---
layout: post
esbma_id: 1534
date: 2004-06-08 12:00:00
keywords: cornsharp
title: Peering over the fence at the Java crowd
---
I like to periodically look at what's going on within other developer
communities. I obviously spend most of my time in the .NET world, but it
is always good to have a broader perspective. It's been a long time since
I looked seriously at the Java community. We were very serious about Java
once, but that was a long time ago.
- I believe strongly that a group's potential is eventually limited by the
strength of its leadership. I'm an outsider, but it still looks to me
like the leadership in the Java world is Fouled Up Beyond ALL
Recognition. Java ISVs don't know whether to listen to Mom or Dad. Everybody knows IBM should just buy
Sun and clean up the mess. When are they going to do it?
- I downloaded Eclipse
yesterday. At first I was shocked when I saw the download is 84
MB. Then I realized that's about four percent of the size of Visual
Studio. I gotta recalibrate. I think I'm several years behind the
curve in the way I think about the size of apps.
- It's really cool that one of the leading Java IDEs is made by a small ISV.
- It looks like weblogs have some real traction in the Java world.
Neato. I've subscribed to a few.
- It is interesting to note that there are Java user groups. However, there
seems to be something missing when I compare this to INETA. Passion, perhaps?
- Maybe this perspective is outdated, but I still think of Java as being
strong on the server and lame on the desktop. SWT looks like the right
kind of answer. Does wx4j have any
traction in the Java world? I love cross-platform development, so I've
always wished I had a problem for which wxWidgets could be the solution.
- I remember the JClass library from KL Group. Oops, I see they're now
called Sitraka. Oops, I see they're now called Quest Software, apparently by way of an
acquisition.
I wish I was going to JavaOne at
the end of this month. There's nothing like a trade show as a way to take
the pulse of a developer community. In the past, this event has drawn
around 25,000 attendees. That's over twice the size of
Tech-Ed!


BlinkerWrapper
Contains the Blinker wrapper.
Inherits from: object Wrapper for Blinker.
Public Functions
__init__(self, document)process(self)Hand in all document elements to Blinker for processing. Document elements are instances of Tag with name=docelement.


Edit Form Operation Team Service Tasks |
Top Previous Next |
|
-To edit Task Form, Select a Task row in the grid under the Service Tasks tab. -Select the Edit Form button: -Select Edit icon to edit elements after it has been dynamically added to the form template: Note: It is recommended that you do not use any special characters in any of the fields in the Edit form process. -Text Heading:
-Text Mult, Text Single & Date Picker:
-Label - Name of form field -Required - option to indicate form field is required before submitting a new project process -No Load Previous - option to not transfer any applied data during the load previous project process -Description - Add a brief description to explain the form field -Dropdown, Checkbox & Radio Button:
-Label - Name of form field -Required - option to indicate form field is required before submitting a new project process -No Load Previous - option to not transfer any applied data during the load previous project process -Description - Add a brief description to explain the form field -Options - Add one or more entries for selection. Separate each criteria by a ; for mulitple entries. -Select Preview button to test form prior to Publish -Select Save button to save for prior to Publish -Select Publish to accept all changes and modifications are active in the New Project process |


A Container
A Container inside another Container
A Container inside another Container:
Removing the left and right bars from the inner Container and adjusting the middle width
A Container with two columns made by Containers
A Container with two rows, each one having two columns, made by Containers
A Container containing a grid with two rows, each one having two columns, made by Containers
Using these examples as base, it is possible to create any layout desired.


ozone volcanic eruptions eruption stratospheric halogen years large chlorine model forcing stratosphere bromine depletion response (Fig. climate Geophys. chemistry radiation Res. post-eruption impact injection CAVA global mean sulfur surface {border-style atmospheric Antarctic average column px;} #ffffff;} Atmos. emissions increase tropical Pinatubo halogens polar using Ozone data explosive Lett. atmosphere ensemble Chichón aerosol different release simulation simulations zonal Volcanic background changes ice volatile (). Chem. HCl Halog SAD circulation experiment increased lower satellite study total year ./GL Global SAD Stratospheric Table acid aerosols hole injected maximum petrological temperature values Central Figure Mount Phys. Sci. change cloud conditions control erupted impacts mass similar sulfuric time transport ultraviolet wind Krüger UVI Volcanol. chemical compounds coupled eruption. following future hPa high plume potential px; results studies tropics used volcanism {font-family (Mt) ./acp--- Hemisphere Northern Plinian Research Timmreck Toohey active averaged based biologically caused causes cooling eruption, font-size levels loss minimum peak present-day range strong upper volatiles (see American Arctic Atmospheric CESM(WACCM) Change Effects Ensemble Halogen Kutterolf Model Rev. UV-B anomalies anthropogenic composition degassing double; effects efficiency estimated estimates evidence experiments gas halogen-rich injections input layer measurements members observed parameters performed phase pre-industrial prescribed sensitivity small sulfur- vortex (not ./JD Clim. Earth S). Southern addition border-color border-width difference eruptive extremely fluid globally heterogeneous increasing leading masses material melt method modeling natural observations present recent record released resolution resulting shown). solid; spring stratosphere, stratosphere. use warming years. {font-style {font-weight (called (e.g. (eds ./s--- Annular Assessment Bull. Cadoux Column Commons Creative Geology Geotherm. Injection Methods). Pinatubo, Prescribed Radiation Rose Science. Scientific Supplementary UTLS Ultraviolet area atmosphere. available available. bold calculate climatological complex concentration constant courier; depletion, dynamics em; emitted estimate evolution far flux given gradient high-resolution increases indicate indicated inject larger loading magma magnitude marine meridional ozone. pollen positive ppbv provide pt;} radiation, ratios reaching reported reveal role run shows simplified single takes tephra tropics, ultraviolet-B variability water way winter


Why F1 got it right with 2021 rules!
by Adam NewtonThursday saw the announcement of the new regulations for F1 in 2021 and there is set to be a huge amounts of changes to really shake up the F1 world. From the budget cap to the aredynamics changes, F1 has got it right and here's why...
The budget cap
$175m. That might sound like a lot to you and me but for an F1 team, it's nothing. The top teams such as Mercedes and Ferrari spend in excess of $400m, so the budget cap has been brought in to squeeze that gap between the top and bottom teams. Hopefully it can allow smaller teams such as Williams and Alfa Romeo to produce cars that are closer to the top, and maybe we can see a bit more variation in the winners and podiums of F1.
Aerodynamics changes
F1 cars currently lose 50% of downforce when following another car. This makes it incredibly difficult for them to get close and overtake, but in 2021 it is set to drop to just 15% downforce lost. Allowing cars to follow each other closer will reduce the reliance on DRS overtakes, which have become predictable in recent years. Whilst it may make the cars slower, I'm sure most F1 fans would rather see slower lap times but better racing, right?
Young driver opportunities
Every team in 2021 must give at least two FP1 opportunities to drivers with two or less Grands Prix under their belt. So far this season, only two other drivers have participated in an FP1 session, Nicholas Latifi for Williams in Canada and Naoki Yamamoto for Toro Rosso in Japan. This rule has been brought in to give drivers a flavour of the F1 weekend and it can only be a good thing, as rookie drivers will hopefully have a feel for F1 before the make their debuts.
So that's our thoughts, what about yours? Comment below!


|
| | astar () |
| | astar class Constructor More...
|
| |
| | astar (int xStart, int yStart, int xGoal, int yGoal) |
| | Parameterized astar Constructor. More...
|
| |
| std::vector< std::pair< int, int > > | astar_path (std::vector< std::vector< int >> map) |
| | Get an optimal path from start to goal node. More...
|
| |
|
|
int | x_start_ |
| |
|
int | y_start_ |
| |
|
int | x_goal_ |
| |
|
int | y_goal_ |
| |
astar class Constructor
- Parameters
-
- Returns
- none
| astar::astar |
( |
int |
xStart, |
|
|
int |
yStart, |
|
|
int |
xGoal, |
|
|
int |
yGoal |
|
) |
| |
Parameterized astar Constructor.
- Parameters
-
| x | coordinate of the start node |
| y | coordinate of the start node |
| x | coordinate of the goal node |
| y | coordinate of the goal node |
- Returns
- none
| std::vector< std::pair< int, int > > astar::astar_path |
( |
std::vector< std::vector< int >> |
map | ) |
|
Get an optimal path from start to goal node.
- Parameters
-
| vec | is a map which holds info if a node is walkable or blocked |
- Returns
- path with parent directions from start to goal
This loop takes the first entry of the open list as the current node since it has the lowest total cost function.
Trace the path and store it of the goal is found.
Expand all the nodes for current node, calculate their costs and store them in their variables.
For all the nodes lying outside the map, blocked or is in the visisted list then simply ignor them.
| bool operator> |
( |
const nodes & |
node1, |
|
|
const nodes & |
node2 |
|
) |
| |
|
friend |
overloads the '>' operator
Gives priority to node with greater total cost to rearrange the priority Queue.
- Parameters
-
| p | is a reference of a node |
| q | is a reference of a node |
- Returns
- true if the total cost (f cost) of p is greater, else false
The documentation for this class was generated from the following files:


state (dict): Current state.
super().__setstate__(state)
self.init_opt()
def optimize_policy(self, itr, samples_data):
Perform algorithm optimizing.
state (dict): Current state.
self.__dict__.update(state)
self.init_opt()
def train_once(self, itr, paths):
Perform one step of policy optimization given one batch of samples.


public interface ITextureManager
| Modifier and Type | Method and Description |
|---|---|
boolean |
addLoadedTexture(ITexture texture,
int location)
Adds the given texture to this manager as externally loaded.
|
boolean |
addTexture(ITexture texture)
Adds the given texture to this manager.
|
int |
getLoadedTextureCount() |
int |
getManagingTextureIndex()
Returns the index of the texture unit that will be used to manage textures.
|
int |
getTextureCount() |
ITextureDriver |
getTextureDriver() |
int |
getTextureLocation(ITexture texture)
Returns the location of the given texture on the GPU.
|
boolean |
hasTexture(ITexture texture)
Returns whether the given texture is managed by this manager.
|
boolean |
hasTextureLoaded(ITexture texture)
Returns whether the given texture has been loaded by this manager.
|
boolean |
loadTexture(ITexture texture)
Loads the given texture onto the GPU.
|
void |
removeAll()
Removes all textures from this manager.
|
boolean |
removeLoadedTexture(ITexture texture)
Removes the given texture from this manager as externally unloaded.
|
boolean |
removeTexture(ITexture texture)
Removes the given texture from this manager.
|
void |
unloadAll()
Unloads all textures of this manager.
|
boolean |
unloadTexture(ITexture texture)
Unloads the given texture from the GPU.
|
ITextureDriver getTextureDriver()
int getManagingTextureIndex()
int getTextureCount()
int getLoadedTextureCount()
boolean addTexture(ITexture texture)
If the texture is already managed by this manager, there will be no effect.
texture
- The texture to add.boolean addLoadedTexture(ITexture texture, int location)
The texture manager will assume that the texture is loaded at the given location.
No calls to the GPU will be made.
If the texture is already loaded by this manager, there will be no effect.
texture
- The texture to add.location
- The location of the loaded texture on the GPU.boolean loadTexture(ITexture texture)
If the texture is not managed by this manager,
it will added in the same way as if addTexture(ITexture)
had been called before.
If the texture is already loaded by this manager, there will be no effect.
texture
- The texture to load.boolean hasTexture(ITexture texture)
texture
- The texture that should be checked.boolean hasTextureLoaded(ITexture texture)
texture
- The texture that should be checked.int getTextureLocation(ITexture texture)
texture
- The texture of which the location should be returned.boolean removeTexture(ITexture texture)
If the texture is loaded by this manager, it will be unloaded.
If the texture is not managed by this manager, there will be no effect.
texture
- The texture that should be removed.boolean removeLoadedTexture(ITexture texture)
The manager will assume that the texture is unloaded.
No calls to the GPU will be made.
If the texture is not managed by this manager, there will be no effect.
texture
- The texture that should be removed.boolean unloadTexture(ITexture texture)
If the texture is not loaded by this manager, there will be no effect.
texture
- The texture that should be unloaded.void removeAll()
Any loaded textures will be unloaded in the process.
void unloadAll()


