. Either one would make a great husband and, goddesses willing, maybe I wouldn't feel so alone at times like this-"
The communication device on her wrist lit up, and Vixa practically sprung to life. The only people with her personal channel were Golden Glaives. How long had it been? Had she sulked and daydreamed through the entire invasion? She hurriedly opened the channel with eager anticipation. She couldn't wait to hear everyone's voices… but all she got instead was a text message.
[Code: Gold Communication]
Vixa's stomach dropped off a cliff at that. It was a request for private comms, the kind so high level that only the Golden Glaives and Empress herself could make use of it. Which meant that it was not meant for anyone in the fleet's ears- not even the 2nd Princess. With that in mind she dutifully switched to the Glaives private coded-channel, activated an audio-scrambling device in the room, pulled out a concealed needle-like device implanted in a false freckle on her neck, and inserted it into a concealed port on the comm device. Then its audio functions came to life and she received her orders.
፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨፣፨
Author's Note: I use Human Years unless a character who would use other years is talking, or I make an active mention that that's what I'm doing. I do this because I think it likely makes it easier to keep straight when reading: but if you'd prefer I can put the converted years off to the side going forward. Feel free to let me know which you prefer in the comments.
Prologue / Timeline / Next

Aswan Granite - Symmetry of Ramses Statue
J. Davidovits research into ancient geopolymers has demonstrated through chemical X-ray analysis that the casing stones of the Giza pyramids are synthetic, being of lower density than any quarried stone due to trapped air bubbles and consisting of 85-90% calcite with other exotic mineral constituents like opal CT, hydroxy-apatite and silico-aluminates. .-Geopolymer Analysis -Geopolymer Giza Its an "exotic " admixture thar enhances the limestone's natural capacity to convert all atmospheric acoustic energy into an electrical current within the crystals, inducing a strong electromagnetic field around the pyramid structures and within their passages and chambers. Both the low density and exotic mineral composition of the limestone show them to be synthetic but the drill marks in the clip Basins
At the Grand Canyon, analysis of the Coconino Sandstone shows The natural piezoelectric property of minerals comprising sandstone, limestone, andesite and basalt rocks enables conversion of incident acoustic waves into an encompassing EM field. This special effect becomes amplified by semiconductor geopolymers, specially manufactured with a high content of fine metallic particles, including ferromagnetic, paramagnetic such as iron, nickel, titanium –in combination with piezoelectric, pyromagnetic and pyroelectric mineral constituents such as tourmaline and pyrite..
The Hopi told me it was called ‘firestone’ for its ability to spark plasma in the air above the pyramid faces during phases of increased planetary infrasound resonance..
The limestone surfaces of the square basins revealed the presence of oxalates, leading to speculation about beer production. However, the presence of oxalates results from geopolymer stone casting processes employed at Göbekli Tepe to produce megaliths from a liquid slurry of sand, fly ash and water. Oxalic acid was used to chemically disaggregate available bedrock into fine grains. In South America, oxalic acid residues were identified on the Saqsaywaman temple megaliths, and on the surfaces of the Tiwanaku Gate of the Sun. Göbekli Tepe's standing stones also retain residual oxalates.... I'll explain later in this thread, why all sites such as Göbekli Tepe were constructed on fault lines, Harvard.edu- Anatolian fault Geothermal applications.. now we have indigenous cultures in Kenya who are working with Corporations to provide Geothermal/electric power for millions by using the energy of the Mother Earth(gaia).
The internal chambers of the Great Pyramid are constructed of massive rose granite blocks cut with precise right angles and perfectly planed faces, brought from the nearest granite quarry in Aswan directly to the south. The surface of the stone is covered in a thin glaze of quartz, the main constituent of granite, which is typical of a stonecutting technique now known as thermal disaggregation. Watkins, Professor of Geosciences at St. Cloud State University in Minnesota, has designed a "Solar powered focusing and directing apparatus for cutting, shaping, and polishing", U.S. Patent No. for the thermal disaggregation of stone. The lightweight unit is a parabolic reflector that focuses only a few hundred watts of light into a 2mm point capable of melting granite at a 2mm depth upon each slowly repeated pass.
The notes of Garcilaso de la Vega have described the findings of the Conquistadors upon arrival in the Andes, detailing the Incas’ large gold-covered parabolic stone bowls over 10’ in diameter which were destroyed and processed into ingots.