Tanzania is an East African country known for its vast wilderness areas. They include the plains of Serengeti National Park, a safari mecca populated by the “big five” game (elephant, lion, leopard, buffalo, rhino), and Kilimanjaro National Park, home to Africa’s highest mountain.
Located in the heartland of Tanzania, Dodoma is the nation’s official political capital and the seat of government in the country.
Situated on the eastern edge of the southern highlands, the city of Dodoma is surrounded by a rich agricultural area and pleasant scenery. Dodoma has many places and items of interest to recommend to the passing visitor. It is the centre of Tanzania’s growing wine industry and the Tanganyika Vineyards Company is active in promoting its products.
Zanzibar is an escape from the everyday and the ordinary, with world-class beaches, and a rich history, culture, and geography like no other in the world.
Whether you want to explore in, on, or under the water, you'll find the adventure you crave in Zanzibar, including diving, snorkeling, jet-skiing, and windsurfing. You can go fishing, take a cruise on a traditional dhow, kayak, parasail, or kiteboard.
Dar es Salaam is the largest city and economic capital of Tanzania. Located in a quiet bay off the Indian Ocean coast, the city has developed into an economic importance to become a prosperous centre of the entire East African region. Its bustling harbour is the main port in Tanzania.
Dar es Salaam is a city with attractions such as pristine beaches, monuments, artisan centers, shopping centers, restaurants, night clubs, museums and botanical gardens to mention but a few.


Tools
Sandcat Console
Lua Console
Preferences
Manage
Manual Login in External Browser
Manually Import Breach File