In 2013, in the Llanganates mountains i saw the modern The Festival of the Sun- New sacrifices must be given by the hand of the Sun. So a chipana is held by high priest. "It was larger than usual, and had on it a highly polished concave plate, about the diameter of an orange. They put this towards the Sun, at an angle, so that the reflected rays might concentrate on one point, where they had placed a little cotton well pulled out, for they did not know how to make tinder; but the cotton was soon lighted in the natural way. With this fire, thus obtained from the hands of the Sun. There were Solar cells found in Egypt, our ancestors understood Nature was technology.
In the case of hammering, generally you'll see rock wanting to break along pre-existing planes of weakness. When river sand, which is mostly quartz, is used to grind and polish rock with quartz, the softer minerals in the rock are sanded out, while the quartz crystals, little affected, are left standing above the rest of the minerals on the surface. In the case of wedging rock, Watkins didn't find any low-angle fractures, and no ability to control the cracking of the rock. On a surface worked with pounding stones, all the minerals are unevenly fractured.
'The most fascinating feature of the granite core Petrie describes is the spiral groove around the core indicating a feed rate of 0.100 inch per revolution of the drill. It was 500 times greater than modern diamond drills, but the rotation of the drill would not have been as fast as the modern drill's 900 revolutions per minute.'
Rose granite was used in the construction of the internal chambers because of its resonant properties. The quartz matrix of the granite stones is like a hall of mirrors with billions of parallel faces reflecting energy.The very shape of the pyramid is an amplified-receiver or resonator of various kinds of energy fields, i.e. electro-magnetic waves, cosmic rays,,etc surrounding our planet and which are in the air around and within the pyramid. Inside the pyramid the received energies, interact with one another.
Standing Waves Phi "today we see plenty Diverse new technologies have incorporated fractal patterning for signal enhancement and more. That's a Recent acoustic resonance experiment that shows a connection between the phi ratio and a nonlinear acoustic standing wave structure". The effect of this encasement in granite is that the airspaces can be given harmonic dimensions to specify the wavelengths, which will resonate through the formation of standing waves. The dimensions of the upper chamber reflect a 1:2 ratio, allowing standing waves of integer multiples to store acoustic energy.The methods that are supposed to have been used by the ancients, such as pounding, hammering, grinding, polishing with abrasives, and wedging, just don't match up with what is seen under a microscope.
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These specific alchemical processes were only obtained through the serpent wisdom. Ill cite the geopolymer analysis at the Gran canyon, Coconino Sandstone, Stonehenge, its obvious the same knowledge was employed at each site. Sumerian text say that Enki sent the Apkallu (birdman) led by Oannes & One of their functions was as protective spirits against disease and demons. Genetic findings show R1b-V88(Mende/Yoruba) & Rb1-m269 are not only found at all these sites but you can follow archaeological evidence showing they introduced agriculture, domesticated cattle, metalworking, as well as writing. The fish men were created or sent by Enki to bestow humanity with moral codes and the arts of civilization (through the me)...Thread
Note: There are now almost a dozen locations around the world who offer initiates in M'TAM. Which means "from within the Earth”, and is the oldest science in the world. M’TAM represents the original body of education to harmonize the human being’s mind, body and spirit with the Earth.is structured in three disciplines: Medu (Language), Ka'at Ibi (Meditation) & Sounnt (Healing)
The reason we fall short & don't understand how our ancestors accomplished these feats can be summed up quite easily. ..
Francis Bacon defined the mission of Modern Science shortly after the onset of the Scientific Revolution (1543). Accordingly, the purpose of science was, "to dominate and control Nature." Nature isn't to be dominated, explains why these ancient cultures lived in such harmony with the Earth because she was more than the sustainer of life. The ancients knew the Earth was a power station giving her children free energy.
The Electromagnetic Spectrum in Low-Intensity Conflict USAF - this research by the USAF shows us how classical concepts of electrodynamics are inadequate.
In other words, the classical theories are at the very least partially wrong in that they do not fully explain all of the reactions which are observed in the body... Electromagnetic energy naturally surrounds and permeates most planets. Our ancestors understood quite well that This energy can be used as an endless, inexhaustible power source which is very cheap to access.This energy can be tapped in the simplest of ways with technology we have right here on planet Earth now. It is so prevalent that our bodies pick it up unintentionally..it doesnt require generators & each user could have their own reciever like we have tv.
Early on they were known as 42 Tribes of Sesh, and the land wasnt called the Nile and the Delta. It was the sedge and the bee, which are the actual pictures of a bee and a sedge plant. After Osiris & the first Kings SmsHr developed the civilization whos remains fascinate us so, they became known as the 'Sheshu-hor' (People of the Realized man) We see a civilization who respected nature & knew the secrets of the universe which are Light, Acoustics, Frequency, Vibration. Dr Devereaux found every navel of these sites resonated at the divine frequency 111hz which would allow initiates to reach the 'dreamstate' much easier. Calcite microcrystals in the pineal gland of the human brain: first physical and chemical studies
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Electromagnetic Properties of Pyramid’s from Positions of PhotonicsScienceDaily-Light Accelerates Conductivity in Natures Electric Grid The Great Pyramid is flat dab in the center of the Earth’s land mass and also acts as a fulcrum. This design takes advantage of the sound waves pushing out of the inner core into the shafts; where the limestone dampens the low frequencies and only allows the highest frequencies to emanate out of the pyramid. Dee Jay Nelson and David H. Coville see special significance in the stone the builders chose in building the King’s Chamber: “this means that lining the King’s Chamber, for instance, are literally hundreds of tons of microscopic quartz particles. The Slight plasticity of the granite aggregate would allow a ‘piezotension’ on the parallel surfaces and cause an electromotive flow" " There were customized crystals housed in the chambers. When the high frequency sped through the water then the crystals began to vibrate. A frequency so high it was undetectable by humans ears.A crystal oscillator is an electronic oscillator circuit that uses the mechanical resonance of a vibrating crystal of piezoelectric material to create an electrical signal with a very precise frequency. This means a precise frequency was generated; instrument, tools, and weapons had to be configured to this precise frequency allowing them to basically tune in and gain power If you were an outsider and you needed power you had to be cleared and trained about the precise frequency. Any invention in the ancient land need only tune-in and massive amounts of free energy were available.
The PrNtr-(pyramid) were once surrounded by those basins, which contained energetic waters the ancestors knew it as Lake Hathor. The lake waters were absorbed by the porous limestone of the pyramids which provides a connection to the water tables underneath. Again, The pyramid texts of Saqqara describe this absorption of water within the stones in exact terms, stating that the pyramids' "foundations are the stones, the water..." Corroborating evidence for the ancient use of advanced geopolymers comes from Mesopotamia, where the manufacture of basalt has been extensively documented. Note that the synthetic stones are of high piezoelectric crystalline content. Limestone is Efficient Energy Distributor -
One of the principles of Ma'at & the single most important concept to the builders of these structures was harmony.(Harmonic unified equations)The whole of physical reality was in fact manifested by a complex pattern of interlocking wave-forms. Youll find that the harmonic values could be applied to all branches of scientific research and atomic theory.
The Earth is simply a huge magnet, a dynamo, wound with magnetic lines of force as its coils. Wiith application of grid mathematics you'll find that an atomic bomb is a device based on the geometrics of space and time. To be successfully detonated, the bomb MUST be geometrically constructed, placed on, under, or over a geometric position in relation to the Earth’s surface, and activated at a SPECIFIC TIME in relation to the geometrics of the solar system. Geometric and mathematical analysis of the polar sections of the world energy system show the harmonic value for mass was equal to the harmonic of the speed of light plus the square root of the harmonic of the speed of light reciprocal.
As we look into this even further, we can see that the fundamental, harmonic value of 144,000 for the speed of light is precisely the same as the fundamental harmonic values for many different things, including:
-the Mayan Calendar’s baktun, at 144,000 Earth days
-the Bible number of the 144,000 souls who will Ascend
-the fundamental "building block" of all sound vibration frequencies, 144
-the fundamental Gematrian "frequency number" for light, 144. And, of course, the harmonic of 12 times 12 ;So, the Gematrian meaning for the number 144 is ’light.’
Ive posted lots of research in the field of geophysics but id like to give an explanation.Ley lines vary in intensity depending upon the geographical makeup of an area, such as mineral deposits, underground streams and gravitational forces. Depending upon the location, ley lines will either support life or be detrimental to it. Every valid sacred site has been found to have water under it.
The massive 'batteries' hidden beneath your feet - Environmental Health News There are two type of water. There is the ‘water table’ water which is regarded as rain water absorbed by the earth. The other is called is called the ‘primary water’ which is created in the bowels of earth as the by-product of various chemical reactions. This water is forced under pressure towards the surface of Earth in what dowsers call ‘domes’.In Great Britain the domes are called ‘blind springs’. They could be described as geysers that don’t reach the surface. The water continues an upward journey until it hit’s a layer of rock or clay. The pressure then forces the water out (horizontally) in what dowsers call veins through cracks and fissures in the rocks. One can find primary water under every valid holy site.