Features
|
|
Animacy
: animacy
Animacy is not used.
Aspect
: aspect
Aspect is a feature that specifies duration of the action in time, whether the action has been completed, ongoing etc.
In Turkish a set of verbal morphemes alter the Aspect
feature of a verb.
These morphemes often affect the Tense and Mood features as well.
The mapping between the suffixes and the Aspect
values may sometimes be non-trivial.
The following describes the values used for Aspect
together with the
suffixes typically introduce the defined Aspect
value.
See tr-overview/special-syntax for the discussion of mapping
relevant verbal suffixes to Tense
, Aspect
and Mood
values.
Perf
: perfect aspect
The action has been / will have been completed.
Examples
- eve gitti ‘she went home’
- eve gitmiş ‘she apparently went home’
- eve gidecek ‘she will go home’
- eve gitmişti ‘she had gone home (when I arrived)’
Prog
: progressive aspect
Action is in progress with respect to current or a reference time.
Turkish has two progressive markers, -(I)yor and -mAktA.
Latter is used in more formal cases than former.
Otherwise there is no clear distinction between the two.
In some contexts, both suffixes may also indicate habitual aspect (Aspect=Hab
described below).
Examples
- eve gidiyor ‘she is going home (now)’
- eve gitmekte ‘she is going home (now)’
- eve gidiyordu ‘she was going home (when I saw her)’
- eve gimekteydi ‘she was going home (when I saw her)’
Hab
: habitual aspect (new proposal)
Verbal morphology in Turkish may indicate an action that happens repeatedly at present or past. This aspect is mainly marked with suffix -A/Ir. In some cases, the progressive suffix -(I)yor may indicate the habitual aspect, Her sabah 5 km koşuyorum “I ran 5 km every morning”. See Göksel and Kerslake (2005, pp289–290) for details.
Examples
- çok kitap okur ‘she reads lots of books’
- sigara içerdi ‘she used to smoke’
Rapid
: rapid sudden action (new proposal)
A particular verb form formed by suffix -Iver refers to actions that are sudden or performed rapidly. Kornfilt (1995, p.361) calls this rapid or sudden aspect.
Examples
- eve gidiver ‘quickly go home!’
- eve gidiverdi ‘she immediately/suddenly went home!’
Dur
: durative aspect (new proposal)
A situation or action that has persisted over a period of time and still continues. This is called durative action (e.g., Kornfilt 1995, p.362). The suffixes -Akal, -Agel and -Adur indicate this aspect (the first one might better be defined as ‘durative stative’ and others ‘durative progressive’).
Examples
- bakakaldı ‘she looked (for a while, she was frozen while looking)’
- yapagelmiştir ‘she have gone on doing (something)’
- okuyadur ‘go on reading’
Pro
: prospective aspect
The action is/was about to happen.
In Turkish, combination of feature tense marker -AcAk and the past tense marker -DI signal an event that was about to happen. Another (rather rare) means of expressing prospective aspect is with the suffix -Ayaz. This form is used only in a few fixed expressions, and it only combines with the past tense forms.
Examples
- düşecekti ‘she was about to fall’
- düşeyazdı ‘she was about to fall’
References
- Aslı Göksel and Celia Kerslake. Turkish: A Comprehensive Grammar. London: Routledge, 2005.
- Jaklin Kornfilt. Turkish. London and New York: Routledge, 1997.
Case
: case
Case helps specify the role of the noun phrase in the sentence. For example, the nominative and accusative cases often distinguish subject and object of the verb, while in fixed-word-order languages these functions would be distinguished merely by the positions of the nouns in the sentence.
In Turkish, case is an inflectional feature of nouns. In some cases, numerals) may also be inflected for case when they are used as nouns. It is also valency feature of postpositions (saying that the adposition requires its argument to be in that case).
Traditionally, Turkish is considered to have 6 cases (nominative is
often not listed): Nom
, Acc
, Gen
, Dat
, Loc
, Abl
.
We also consider suffix -lA as a case suffix introducing comitative or instrumental case, and mark it as Ins
(although the function may sometimes be Com
in some of these cases, currently we do not distinguish the two).
Nom
: nominative / direct
The base form of the noun, typically used as citation form (lemma).
Acc
: accusative
Typically, accusative case in Turkish marks the definite direct object in a sentence.
Indefinite direct objects do not receive the accusative suffix,
but stays in bare form (Nom
).
In Turkish Acc
is expressed by suffix -(y)I (ı/i/u/ü/yı/yi/yu/yü).
Examples
- Kitabı okudum “I read-PAST the book” (cf. Kitap okudum “I read a book” / “I read books”)
Dat
: dative
Dative case is typically used to indicate movement into/towards/to a place or time. The oblique arguments of some verbs and complements (noun phrases) of some postpositions also required to be in dative case.
In Turkish Dat
is expressed by suffix -(y)A (e/a/ye/ya).
Examples
- Ankara’ya gidiyorum. “I am going to Ankara”
- Kitabı Ali’ye ver “Give the book to Ali”
- Yağmura rağmen oynuyorlar “They are playing despite the rain” (postposition rağmen “despite” requires a dative complement)
- Habere üzüldük “we are sorry/upset about the news”
Gen
: genitive
Prototypical meaning of genitive is that the noun phrase somehow belongs to its governor; it would often be translated by the English preposition of. Complements of some postpositions are also required to be in genitive case. The genitive morpheme also marks the subject of the subordinate clauses.
In Turkish Gen
is expressed by suffix -(n)In.
Examples
- Ali’nin kitabı “Ali’s book”
- Kitabı senin için aldım “I bought the book for you”
Loc
: locative
The locative case often expresses location in space or time, which gave it its name. The oblique arguments of some verbs and complements (noun phrases) also required to be in locative case.
In Turkish Loc
is expressed by suffix -DA.
Examples
- Evdeyim “I am at home”
- Toplantı ikide “The meeting is at two”
- Kendi yönteminde ısrar ediyor “He is insisting on his own method”
Ins
: instrumental
The role from which the name of the instrumental case is derived is that the noun is used as instrument to do something.
In Turkish, instrumental suffix -(y)lA also indicates comitative,
or signal coordination of two phrases.
We mark all meanings/usages as Ins
.
The oblique arguments of some verbs and complements (noun phrases) of some postpositions also required to carry the instrumental suffix.
Traditionally instrumental and comitative are not considered Case
s in Turkish.
Examples
- Ankara’ya trenle gitti “she went Ankara by train” (instrumental)
- Ankara’ya Ali’yle giti “she went Ankara (together) with Ali” (comitative)
- Ankara’yla ilgili bir kitap “A book about Ankara”
- Bebekle ilgilenmiyor “He does not pay attention to the baby”
- Elmayla portakalı pazardan aldım “I bought the apples and the oranges from the market” (coordination)
Com
: comitative / associative
We mark comitative use of -(y)lA as Ins
.
Abl
: ablative
Prototypical meaning: direction from some point. The oblique arguments of some verbs and complements (noun phrases) of some postpositions also required to be in ablative case.
Examples
- Ankara’dan gelmişler “The came from Ankara”
- Kitabi Ali’den aldım “I took/buy the book from Ali”
- Ali’den hoşlanıyor “she likes Ali”
- Bunlar Akara’dakilerden dolayı oluyor “All these are happening because of people in Ankara”
Definite
: definiteness or state
Definiteness is typically a feature of determiners. Its value distinguishes whether we are talking about something known and concrete, or something general or unknown.
Ind
: indefinite
Examples
- bir “a/an”
- bazı “some”
- birkaç “a few/several”
Def
: definite
Examples
- bu “this”
- bütün “all”
- her “all/each”
Degree
: degree of comparison
Degree of comparison is typically an inflectional feature of some adjectives and adverbs.
In Turkish, degree of an adjective or adverb is modified through adverbs en “(the) most” and daha “more”.
We only annotate these two adverbs with the Degree
feature.
Cmp
: comparative, second degree
The quality of one object is compared to the same quality of another object.
Examples
- daha güzel “prettier”
- daha çabuk “quicker/faster”
Sup
: superlative, third degree
The quality of one object is compared to the same quality of all other objects within a set.
Examples
- en güzel “prettiest”
- en çabuk “quickest/fastest”
Echo
: Echo
This document is a placeholder for the language-specific documentation
for Echo
.
Evidential
: evidential
(New proposal)
Evidential
ity is a feature of verbs.
It indicates the source of evidence for a given statement.
It is often classified as a mood,
but some linguists considers it an additional dimension alongside Tense/Aspect/Moodality.
Non-first-hand evidentiality is generally marked the suffix -mIş. However, in combination with other morphemes, -mIş does not necessarily mark evidentiality.
Fh
: first hand
This is the default. The speaker has first-hand evidence for the statement/event.
Examples
(cf. the same examples below for Nfh
)
- eve gitti ‘she/he went home’
- eve gidecek ‘she/he will go home’
- eve gidiyor ‘she/he is going home’
- eve gimeli ‘she/he has to go home’
- eve gimişti ‘she/he had gone home’
Nfh
: non-first hand
The speaker has indirect evidence for the statement.
Examples
- eve gitmiş ‘(evidently) she went home’
- eve gidecekmiş ‘(evidently) she will go home’
- eve gidiyormuş ‘(evidently) she is going home (now)’
- eve gitmeliymiş ‘(evidently) she has to go home’
- eve gitmemişmiş ‘(evidently) she had gone home (by the time I arrived)’
Evidentiality
: Evidentiality
This document is a placeholder for the language-specific documentation
for Evidentiality
.
Gender
: gender
Gender
is not used in Turkish.
Mood
: mood
Mood
expresses the modality, a speaker’s perspective, in finite verbs.
Turkish verbs may carry a wide range of mood information.
Different moods are indicated by a number of suffixes, which also interact with tense and aspect of the verb.
Ind
: indicative
The indicative can be considered the default mood. A verb in indicative merely states that something happens, has happened or will happen, without adding any attitude of the speaker.
Examples
- eve gidiyor ‘she is going home’
- eve gitti ‘she went home’
Imp
: imperative
In Turkish imperatives are expressed by lack of any tense/aspect/modality marker. The form of imperative may indicate second or third person plural/singular. Note that, forms other than second person singular may indicate a wish rather than a command, so may be marked as Opt
(see below).
Examples
- eve git ‘go home!’
- eve gidin ‘(you-PLU) go home!’
- eve gitsin ‘(I am ordering him/her to) go home!’
Prs
: persuasive (new, not in UD)
Turkish has a particular form of imperative, where the request is not an order, but an attempt to persuade.
Examples
- eve gitsene ‘(please) go home’
- eve gitsenize ‘(you-PLU, please) go home’
Cnd
: conditional
This expresses conditionality.
It is the primary means of forming conditionals in Turkish (‘if …’).
The suffix responsible for this mood is -sA.
The suffix is ambiguous between Cnd
and Des
(see below).
Examples
- eve gittiyse ‘if she went home’
- eve gidiyorsa ‘if she is going home’
- eve giderse ‘if she goes home’
- eve gidecekdiyse ‘if she was going to go home’
Des
: desiderative
This mood expresses a wish.
It shares the same form as the Cnd
mood.
It may be disambiguated by particles (keşke: desire, eğer: condition) or by the context.
For example, desires do not work well with fixed time references.
In general it is difficult to automatically disambiguate between these two moods.
Examples
- (keşke) uyusa ‘I wish she sleeps’
- (keşke) uyusaydı ‘I wish she slept’
Opt
: optative
Optative suffix (-(y)A) in Turkish typically combines with first person markers and expresses a suggestion. The use with second/third person markers express a wish, but it is rare. With third person singular agreement the imperative form may also express a wish or suggestion, and more common than -(y)A forms.
Examples
- eve gidelim ‘let’s go home’
- bakayım ‘let’s me see’
- gele ‘I wish he/she comes’
- gelesin ‘I wish you come’
Nec
: necessitative
This expresses some sort of necessity (mush/should/have to in English).
Examples
- eve gitmeli ‘she should go home’
- eve gitmeliydi ‘she should have gone home’
Gen
: generalized modality (new proposal, not in UD)
Turkish modal system includes a distinction between statements of direct experience (Ind
) and statements with a more general or theoretical nature (Göksel & Kerslake, 2005, p.295).
This mood is typically marked by the aorist marker on verbs, and with -DIr suffix on nominal predicates.
(NOTE: this mood interacts with evidentiality. One may consider the status of evidentiality expressed by this suffix to be “inferred”. Hence, an alternative way of marking this could be Evidential=Infer
, or something similar)
Examples
- park yapılmaz ‘one does not park = no parking’
- iki, iki daha dört eder ‘two plus two is four’
- ikinin karesi dörttür ‘two’s square is four’
- Ali işe geç gider ‘Ali goes to work late’
- hastadır ‘(I hypothesize/deduce that) she must be sick’
Abil
: abilitative or potentiality (new proposal, not in UD)
The suffix -Abil may indicate ability or possibility. These moods are normally distinct, and the same verb may express both at the same time (see the last example below). However, it is also very difficult to disambiguate between these two moods.
Examples
- eve gidebilir ‘she can go home’ (‘she is capable of going home’, or ‘she just may go home’)
- yağmur yağabilir ‘it may rain’
- eve gidemeyebilir ‘she may not be able to go home’ (it is possible that she is not capable of going home)
References
- Aslı Göksel and Celia Kerslake. Turkish: A Comprehensive Grammar. London: Routledge, 2005.
NumType
: numeral type
In Turkish numbers can be cardinal, ordinal or distributive. We also mark the interrogative kaç “how many” as a number, which inflects the same way the numbers are inflected and can become ordinal or distributive.
Card
: cardinal number or corresponding interrogative
Examples
- 1, 2, 3
- bir, iki, üç “one, two, three”
- kaç kitap okudun “how many books did your read”
Ord
: ordinal number or corresponding interrogative
In some languages, this is a subtype of adjective or adverb.
In Turkish, we mark the ordinal numerals as NUM
.
Ordinal numerals are formed by the suffix -IncI. A period following a numeral may also indicate ordinal use of the number.
Examples
- 1., 2., 3.
- birinci, ikinci, üçüncü “first, second, third”
- kaçıncı kitabı okudun “which (of a series) book did your read” (answer should be something like ikinci “(the) second”)
Dist
: distributive numeral
Used to express that the same quantity is distributed to each member in a set of targets.
Distributive numerals are formed by the suffix -(ş)Ar.
Examples
- birer, ikişer, üçer “one each, two each, three each”
- kaçar kitap okudunuz “how many books have you each read”
Number
: number
Number
is an inflectional feature of nouns and other parts of speech (adjectives, verbs) that mark agreement with nouns.
In Turkish, nouns (NOUN, PROP, PRON) and verbs may have the feature Number
.
Note that, the number agreement between a subject noun and the predicate is not straightforward.
Plural nouns agree with predicates with both singular an plural
marking,
but singular nouns disagree with predicates with plural marking.
When subject is present, the singular form of the verb is preferred.
Otherwise, obligatory the person/number agreement marker indicates the Number
feature of the subject (as well as Person).
In case plurality is indicated by a modifier, the noun does not get an explicit plural marker (see example 2 for Sing
).
We mark Number=Plur
only if there is an explicit morphological marker.
The Nuber
feature should not be confused with Number[psor],
which indicates the whether possessor of a noun is singular or plural.
Sing
: singular number
A single person or thing. There is no morphological marker for singular for nouns and verbs in 3rd person singular form.
Examples
- bir elma ‘one/an apple’
- üc elma ‘three apples’ – note the missing plural marker. *üç elmalar is ungrammatical.
- okudum ‘(I) read-PAST’
Plur
: plural number
More than one person or thing. On nouns plurality is indicated by suffix -lAr. Plurality on verbs is indicated by a set of person/number suffixes which vary depending on the previous suffixes.
Examples
- elmallar ‘apples’
- okuduk ‘(We) read-PAST’
- Öğrenciler kitap okuyacak(lar) ‘The students will read books’ – the plural marker on the verb is optional.
- Kitap okuyacaklar ‘(They) will read books’ – Plurality of the subject is inferred from the agreement marker on the verb
Number[psor]
: possessor’s number
Number[psor]
feature captures the possessor’s number.
Sing
: singular possessor
Examples
- kitabın “your-SG books”
Number[psor]=Sing|Number=Sing
- kitaplarım “my books”
Number[psor]=Sing|Number=Plur
Plur
: plural possessor
Examples
- kitaplarınız “your-PL books”
Number[psor]=Plur|Number=Plur
- kitabımız “our book”
Number[psor]=Plur|Number=Sing
Person
: person
In Turkish, Person
is a feature of personal pronouns, and verbs.
Person
marking on verbs are obligatory in Turkish for all finite verb forms.
The Person
marker on predicates indicate the subject when there is
no overt subject.
The verbal markers for person and number are composite, and their form change depending on the other suffixes attached to the verb.
The person/number marker of verbs may also be attached to the question particle -mI (-mi/mı/mu/mü), which is written separately.
METU-Sabancı treebank marks all nouns as having 3rd person agreement marker.
We do not mark nouns for Person
.
1
: first person
In singular, the first person refers just to the speaker / author. In plural, it must include the speaker and one or more additional persons.
It is used for pronouns ben ‘I’ and biz ‘we’ and their inflected forms, and verbs with a first person plural/singular agreement suffix.
Examples
- ben ‘I’
- benimle ‘with me’
- bizimki ‘the one that belongs to us’
- (ben) okudum ‘I read-PAST’ – note the optionality of the subject
- (biz) okuyacağız ‘We read-FUT’
2
: second person
In singular, the second person refers to the addressee of the utterance / text. In plural, it may mean several addressees and optionally some third persons too.
It is used for pronouns sen ‘you-SING’ and siz ‘you-PLU’ and their inflected forms, and verbs with a second person plural/singular agreement suffix.
The second person singular agreement suffix is null for verbs in imperative form.
Examples
- seni ‘you(SG)-ACC’
- sizinle ‘with you(PL)’
- sizde ‘you(PL)-LOC - on/at you(PL)’
- oku! ‘read!’
- (sen) okudun ‘you(SG) read-PAST’
- (siz) okuyacaksınız ‘you(PL) read-FUT’
3
: third person
The third person refers to one or more persons that are neither speakers nor addressees.
It is used for pronouns o ‘he/she/it’ and onlar ‘they’ and their inflected forms, and verbs with a second third plural/singular agreement suffix. The third person singular agreement suffix is null in most cases.
Examples
- ona ‘he/she/it-DAT’
- onlarla ‘with them’
- (o) okudu ‘he/she read-PAST’
- (onlar) okudu(lar) ‘they read-PAST’ – note the optionality of the agreement on the verb
- okudular ‘they read-PAST’
Person[psor]
: person of possessor
Number[psor]
feature captures the possessor’s person.
1
: first person
Examples
- kitabım “my book”
- kitaplarım “my books”
- kitabımız “our book”
- kitaplarımız “our books”
2
: second person
Examples
- kitabın “your-SG book”
- kitapların “your-SG books”
- kitabınız “your-PL book”
- kitaplarınız “your-PL books”
3
: third person
Examples
- kitabı “his/her book”
- kitapları “his/her books”
- kitapları “their book”
- kitapları “their books”
(note that last three forms are ambiguous)
Polarity
: whether the word can be or is negated
In Turkish verbs are negated with the suffix -mA (and its allomorphs).
Only exception is the verb/particle değil which functions as an auxiliary or copula
(it is the main means of negating a copular clause, but it can also be used to negate a verbal clause).
değil is marked as Negative=Neg
when it is used as a copula or auxiliary.
We use the POS tag particle when değil is used for negating non-predicates,
in which case we use the feature PronType
for marking its negativity.
In Turkish adjectives are normally negated by forming adjectival
clauses with copula ol-, e.g., verimli olmayan “unproductive”
(lit: “(something) that is not productive”).
A non-productive prefix (of Arabic origin), na-, can be used for negating a lexicalized set of adjectives, e.g., namüsait “not suitable”.
We (currently) do not mark adjectives for the Polarity
feature.
Pos
: positive, affirmative
Examples
- Okuyacak “he/she will read”
- Ali doktor “Ali is a doctor”
Neg
: negative
Examples
- Okumayacak “he/she will not read”
- Ali doktor değil “Ali is not a doctor”
Poss
: possessive
We do not use Poss
in Turkish.
Possessive use of a pronoun (similar to English my, your)
corresponds pronouns with genitive case suffix, e.g.,
benim “my”.
PronType
: pronominal type
This feature typically applies to pronouns, determiners, pronominal numerals (quantifiers) and pronominal adverbs.
Prs
: personal
Examples
- ben “I”
- sen “you-SG”
- siz “you-PL”
Rcp
: reciprocal pronoun
This value covers reciprocal pronoun birbir- and its inflected forms.
Examples
- Birbirinize iyi bakın “Take care of each other”
- Akşamları birbirimize kitap okuruz “We read each other books in the evenings”
Int
: interrogative pronoun, determiner, numeral or adverb
Examples:
- kim “who”
- ne “what”
- kaç “how many”
- kimin “whose”
Dem
: demonstrative pronoun
Examples:
- bu “this”
- şu “that/this”
- o “that”
Loc
: locative pronoun
(Not in UD)
Locative pronouns are typically distinguished from their demonstrative counterparts in Turkish.
Examples:
- bura “here”
- şura “there”
- ora “there”
Reflex
: reflexive
It tells whether the word is reflexive, i.e. refers to the subject of its clause.
This marks the reflexive pronoun kendi and its inflected forms.
Yes
: it is reflexive
Note that there is no No
value. If the word is not reflexive, the
Reflex
feature will just not be mentioned in the FEAT
column. (Which means that empty value has the No
meaning.)
Examples
- kendi “self”
- kendisi “himself/herself/itself”
- kendimiz “ourselves”
Register
: Register
This document is a placeholder for the language-specific documentation
for Register
.
Tense
: tense
Turkish has a complex tense/aspect/modality system.
Turkish verbs can indicates actions in the present, past or future. Complex tenses for actions that happened before, during, and after a past event can also be specified by suffixation. The actions that happen before/after/during a future event is expressed using an auxiliary.
The verbs expressing actions that happened before a reference in the past are marked with value Pqp
.
For events that happen during the past reference, we use Tense=Past
with proper progressive (Prog
) or habitual (not in current UD specification) Aspect
.
Past
: paste tense
Turkish past tense is realized with -DI or -mIş suffixes on verbal predicates, and with -(y)DI and -(y)mIş suffixes on nominal predicates.
The difference between the -DI and -mIş forms are related to Mood
rather than Tense
. Both morphemes refer to a (completed) past event.
These suffixes also combine with others to refer to time relative to a past event, which will be discussed below.
Examples
- eve gitti ‘she went home’
- eve gitmiş ‘she went home’ (evidential: speaker does not have direct information on the event)
- eve gitmeliydi ‘she should have gone home’
- eve gitseydi ‘if she went home’
- hastaydı ‘she was sick’
- hastaymış ‘she was sick’ (evidential)
Fut
: future tense
Turkish future tense is expressed with suffix -(y)AcAk.
Copular predicates cannot directly take future Tense
morphemes.
Future tense in nominal phrases are expressed using auxiliary ol-.
Examples
- eve gidecek ‘she will go home’
Pres
: present tense
The present tense in Turkish is realized by lack of past or future morphemes.
Examples
- eve gidiyor ‘she is going home’
- eve gitmeli ‘she should go home’
- eve gider ‘she goes home’
The differences between these forms are Aspect
and Mood
differences.
Pqp
: pluperfect
This denotes an action that happened before a reference time in the past.
In Turkish, this is realized by combination of -DI/-mIş and -(y)DI/-(y)mIş (only three combinations exemplified below possible).
As in future tense, nominal predicates require the auxiliary ol- for this tense (hasta olmuştu ‘she had been sick’).
Hence, we only mark verbal predicates with double past indicators as Pqp
.
Examples
- eve gitmişti ‘she had gone home’ (this is not evidential)
- eve gitmişmiş ‘she had gone home’ (this is evidential)
- eve gittiydi ‘she had gone home’ (colloquial)
VerbForm
: form of verb or deverbative
We use VerbForm
with non-finite verbs that function as heads of adjectival and adverbial clauses.
The verb forms that function as noun phrases (verbal nouns) are not marked with the VerbForm
feature.
These verb forms are considered two separate syntactic tokens.
See overview/tokenization
Part
: participle
Participle is a non-finite verb form which functions as adjectivals. The participles are introduced using a number of subordinating suffixes.
If the head of the relative clause is omitted (so-called “headless relative clauses”), we treat the word like a verbal noun.
Examples
- okuyacağım kitap “the book that I will read”
- Ali’nin okuduğu kitap “the book that I has read”
- okuyour olduğun kitap “the book that you are reading”
Trans
: transgressive
The transgressive, also called adverbial participle,
is a non-finite verb form that shares properties of verbs and adverbs.
In Turkish linguistics, these words are normally called converbs.
However, since the UD definition Trans
covers the use of converbs,
we use the same label.
- yürürken gördüm “I saw it while I was walking”
- okuyarak daha iyi öğreniyor “She/he learns better by reading”
- raporu yazılı olarak istiyorlar “They want the report in written form”
- okuyunca anlayacaksın “You will understand when you read it”
Voice
: voice
(This feature, as defined currently, cannot correctly handle voice features on Turkish verbs.) See https://github.com/UniversalDependencies/docs/issues/197 for the discussion.
Pass
: passive voice
The subject of the verb is affected by the action (patient). The doer (agent) is either unexpressed or it appears as a noun phrase marked with postposition tarafından “by” or suffix -IncA.
In Turkish, a passive verb may get double passive suffixes, and intransitive verb may also be passivized. These result in a voice that is called impersonal passive. The verb’s valency is reduced to zero with impersonal passives constructions, the verb cannot have a subject. (TODO We probably need a different label for impersonal passives)
Examples
- Ev boyandı “The house was painted”
- Buradan düşülebilir “One may fall from here” (impersonal, intransitive verb passivized)
- Böyle lafa kır-ıl-ınır “[One] can be hurt by such words” (Double passive resulting in impersonal. Göksel & Kerslake 2005,p136)
Rcp
: reciprocal voice
A reciprocal verb describes an event in which two agents (or groups of agents) perform the same action upon each other.
The reciprocal is expressed by the suffix -Iş however, the verb roots that can become reciprocal is limited.
Examples
- görüştüler “they meet (lit: they see each other)”
Cau
: causative voice
In Turkish, that this is a feature of verbs. Not to be caused with causative case of nouns in some languages.
In causative constructions the subject is the entity “causing” the action. It generally translate to English as ‘cause/make/have/let/allow’ someone to perform action described by the main verb. Many (lexicalized) verbs that have unrelated roots in other languages are formed are related by the causative suffix in Turkish, e.g., öl- “die” and öl-dür “kill” (to cause someone to die). Causative suffix is quite productive. Multiple causative suffixes can be attached to a verb, and the number of causative suffixes are theoretically unbounded. In practice, however, the cases where more than two causative suffixes attached to a verb is rather rare. Often, two or more causative suffixes are used for emphasis and do not express multiple levels of causation.
(TODO: multiple causatives need a solution. See this issue for details.)
Examples
- Evi boya-t-tık “We had the house painted”
- Evi boya-t-tır-tık “We had someone to have the house painted”
Rfl
: reflexive voice
(Currently not in UD)
A verb in reflexive voice expresses an action that the agent of the action performs on himself/herself. This should not be confused with reflexive verbs in some languages where the verb requires a reflexive pronoun (often without a clear role) in the sentence.
The reciprocal is expressed by the suffix -In. Like reciprocal, reflexive is rather unproductive, and a very limited set of verbs can take the reflexive suffix.
Example
- yıkan “to wash oneself”
- giyin “to dress oneself”


|
GPGPU-Sim
|
#include <XML_Parse.h>
Public Attributes | |
| double | L2_config [20] |
| int | clockrate |
| int | ports [20] |
| int | device_type |
| int | cache_policy |
| char | threeD_stack [20] |
| int | buffer_sizes [20] |
| double | total_accesses |
| double | read_accesses |
| double | write_accesses |
| double | total_hits |
| double | total_misses |
| double | read_hits |
| double | write_hits |
| double | read_misses |
| double | write_misses |
| double | replacements |
| double | write_backs |
| double | miss_buffer_accesses |
| double | fill_buffer_accesses |
| double | prefetch_buffer_accesses |
| double | prefetch_buffer_writes |
| double | prefetch_buffer_reads |
| double | prefetch_buffer_hits |
| double | wbb_writes |
| double | wbb_reads |
| double | conflicts |
| double | duty_cycle |
| bool | merged_dir |
| double | homenode_read_accesses |
| double | homenode_write_accesses |
| double | homenode_read_hits |
| double | homenode_write_hits |
| double | homenode_read_misses |
| double | homenode_write_misses |
| double | dir_duty_cycle |
Definition at line 394 of file XML_Parse.h.
| int system_L2::buffer_sizes[20] |
Definition at line 402 of file XML_Parse.h.
| int system_L2::cache_policy |
Definition at line 400 of file XML_Parse.h.
| int system_L2::clockrate |
Definition at line 397 of file XML_Parse.h.
| double system_L2::conflicts |
Definition at line 423 of file XML_Parse.h.
| int system_L2::device_type |
Definition at line 399 of file XML_Parse.h.
| double system_L2::dir_duty_cycle |
Definition at line 433 of file XML_Parse.h.
| double system_L2::duty_cycle |
Definition at line 424 of file XML_Parse.h.
| double system_L2::fill_buffer_accesses |
Definition at line 416 of file XML_Parse.h.
| double system_L2::homenode_read_accesses |
Definition at line 427 of file XML_Parse.h.
| double system_L2::homenode_read_hits |
Definition at line 429 of file XML_Parse.h.
| double system_L2::homenode_read_misses |
Definition at line 431 of file XML_Parse.h.
| double system_L2::homenode_write_accesses |
Definition at line 428 of file XML_Parse.h.
| double system_L2::homenode_write_hits |
Definition at line 430 of file XML_Parse.h.
| double system_L2::homenode_write_misses |
Definition at line 432 of file XML_Parse.h.
| double system_L2::L2_config[20] |
Definition at line 396 of file XML_Parse.h.
| bool system_L2::merged_dir |
Definition at line 426 of file XML_Parse.h.
| double system_L2::miss_buffer_accesses |
Definition at line 415 of file XML_Parse.h.
| int system_L2::ports[20] |
Definition at line 398 of file XML_Parse.h.
| double system_L2::prefetch_buffer_accesses |
Definition at line 417 of file XML_Parse.h.
| double system_L2::prefetch_buffer_hits |
Definition at line 420 of file XML_Parse.h.
| double system_L2::prefetch_buffer_reads |
Definition at line 419 of file XML_Parse.h.
| double system_L2::prefetch_buffer_writes |
Definition at line 418 of file XML_Parse.h.
| double system_L2::read_accesses |
Definition at line 405 of file XML_Parse.h.
| double system_L2::read_hits |
Definition at line 409 of file XML_Parse.h.
| double system_L2::read_misses |
Definition at line 411 of file XML_Parse.h.
| double system_L2::replacements |
Definition at line 413 of file XML_Parse.h.
| char system_L2::threeD_stack[20] |
Definition at line 401 of file XML_Parse.h.
| double system_L2::total_accesses |
Definition at line 404 of file XML_Parse.h.
| double system_L2::total_hits |
Definition at line 407 of file XML_Parse.h.
| double system_L2::total_misses |
Definition at line 408 of file XML_Parse.h.
| double system_L2::wbb_reads |
Definition at line 422 of file XML_Parse.h.
| double system_L2::wbb_writes |
Definition at line 421 of file XML_Parse.h.
| double system_L2::write_accesses |
Definition at line 406 of file XML_Parse.h.
| double system_L2::write_backs |
Definition at line 414 of file XML_Parse.h.
| double system_L2::write_hits |
Definition at line 410 of file XML_Parse.h.
| double system_L2::write_misses |
Definition at line 412 of file XML_Parse.h.