The pyramid were built on the worlds largest aquifer, they needed water because sound travels about 4 times as fast in water as it does in the air. Which means the high frequency was moving with increased velocity by the time it hit the crystals. “Due to the partial co-valency of water’s hydrogen bonding, electrons are not held by individual molecules, but are easily distributed among water clusters, giving rise to coherent regions capable of interacting with local electric and magnetic fields and electromagnetic radiation.”
LetterIn sixth century, Pope Gregory, Gregory wanted them to destroy their idols, but insisted they build the churches on the older holy places, thereby automatically linking alignment to the ley lines and maintaining the power sources.Well aware of these energies, the Benedictine abbeys and monasteries were built on major power centers..
We see that the geomagnetic field inside the circle was much weaker than outside, it acted like a shield.Dr John Burke also discovered how the stones of Avebury are deliberately placed and aligned so they'd focus electro-magnetic currents to flow in a premeditated direction..Dr Brooker says its just like our modern day atomic particle collider geological analysis Durability stonehenge *The core was 99.7% silica—almost entirely quartz, through-and-through, which was more pure than any sarsen stone Nash had worked on.
I probably should say more about the piezoelectric effect vibration has on quartz crystal. Alternately compressing and releasing the quartz produces electricity. Microphones and other modern electronic devices work on the same exact principle. The quartz crystal is the transducer.
It transforms one form of energy into another. Understanding the source of the energy and having the means to tap into it, all we need to do is convert the unlimited mechanical stresses therein into usable electricity utilizing quartz crystals.. The Shining Ones that the granite out of which this chamber is constructed is an igneous rock containing silicon quartz crystals. (Aswan Granite 55%quartz)
Finally, it should be pointed out that the whole musical scale, the whole sonic temperament, obeys the same law of the Golden Section.
Remember what it says in the Gospel: "In the beginning was the Word" - and the word is sound (a wave process characterized by frequency). The idea that this came from Pythagoras is comical. It is no coincidence that we find in the human being in particular the law of the Golden Section : The bones of the fingers, three in number; three parts of the arm (the relationship of lengths) - elements of the Golden Section. The heart beats in this rhythm and pushes blood into the aorta, leaving a portion in the ventricle.
-the rods and cones of the eye, the cochlea of the ear (the ratio of the lengths of the spirals), the structure of the whole skeletal framework - examine the statistical averages and it is all the Golden Section. Even the dynamics of the neural structures in certain mental states obey the same law.
One thing we have carried with us for tens of thousands of years is the many beneficial uses of quartz.This we received from Our principle diety Horus. Ancient Serpent priests of Egypt would use Wands of Horus To regulate the energy balance in the body. cylinders with various contents. The use of these cylinders to a considerable extent helped the pharaoh (or other user) to perfect his nervous, energetic and (as a consequence) immune systems, to improve his health and physical condition, since the cylinders had a beneficial effect on those areas. The correct use of the cylinders enabled the pharaoh or priestly user to prepare himself for "Intercourse with the Gods". If certain conditions are observed and sessions conducted on a regular daily basis, the Wands of Horus can not only correct, but also stimulate a person's nervous, energy and immune systems, creating the preconditions for their improvement.
Like energy healing requires the competent healer in harmony with the patient, This requires precise understanding of what the Wands of Horus are and the principle by which they work, a knowledge of the cycles of activeness in the human energy system and a number of elements making up a complex approach, an essential part of which is interaction with natural sources of energy, such as trees, rivers, lakes, mountains..
Most people tell me that the ancient healing practices i use work so much better than today's watered down energy healing. Specifically Sekhem healing. In Sekhem a person is viewed as a whole energetic system with the physical body at the core. However, a Sekhem healer would work more specifically in the energy body, or aura, as it is here that illness first begins as a blockage in one of the energetic bodies or layers. In Sekhem, healing is seen very much as a two way process. It is a way of supporting a person during their own healing journey. The Sekhem energy is taken by the client at the level of the higher self, so only the exact amount needed is taken. Sekhem cannot be given if it is not wanted, and neither can a Sekhem practitioner heal a person if that person chooses (for whatever reason) not to be healed.