What goes around comes around: KASUKUWERE warns Mnangagwa
SOUTH AFRICA: Exiled former Zanu PF political heavyweight Saviour Kasukuwere has said that freedom was nigh for Zimbabwe. Kasukuwere who is believed to be the leader of Generation 40 (G40) party that was decimated following Chiwenga’s November 2017 coup, skipped the country’s borders in haste after the demise of the late former president of Zimbabwe, Robert Mugabe.
His remarks come when there are reports suggesting that he plans to come and takeover ZANU PF leadership. It is believed that there are some G40 remnants in the ruling party who have been championing the agenda of dislodging President Emmerson Mnangagwa from power. William Gerald Mutumanje who is popularly known as Ace Lumumba posted on Twitter suggesting that Kasukuwere intended to come and dislodge Mnangagwa from being the ZANU PF leader.


RT @rozap_: girlfriend got this and then i started an argument about how she should have gotten emacs and now I'm single http://t.co/8T3rXb…
2/12/2014, 7:25:27 PM
Favs: 0
Retweets: 0
link--- layout: tweet ---
RT @rozap_: girlfriend got this and then i started an argument about how she should have gotten emacs and now I'm single http://t.co/8T3rXb…
2/12/2014, 7:25:27 PM
Favs: 0
Retweets: 0
link


This page will explain how areas work in Pikifen, and how you can make your own. If you're in a hurry, feel free to read just the lines in bold, and even skip ahead to the section you need. Otherwise, read every step in the tutorial and follow along! Feel free to save your area after a section, and use the button in the toolbar to check out how it looks in-game.
Note: The images in this page may be from several different versions of the engine or the tutorial. They can still be followed to understand the idea, however.
Introduction
Key concepts
A layout made up of two overlapping polygons (like on the left) is not possible. It must be made up of three neighboring polygons (like on the right).
Before you go on, you should know the following concepts:
- To create the area's geometry, you draw the polygons that make out the floors.
- Each "floor" (called a "sector") of the area is made up of a polygon. Imagine you're in a square room. This would be represented with a square sector in the engine. In that room is a carpet; this would be defined by a different sector inside of it, and with a different texture. Like real-world polygons, there are edges and vertexes. An edge makes up a line of the polygon, and a vertex is a point that joins two edges.
- Polygons cannot overlap. They can only have neighbors.
- If you want a triangle shape overlapping a rectangle shape, you need to know that the intersection between the two must be an entirely separate sector. Check the diagram on the right.
- A floor that is higher than its neighbor creates a wall.
- In the room example, if there's a filing cabinet inside, it would be yet another floor, but it would be higher than the room's floor. The lines surrounding the cabinet's sector would be the walls of the cabinet.
- Everything is top-down, and there are no ramps or slanted terrain.
- You won't need to worry about what a wall looks like since you'll never see it, and you'll never need to worry about how a floor is angled.
- To manage the layout, you add, delete, or move vertexes.
- To change a sector's appearance or height, you change its properties instead, which can be edited in a specialized panel in the area editor.
- You populate the area by placing objects.
- Objects (or "mobs", short for "mobile object") are the Pikmin, leaders, plants, etc. in the area.
Using the area editor
- The left-hand side is your canvas.
- It shows you the sketch of the area, and it's where you can move and select the layout, objects, etc. The light-blue plus-shaped cross at the center is the origin, or the "center of the universe", so to speak. Its coordinates are 0,0, making it an important landmark when designing.
- The right-hand side contains panels for you to edit properties with.
- When you select a sector, an object, etc., you can change its properties here, including a sector's height, the type of object, and more.
- The bottom-left is the status bar. It can help if you get stuck.
- The status bar will let you know what just happened, whether an operation finished successfully, or something went wrong. If you're confused, check it out.
- In the canvas, a left mouse button click can select area elements.
- Click on a sector, an object, etc. to select it. Click an empty space to unselect everything.
- A left mouse button drag can create a selection box, allowing you to select multiple elements at once.
- Click somewhere empty and start dragging to create a selection box. Anything inside the box will be selected when you release.
- A left mouse button drag can also move an element, or all selected elements together.
- You can left click and drag on top of something to move it. If you move something that is selected, all of the selected elements will be moved together.
- Use the right mouse button to pan, and the mouse wheel to zoom.
- In the canvas, the right mouse button and mouse wheel control your view. Clicking and double-clicking the mouse wheel will also reset your zoom level and camera position, respectively.
- Notes:
- As a general tip, save your area often, so you can go back in case you corrupt its geometry.
- Check out the controls for the editor here.
Guide
Creating a new area
For this guide, let's create a small forest-like area with no goal.
- Open the area editor.
- To do so, from the engine's main menu, choose the "Area editor" option.
- In the dialog, type in the name of the new area and press Return.
- The dialog will contain a list of existing areas for you to edit, but can also allow you to create your own. Type its name in the textbox, and press the plus button, or press your Return key. When asked what type of area to create, just pick simple for now. Let's call it
forest
. This is the internal name of the area, not the name that will appear on the loading screen. - Notes:
- A new area will already have a default sector with a grassy texture, as well as a leader object.
Setting the area's information
Before we start, lets give the area its proper name.
- Enter the info panel.
- From the main menu panel, click on the "Info" button to open the area information panel.
- Change the area's name by changing the text in the "Name" textbox.
- This box can be found in the "General" section. Let's call our area "Simple Forest". Feel free to leave this panel now with the "Back" button.
Moving vertexes
Moving the last edge to stretch out the sector.
The default sector works for a grassy plain, but is a bit small for our forest, so let's make it larger by dragging the vertexes outward. Vertexes are represented by blue dots. You can only edit the geometry in the "Layout" mode, so from the main menu panel, click the layout mode's button.
- Click and drag a vertex to move it.
- Left-click and drag the northwest vertex, and move it a bit north. The sector's shape will change accordingly. Do the same to the northeast vertex.
- Click and drag an edge to move its vertexes.
- Left-click and drag the bottom edge, and move it a bit to the south. Drag the left and right edges outward as well.
- Notes:
- Don't drag a vertex such that it would turn a sector inside out.
Creating a new sector
Creating a new sector, one click away from finishing.
Let's create a rock in the middle of the area. This will be represented by a new sector.
- Click on the "+" button at the top of the layout panel.
- This will enter the sector creation mode.
- Click on the area to place the first vertex.
- Let's place the first vertex of our rock a bit to the east of the center of the area (which should be the origin, more or less).
- Click in other spots to place the next vertexes in order.
- Create the next vertex north of the center, then the second to the west of the center, then the third south.
- Click the starting vertex to finish the sector.
- Once you do, the new sector will have been created, with a rough diamond shape!
- Notes:
- Your drawings should represent a sector entirely, so don't try to cut through other sectors.
- If you start on an edge or vertex, you can finish on another edge or vertex to split one sector into two.
Adding and removing vertexes
The rock, after adding some vertexes.
Our rock doesn't look very natural, so let's fix that by making it smoother. For that, we'll need new vertexes.
- Double-click on a line to create a vertex there.
- Create a vertex in one of the existing edges so you can round up the shape better. Create some more and move them around as you please. Don't worry about the geometry looking too angular, because that's very common in games.
- Drag a vertex into a neighbor to delete it and the edge.
- If you've added too many vertexes, simply grab one of them, and drop it in the same spot as a neighboring vertex. The two will be merged together, and the edge that connected the two will be gone.
Sector texture
Changing the rock sector's texture to a stone pattern.
Because you've created the rock sector inside the grassy plain sector, it will have the same grassy texture. Let's change that.
- Select the sector whose texture you want to change.
- To select a sector, just click inside it. Once you do, the panel will show the sector's properties.
- Click the texture button in the "Appearance" section of the panel.
- This button will allow you to set the sector's texture.
- Choose a texture from the suggestions list, or browse for a new one.
- Most likely, only the grassy texture will be available in the list. The game's textures can be found in the
Game_data/Graphics/Textures
folder. Click on "Browse..." to browse for the file to use. Let's pickStone.jpg
.
Sector height
To make the rock protrude from the ground, lets give it a height higher than the grassy ground. This will also make all of the rock's edges serve as walls.
- Select the sector whose texture you want to change.
- Like before, click inside a sector to select it. If you check the panel's "Behavior" section, the sector's height should be 0, the same as the ground.
- Change the number inside the "Height" textbox. Higher number means higher height.
- For our rock, set it to something like 200. It may be hard to visualize how it ended up in your head, but know that 200 is much taller than a leader, but not tall enough that most Pikmin can't be thrown on top of it.
Stitching sectors
The smaller rock connected to the main one.
Let's create a smaller rock that's connected to the existing rock. Create a new sector, isolated, to the north of the central sector. Set its texture, and set its height to 100, so the new rock is also shorter than the big rock. To close off the gap between the two rocks, you'll want to stitch the sectors together.
- Grab one of the first sector's vertexes and drop it on the other sector's vertex or edge.
- In this case, grab one of the small rock's southern vertexes and drop it on top of one of the big rock's northern vertexes. If you've got the full sector selected, press Escape, or the "Clear selection" button in the panel to stop selecting it. After you drop it, the two vertexes will merge together.
- If the sectors around you turn red, it just means you can't leave the area as it is, and need to continue the stitch.
- If you leave the area as it is right now, with only this vertex merged, the grassy plain sector will fail to triangulate properly because of engine limitations. But you aren't done stitching the two sectors yet, so don't worry about it and continue.
- Grab the next neighbor of the first vertex you grabbed, and drop it on the second sector's vertex or edge, without leaving gaps.
- In our case, grab the next southern vertex of the small rock and drop it on a nearby northern vertex of the rock sector.
Blending ground textures
Blending the two ground textures.
The ground looks a bit bland. Let's add a patch of dirt in the corner. Draw a triangular sector hugging the southwest corner of the area by spitting the ground sector using one line, from its western edge to its southern edge. Set the triangle's texture to dirt (e.g. Dirt.jpg
). But because the dirt and grass textures are so different, you'll see a clear split where one texture starts and the other begins. Let's smoothen this out.
- Create a thin and long sector between the two sectors whose textures you want to blend.
- In our case, draw a line parallel to the triangle's northeast edge to create a new split.
- In the "Appearance" section of the sector panel, set it to a "texture fader" sector.
- This will cause the sector to take a look at the sectors around it, and blend one texture into the other! The thicker your blending sector, the longer the transition.
- If the blending is in the wrong direction, try making the blend sector longer and thinner.
- The engine decides the direction to blend in based on the thickness of its edges. If you make the sector too chubby, it may think that you want to blend the other, longer edges's sectors.
- If the blending becomes broken in certain places (example), split the blending sector into more sectors (example).
- This is an engine and triangulation limitation. The blend may look a bit off in some angles, especially if your blend sector has a lot of curves. Just split it up and move it around until it works.
Out of bounds
The outer sector, as well as a fading sector to fade into the void.
In the Pikmin games, there is the area you play in, and some geometry outside that is too high to reach. If you don't include this outer section, your area will just be connected to the void, which looks bad. After you create this "out of bounds" sector, you can also add a blending sector between it and the void proper so its texture fades out into the void.
- Draw a sector around the entire area.
- Make it big enough that it is hard for the player to see where it ends from within the play area. Making it the same shape as the general outline of your area is usually a good choice, but you can make it in any shape.
- Set its height to something tall, but reasonable.
- Something like 500 units above the usual ground level is a good number, and will ensure most of your area gets a wall shadow cast onto it. While you're here, set its texture to something different, like
Grass_light.jpg
. - In the sector panel, go to the advanced behavior settings, and set the sector type to "Blocking".
- This will ensure that nothing can go through this sector, even if the floor is within reach. This way, players won't accidentally throw Pikmin at the out-of-bounds area and exploit it, and Pikmin knocked by enemies won't be thrown too far to be reached.
Ramps
The ramp leading up to the big rock.
Let's create a ramp to reach the top of our big rock.
- Ramps are basically just stairways. Create a series of sectors laid out like a stairway.
- Draw one rectangular-like sector neighboring the rock, to its east, then another rectangular sector to the east of the previous one, neighboring it too, and then make a third one. Make them thick, but not too thick. Three steps should be enough for our 200-height rock.
- Make each step of the stairway 50 units higher than the sector that comes before.
- Objects can walk up 50-unit high steps without bumping into a wall. In our case, change the height of the easternmost step to 50, since the floor is 0. Then set the second to 100, and the third to 150. The rock is 200, so this will make a smooth walk up all the steps. Because these neighboring sectors are within stepping distance, the engine knows they're meant to serve as a ramp, so they won't cast shadows onto the previous step, making it all look like one seamless walkway.
Objects
The Onion and 10 Red Pikmin, near Olimar.
From the main menu panel, you can enter the "Objects" mode to place objects and edit their properties. The area we created already comes with a leader, but let's add an Onion and few Pikmin.
- Move objects by clicking on them and dragging them.
- Let's move our leader object (likely Olimar) to near the southern edge of the grassy plain, so the player doesn't start in the middle of the rocks.
- Set an object's properties, like its angle, by selecting it and changing the widgets in the panel.
- Let's make Olimar face north instead of east. Select him, and in the "Angle" widget, set it to 270 degrees. You can best check the angle by looking at the object circle's arrow in the canvas.
- Add new objects by clicking the "+" button in the top of the panel, then clicking the area.
- When you press the button, you enter placement mode. You can now click on a spot in the area to place an object there. Click near the leader so we can place an Onion.
- The new object will be of the last type you placed, or a Red Pikmin by default. Use the "Category" and "type" boxes to set its type.
- For the category, choose "Onions", and in the type, pick the Red Onion. Afterwards, place a Red Pikmin nearby. You may also want to make it face Olimar.
- Select objects and press the "duplicate" button on the panel to place copies in the area.
- To make your job of placing more Pikmin easier, select the one you placed, and press the duplicate button. Now click on the area to place the copied Pikmin there. You can now select these two, duplicate, and place them in yet another spot, and repeat as you want to get a big number of objects placed! Try placing down 10 Pikmin for this example.
- Notes:
- Select an object and press the "delete" button in the panel to remove it.
- Certain types of objects come with extra tips on how to use them. If the selected one does, some grayed-out text will appear under the category/type selection widgets. To read the tips, place your mouse over the text, and make sure you have tooltips enabled (menu bar, Help menu)!
- Certain types of objects can also have some specific settings, present in the "Script vars" section. Internally, these are "script variables", so you'll see the "Full list" textbox update as you change them. Read more about this here.
- You can also double-click somewhere empty in the area to quickly create a new object there.
Linked objects
The bridge object linking to the dummy object.
Let's add a bridge to get on top of the rock. Simply place a wooden bridge object on the floor to the rock's west.
- Some objects need to be linked to other objects to work properly.
- The bridge object specifies where the bridge starts, but how do we tell it where it ends? Bridges are built in such a way that you can link them to another object, and the bridge will know that it has to be built such that it ends there.
- "Dummy" objects are a great way to tell another object about some spot.
- We can link the bridge to any object, but picking something like an enemy might be a bad idea, since it will always be moving about and attacking Pikmin... There's an object in the "Custom" category just called "Dummy". It has no purpose at all, other than being used for cases like this, where we just want to tell a bridge where to stop! In our case, we want the dummy object on top of the rock, a bit near the edge.
- Select an object, and in the panel's "Advanced" section, click the "+" button to create a new link.
- When you select the bridge, the panel's "Advanced" section will say something like "0 links". This means our selected object has no links right now. Simply click the "+" button and click on the dummy object to link to it. You'll see a line pointing from the bridge to the dummy object.
- Links are one-way only.
- Although we've linked the bridge to the dummy object, the dummy object is not linked to the bridge. This is not important for a dummy object, since it doesn't do anything anyway, but if you have, for instance, two seesaw-blocks, you must link them to each other individually.
- Click the "trash" button to remove a link.
- If you no longer want a given link, just select the object that owns the link, click that button, and then click on the object you want to remove the link from. You can also click on the little line that connects the two instead.
Adding water
The pond of water, with a texture fader around it.
Let's place a small pond at the northwest corner.
- Create the water's sector.
- We will want any object standing on this sector to be considered submerged underwater. Make a nice oval shape for it, and add texture blending if you want.
- In the sector behavior's "Hazards" section, press the "+" button in the hazards section, and choose water.
- All liquids are tied to a hazard. This means a sector can have muddy water, acid, lava, and so on, but there has to be a hazard controlling it. You can learn more here.
Carrying paths
Some carrying paths all laid out.
If you go to northeast of the central rock with some Pikmin, and lie down to have them carry you, they will most likely get stuck on the rock as they beeline to the Onion. This is because they don't know what path to take. So let's define the general path Pikmin can take around the area, and what way they should go to avoid obstacles. First of all, from the main menu panel, enter the "Paths" mode.
- Press the "+" button on the panel to enter the path drawing mode.
- In this mode, you can draw the path on the area by clicking.
- Click somewhere to place down a path stop.
- Path stops are a bit like bus stops. The carrier Pikmin go in a straight line from the previous stop to the next, then turn to face the next stop, and so on. The first stop you want to create should be very close to the Onion, or at least in the starting region.
- Click somewhere else to place a new stop, and connect the previous to the current one.
- This will create the second stop and will also link the two. Now the Pikmin know that from one stop, they can go to the other. You should place the second stop to the south of the rock sector at the center. Keep clicking around to make a path that goes around the rock and ramps (remember to go around the bridge too, since when it's built, it will be a solid obstacle in the way too!)
- Normal links (recommended) allow Pikmin to go from A to B, and B to A. One-way links only allow from A to B. Change link types in the panel.
- Add a one-way link that goes from the top of the rock to the path stop at the south of the rock. It would make no sense to leave this one as a normal link since Pikmin could try to follow that path and bang against the rock's wall.
- Pikmin cannot take a line in the path if there is an obstacle object touching the line.
- Back to two-way links, make your paths go up the big rock from the west and east sides. When making these sorts of lines, pretend all bridges are built and all gates are taken down. And make sure the line between the path stops touches any important obstacle. If the obstacle is still up, the Pikmin will understand that they cannot take this line, and will either try a different path, or wait at the stop before the obstacle.
- Notes:
- While outside of drawing mode, you can double-click a path link to split it into two, creating a stop where you click.
- Keep in mind Pikmin will be carrying large objects through these paths, so make sure there's enough space around them.
- Pikmin go to the nearest stop when they begin carrying. Make sure that for most places, the nearest stop is not on the other side of a wall or through a hazard.
- To make a path that only certain Pikmin can take, place one of that path's stops on top of a sector with a hazard. For instance, if a stop is on top of a water-hazard sector, only Blue Pikmin will go through there. Winged Pikmin will go over sectors with hazards anyway, if the hazard is on the floor only.
- Don't worry about making your paths 100% foolproof, since not even the canon developers can do it.
Tree shadows
The standard tree shadow on top of the area.
One important detail to add to most outdoor areas is the shadows the trees and leaves cast onto the floor. Because they sway left and right, and also change opacity in real-time, they cannot be baked into the textures of the area, and instead need to be their own thing. You can only edit tree shadows in the "Details" mode, accessible from the main menu panel.
- Press the "+" button in the panel to place a new tree shadow where you click.
- Click more or less in the center of the area, since this will also be the center of our tree shadow.
- Set its texture in the "Bitmap" textbox.
- This texture should be in the
Game_data/Graphics/Textures
folder. Remember to include the extension.  Try usingTree_shadow.png
, which should come with the engine. Alternatively, use the "..." button to browse for a texture which, once more, needs to be in the textures folder. - Use the handles around the tree shadow to move it (center handle), rotate it (large circle around it), or scale it (edge and corner handles).
- Use these to make the shadows cover the terrain, the outer rim, and even a bit of the void, just so the player cannot see when the shadow texture ends, even as it sways left and right. To scale the width and height independently, uncheck the "Keep aspect ratio" option. Alternatively, you can use the panel widgets to set these properties.
- Notes:
- Don't worry if the texture is so stretched that it becomes blurry. That's actually a good thing, since shadows of distant things are blurry.
- You can make the shadows sway more or less with the sway multipliers, and you can make the texture less opaque in general with the opacity slider.
Reviewing
The sector-based system works well for areas in the engine, but has a few drawbacks. If you mess with the sectors, edges, or vertexes in ways that aren't expected, the sectors will have problems and will not work properly in-game. Even if everything works okay, it may not look exactly like you envisioned in the editor. You can use the review mode, accessible by the "Review" button on the main menu panel, to make sure everything is all right with your area, and that it matches up with what you want.
- Use the "Find errors" button to search for problems with the area, from logical mistakes to parts of the geometry being corrupted.
- If the area editor finds a problem, it will tell you what it is, and will explain a possible way to fix it. Some problems also unlock the "Go to error" button, which will move and zoom the camera to focus on the problem. This process is important to follow often, because if you ended up corrupting something, you will want to fix it sooner rather than later. To note is that this tool reports the most important problems first, so if you only get minor problems, that means there's nothing else more serious going on.
- You can use the "Preview area" button to visualize how the area will look like.
- This will show the textures painted out fully and walls casting shadows. You can also enable the "See tree shadows" option to show the tree shadows, if any. This allows you to get a nice feel of the overall aesthetic of your area.
Other basic operations
- Deleting edges and sectors: You can delete a sector by merging the sector's edges, one vertex at a time, until it has no more edges left. If you select an edge and press the panel's "Delete" button, the edge will be removed, and because sectors cannot exist without being a closed polygon, any sector that depended on that edge will be gone, as will all edges that depended on that sector.
- Unstitching a sector: To separate two previously-stitched sectors, create a vertex on either one of the sectors, next to the vertex where the connection begins. Then create another vertex in the middle of that and start dragging it through the stitch, connecting it to the next vertex of the stitch. This made an opening. Continue with this process of moving the opening along the stitch and you should soon separate them. Imagine this as having a ball of plasticine and squeezing one end with a finger until it eventually splits. Alternatively, draw a sector between them, and then delete one of the edges that is exclusive to that sector.
- Making a bottomless pit: Just check the "bottomless pit" checkbox in the advanced behavior settings. Objects that touch the floor of this sector will be considered as falling into the pit. The floor is also not visible, so you see the background, or just black.
- Making a circular sector: You can't draw actual circles, since those don't have lines, but you can get close by drawing a polygon with a lot of same-length lines. Instead of painstakingly drawing out the lines, you can click the button next to the new sector creation button to start the process of drawing a circular sector. Start by specifying the center of the circle, then its radius, and finally, how smooth it is.
How to delete a sector by crushing it.
How to unstitch a sector.
Advanced
Area background
If instead of a black void, you want the area to have a background, like the steel plates at the background of sublevel 1 of the Secret Testing Range, or if you just want the background to be a color that isn't black, you can.
In the area information panel, you can set the background's information here. The background's texture must exist in the Game_data/Images/Textures
folder. Remember to include the extension. Alternatively, use "..." to pick a file from that folder. This texture will be tiled across the background, and you can change how far away the texture is (which affects the scrolling when you move the camera around), as well as how zoomed in it is. You will not be able to see the background in the area editor.
Subtitle and weather
If you want your area to have a simple subtitle to show up on the loading screen, like the "Battle Enemies!" subtext in Mission Mode, you can specify it in the "subtitle" option in the area information panel. In addition, you can also specify the weather condition to use in this area (if any), which affects the lighting throughout the day, and can have some visual effects and particles. See this page for a guide on how to make weather conditions.
Advanced texture settings
Suppose you have a texture for a circular tree trunk and you want to put it on a sector. But the way the texture is aligned, it doesn't match up with the sector at all. It is possible to rotate, scale, and move a sector's texture such that it fits your needs. Enter the texture effects section of the sector panel. You can adjust the numbers in the panel to transform the texture. This process is very hard to do manually though, so you can instead activate on-canvas editing, choose what operation you want to perform, and then drag a sector's texture around to transform it. These transformations are based on the origin (coordinates 0,0), so for instance, the texture rotates around the area's origin.
In the advanced sector appearance settings, you can also tint the texture with any given color. This is a great way to darken the texture without actually tampering with the sector's brightness.
Wall appearance tricks
If you want to make it so that a wall will always cast a shadow, regardless of how tall it is, or if you want its shadow to look a different color or opacity, you can select that edge, go in the layout panel, enter the "Edges" tab, and change its properties there. Note that the lengths and colors of wall shadows will attempt to transition smoothly with each other, so don't be surprised if your wall isn't the color you expect, because it's likely taking in the color of its neighbors into account. You may want to split that edge into multiple ones, since there'll be no transition between two wall shadows that have the same look.
Normally, when you have a wall, you have a higher floor that suddenly stops and dips down directly downwards to the lower floor. You can make the ledge here look smoother by editing the edge's properties and applying a "ledge smoothing" effect. Be careful though: because wall shadows and ledge smoothings look so similar, you may confuse the player. It can be hard to distinguish which of the sectors is below and shaded, and which is above and smoothened. Try to use this sparingly and only in places that make sense, like rocks (rocks are usually rounded, and protrude above the floor). Also, try to keep the opacity of the ledge smoothing effect lower than the opacity of the wall shadow.
Script variables
When an object spawns in the area, it can read some "script variables" to change its behavior. These take on the format variable=value
, and in the object's internal data, the full list separates each one with a semicolon (;). Example: maturity = 0; sprout = true
.
Although you can edit the list manually using the "Full list" textbox in the panel, most variables can be edited with dedicated widgets, also present in the panel's "Script vars" section. That said, if you know the object's script, and want to edit a variable that is not present as a widget, you can edit the "Full list" field instead and set the variable there.
Sideways view
At times, it may be very hard to visualize in your head just how high a sector is in comparison to the sectors around it. You can open a graph that shows what a slice of the area looks like from the side, which should help you get a better understanding of your world. When reviewing the area, there is an option to enable the cross-section view, which, as the name implies, draws a cross-section of the area. The length and angle of this cross-section is determined by points A and B, that show up on the area when you enable the option.
Move the points to make them cross some edges, and see the window at the top-left update accordingly. To get an idea of what you're seeing, imagine that, from the game world, you cut an ultra-thin block, represented by the line, and are looking at it from the side. The location of A is at the left of the chart, whereas B is on the right. If you move your mouse near the line, you'll see a gray line on the window that represents where the cursor is. You can use this to get an idea of where each sector is. The chart will also have a Pikmin icon, which represents the standard Pikmin height, just to give you extra perspective.
Reference
If you made a reference image for your area, like a sketch, you can place it on top of the editor, so that you may draw through it. The information for the reference will be saved in your user data folder, and will not show up in-game, only in the editor. To use one in your area, go to the Tools panel, and specify the file name there. It can be any file in your computer, so it doesn't even need to be in the engine's folder. Next, you can either edit the position and size of the reference using the textboxes, or you can drag the handles; they should work just like transforming a tree shadow. While you're working, if your reference is in the way, remember that there are controls in the toolbar to quickly change its visibility.
Vertex transformation
In the area editor's options (accessible in the menu bar), you can enable selection transformation. This allows you to select several vertexes and transform them all together. This means you can move them all together with the transformation widget's center handle, or you can scale the entire selection, or you can rotate them. When doing this, be careful with the edges connected to these sectors, or you may move them in a way that's not allowed.
Advanced pathing
Objects will always take the shortest available path to their destination. That said, there are some rules that may stop a path stop or path link from being chosen. You can use this to limit certain paths to certain Pikmin types, or until certain conditions are met, or even just for special uses. For normal objects, the rules relate to the object itself, but for an object that's being carried, the rules check every Pikmin that is carrying that object. This way, for instance, a Red Pikmin that's helping to carry a carcass won't take the water path just because the other carriers are Blue Pikmin.
- If a path link is blocked by an obstacle, it can't be used until the obstacle is destroyed.
- Objects won't take a path stop if that stop is on a sector with a hazard that they are vulnerable to. If the object or its carriers can fly, and the hazard is floor-only, then this rule is ignored since the object can naturally fly over the hazard without a care. Objects can take this path again if the sector loses that hazard (e.g. a destroyed clog drains the sector's water).
- Path links of the "script use only" type can only be used by objects if their script tells them to. This means Pikmin won't use this for carrying, for returning to piles, etc.
- Path links of the "light load only " type can only be used by objects that are not carrying anything, or by objects that only have a weight of 1. An object that's simply holding another won't count for this, like a leader holding a Pikmin, a Pikmin holding a tool, or an enemy with Pikmin latched onto it.
- Path links of the "airborne only" type can only be used by objects that can fly.
It's also worth keeping in mind that flying objects that follow a path will still go from one stop to the next in a linear fashion, but they will also go for the spot that's 100 units above the next path stop. This means, for instance, that Winged Pikmin carrying a corpse will aim for the spot 100 units above the path stop closest to the Onion, and then will need to descend to 0 height in order to deliver to the Onion.
If you want a given pathway to have multiple limitations, you can just split it into two, and give each half a different type. For instance, if you want a mid-air path for light load carcasses, split that link into two, where one gets the "light load only" type, and the other gets the "airborne only" type. Grounded carcasses won't go that way because one of the links is limiting it, and airborne heavy corpses won't pass there either because of the other link's limitation.
Precautions
- Don't drag vertexes such that you would turn a sector inside out, nor that two lines would intersect.
- When stitching several vertexes, go one neighbor at a time. If you leave a gap, the engine might report an error on the gap sector until it is properly closed.
- Don't split a sector into two by inserting a different sector in-between. If a sector is split into two, it stops being one polygon and becomes two. The engine isn't ready to handle that, so fill in one of the two polygons with an entirely new sector.
- Sectors must be simple. The only noteworthy part about this fact is that when making a sector, you can't have its edges share the same vertex more than twice.
- Areas are very complex in the engine, and crashes can happen. Save often, and if you happen to experience a crash and lose your work, open the area again, go to the tools menu in the area editor, and load the automatically-saved backup from there.
- Sector creation is equally complex. So long as you don't try to cut corners or do anything too fancy when creating a sector, it should all go fine.
The "Find errors" feature might detect some of the more common problems you may get yourself into, but don't rely on it for everything.
Don't turn a sector inside-out like this.
Don't leave gaps while stitching like this.
Don't split a sector in two like this. Instead, create another sector to fill in for one of the halves.
Don't create non-simple sectors like this. Notice how the red sector has a "loop" (the red triangle pointing south, which is also a different sector entirely). Instead, split the popular vertexes into multiple ones.
Troubleshooting
- If the area editor crashes or something breaks the area, remember that backups are automatically created. Before the game overwrites the backup with something you don't want, consider going into the area editor's tools, and loading from the backup.
- If Pikmin that are following a path to get to an object reach their destination, but aren't interacting with the object and are instead walking against it, that's probably because they're trying to reach the path stop inside the object. Consider placing the path stop outside.
- If objects that are following a path are entering a path stop but not realizing where to go next, keep in mind that unless told to go straight, or told the path is impossible, an object will always head to the closest stop first, and try to leave the path graph at the stop closest to their destination. Maybe the start or end stop isn't where you think it is. Try using the path preview tool to understand what's going on.
Controls
Though you can just use your mouse on the canvas and GUI, and use the keybord to type text on some GUI widgets, the area editor has many other controls and shortcuts you can make use of.
Some controls will only work if the canvas is focused (i.e. if you're not currently writing in a text box, and if there are no dialog windows in the way), but others work regardless of focus.
Some menu items have keyboard shortcuts, which show up in the item itself, to the right. Some widgets also have keyboard shortcuts, and if you have tooltips on (they can be enabled in the menu bar's "Help" menu), you can keep your cursor over them to learn what they are. In addition some widgets have special controls in and of themselves, due to the way they were implemented in Dear ImGui, and these controls also show up in tooltips. Other than that, here are some general keyboard and mouse controls for the area editor:
| Action | Focus | Control |
|---|---|---|
| Pan camera | Canvas | Arrow keys, or right mouse button |
| Zoom in and out | Canvas | Plus/Minus, or mouse wheel |
| Reset zoom; press again to reset camera position | Canvas | Zero, or middle mouse button |
| Change camera to fit whole scene snugly | Canvas | Home |
| Undo latest vertex, when drawing new sector | Canvas | Backspace |
| Quit out of certain panels | Any | Escape |
| Free mouse cursor from snapping | Canvas | Shift |
| Force a selection box when dragging the left mouse button | Canvas | Shift |
| Snap to the horizontal or vertical axis when dragging | Canvas | Ctrl |
| Add to existing selection, when selecting something | Any | Ctrl |
| Select all objects, vertexes, path stops, etc. | Canvas | Ctrl + A |
| Set the selected sector's height by moving the cursor up or down | Canvas | H |
| Make all selected objects face cursor position | Canvas | R |
| When scaling with the on-canvas transformation widget, lock the center instead | Canvas | Alt |
Tips
- You can move entire sectors by clicking on them and dragging them.
- You can drag multiple vertexes, edges, sectors, objects, or path stops together by selecting them and dragging one.
- You can force the engine to only select vertexes, vertexes and edges, or everything, by setting the selection filter. Click on the filter button at the top of the "Layout" panel to toggle the current filter.
- Holding shift will free the mouse, so that you're no longer forced to do things exactly on the grid.
- When creating a new vertex, object, etc. via double-click, you don't need to let go of the mouse button on the second click; you can move the vertex right away if you keep it held.
- When drawing out a new sector, if you accidentally placed the last vertex in the wrong spot, you can click that same vertex to try again.
- Use the options (in the menu bar) to customize the editor to your liking.
- The origin (coordinates 0,0) is the default location of the camera in the area editor, and the closer to the origin, the easier coordinates are to read. So you should try desigining your area so the origin is near the center, the starting point, or somewhere else useful, instead of some place off in the distance.
- Although most of the work is done in the editor, you are free to edit the data file manually if you need to fine-tune some numbers. Be careful, though!
- A "texture fader" sector will also fade between levels of brightness and texture tints. Use this creatively.
- Avoid making choke points that are smaller than 192 units in width. This is the typical width of gates, and is the expected width for most carriable objects to fit through.
- Area descriptions can make use of markup.
- With the pre-packaged content that comes with the engine, Pikmin or leaders thrown by the player's leader can reach a maximum height of:
- Leaders: 130
- Purple Pikmin: 210
- Standard Pikmin: 260
- Yellow Pikmin: 330
See also
- Area tips – tips on how to make your area seem natural, look detailed, and be fun


Construction Room
File
New Cubee
Selection
Switch To Scene
Add To Scene
Solidity
Help
Model
New...
Store As...
Fetch...
Save As...
Open...
Manage...
Export
Download...
Import...
Clear Selection
Select All
Copy
Delete
←
→
↑
↓
<
>
Store As
X
Store in App only
Model name:
Fetch
X
Fetch from App only
Save As
X
Save in Local Storage
Model name:
Download
X
Download to Download Folder
File name:
Import
X
Import from External
Manager for Local Storage
X
Confirm Action
X
Already exists.
File
Selection
Switch To Construction Room
Solidity
View Camera
Help
Scene
←
→
↑
↓
<
>
New...
Fetch Model...
Open Model...
Import Model...
Export Scene
Download Scene...
Import Scene...
Clear Selection
Select All
Copy
Delete


Registration
Log In
Home Page
Please, login into your account
Enter your username
Enter your password
Login
Create an account


WITNESS LIST Juvenile Justice & Family Issues Committee March 12, 1997-10:30A HB 247 On: Sampson, Jack (Self, Law Professor) HB 677Committee Substitute (Staples) For: O'Neal, Michael (TX Munic. Courts Assoc) On: Bethke, James (Munic Courts Ed Center) HB 1006 For: Ainley, Robert (Self, Police Invest) Muncy, J.S. (Dallas Police Dept) On: Dawson, Robert (Self, law professor) Registering, but not testifying: On: Foster, William (TX DPS) HB 1714 For: Escobar, Bonnie (Comm.Leg. Agenda) Hengen, Elaine (City of El Paso) Howard, Ed (Wal Mart Stores) Against: Cates, Phil (TX Paint Council) Hill, Robert (Nat. Coun. Prevent Del) On: Dawson, Robert (Self, law proffessor) Registering, but not testifying: For: Hull, Sharon (SW Hardware & Farm Asso) Moore, Michael (TX Retailers Assoc) On: Branton, Charles (TX Dept Health) HB 1827 For: Sampson, Jack (Self, Law Professor) HB 1917 Against: Selby, Gwendolyn (San Anton ISD_& TX Sch) On: Wright, Vicki (TJPC) HB 1917 Amendment (Reyna #1, Staples #2) On: Wright, Vicki (TJPC) SB 319 On: Bethke, James (Munic. Courts Ed. Cente)


| HOME | DOWNLOAD | DOCUMENTATION | FAQ |
> Home > Documentation > Python > Global and Localized Spectral Analysis
SHBias
Calculate the (cross-)power spectrum expectation of a windowed function from its global spectrum.
Usage
outcspectra
= SHBias (shh
, incspectra
, [ldata
, lwin
, save_cg
])
Returns
outcspectra
: float, dimension (ldata
+lwin
+1)- The expectation of the localized (cross-)power spectrum.
Parameters
shh
: float, dimension (lwinin
+1)- The power spectrum of the localizing window.
incspectra
: float, dimension (ldatain
+1)- The global unwindowed (cross-)power spectrum.
ldata
: optional, integer, default =ldatain
- The maximum degree of the global unwindowed power spectrum.
lwin
: optional, integer, default =lwinin
- The spherical harmonic bandwidth of the localizing window.
save_cg
: optional, integer, default = 0- If set equal to 1, the Clebsch-Gordon coefficients will be precomputed and saved for future use (if
lwin
orldata
change, this will be recomputed). To deallocate the saved memory, set this parameter equal to -1. If set equal to 0 (default), the Clebsch-Gordon coefficients will be recomputed for each call.
Description
SHBias
will calculate the (cross-)power spectrum expectation of a function multiplied by a localizing window. This is given by equation 35 of Wieczorek and Simons (2005) and equation 2.11 of Wieczorek and Simons (2007),
<SFG> = Sum_{j=0}^L Shh Sum_{i=|l-j|}^{|l+j|} Sfg (C_{j0i0}^{l0})^2
where <SFG>
is the expectation of the localized (cross-)power spectrum, Shh
is the power spectrum of the window bandlimited to degree L
, Sfg
is the global unwindowed (cross-)power spectrum, and C
is a Clebsch-Gordan coefficient. The Clebsch-Gordan coefficients are calculated using a simple relationship to the Wigner 3-j symbols. It is implicitly assumed that the power spectrum of inspectrum
is zero beyond degree ldata.
If this is not the case, the ouput power spectrum should be considered valid only for the degrees up to and including ldata
- lwin
.
If this routine is to be called several times using the same values of lwin
and ldata
, then the Clebsch-Gordon coefficients can be precomputed and saved by setting the optional parameter save_cg
equal to 1. To deallocate the saved memory, which is a matrix of size (lwin+ldata,lwin,2*lwin+ldata+1
), set save_cg
equal to -1.
References
Wieczorek, M. A. and F. J. Simons, Localized spectral analysis on the sphere, Geophys. J. Int., 162, 655-675, doi:10.1111/j.1365-246X.2005.02687.x, 2005.
Wieczorek, M. A. and F. J. Simons, Minimum-variance multitaper spectral estimation on a sphere, J. Fourier Anal. Appl., 13, 665-692, doi:10.1007/s00041-006-6904-1, 2007.
See also
spectrum,cross_spectrum, wigner3j, shreturntapers, shreturntapersm, shbiasadmitcorr
> Home > Documentation > Python > Global and Localized Spectral Analysis
| Laboratoire Lagrange | Observatoire de la Côte d'Azur | © 2017 SHTOOLS |


This intention converts selected qualified reference into simple reference and adds corresponding
static import
(
Java 5.0
feature) for that reference.


Climar C. Tutor - MI182
Animals In the Jungle
Animals
Monkey
Frog
Tiger
Elephant
Crocodile
Snake
Deer
Eagle


Overall placed second in the jepordy style ctf.
November 22, 2014 by Declan Johnson
This post contains write-ups for 3 different problems in the NullifyCTF hosted at UNO in PKI.


Week 6
VIDEO VIEWER GUIDE
Jesus was offering this woman a chance to stop being by her .
Our are because Jesus stepped into our .
Safe and Sound—Nautical Terms
Safe meant back in dock.
Sound meant the vessel had been from its battle scars.
As God’s little , our wildly ways haven’t affected the way He us.
The Lord is my shepherd;
I shall not want.
He makes me to lie down in green pastures;
He leads me beside the still waters.
He restores my soul; He leads me in the paths of righteousness
For .
Psalm 23:1-3 NKJV


What does a new housing estate and Crossrail have in common? They both employ apprentices.
Construction is a multi-billion pound industry that deals with developing the underlying structure of anything from a new build, to HS2 rail projects.
Traditional and specialist apprenticeships cover a range of occupations, from groundworks and plant maintenance to civil engineering and joinery. Meanwhile, those with a flair for being organised could help make sure projects run on time and within budget, liaise with suppliers, or assist a civil engineer with design plans.