Game File: 

HazyHazyTown.zip

feat. super music from enigmatic pop sensation Lilith Megiddo

On “Master/Slave” and How Godot Developers Handled Calls to Change The Phrase
by Mariken S.

I've been making games for a while, and I've been sitting on some finished—but unreleased—Binky games since 2018. They were all made in the Godot game development engine, which because of what I will elaborate on in this essay, I can no longer use consciously. I really would have tried to finish this essay which I felt was necessary to include alongside the games sooner, if it were not for my depression, the banal pressures of university, and the ongoing COVID-19 pandemic among others. I would like to heavily thank my friend Nikki for revising and editing this essay.

As full disclosure, I am a white woman who lives in the USA. Thus I do not have a lived experience of racism and the legacy of slavery. If you find issue with this writing, feel free to message me on Glorious Trainwrecks or other avenues. My page is found here: https://www.glorioustrainwrecks.com/user/24039
You will need to make an account in order to message me.

The event as described happens in March of 2017. On the development website Github, user Hikari-no-yume spoke up on the word choice for Godot's scripting language. She states that the word choice of Master/slave "may be unfortunate..." and that "At the risk of starting a flame war, it might be worth changing them." And well, a minor flame war of sorts did begin in which some of Godot's developers revealed their true characters.

The entire conversation can be found here:
https://github.com/godotengine/godot/issues/7986

An archived web page defines master/slave as "a model for a communication protocol in which one device or process (known as the master) controls one or more other devices or processes (known as slaves)"[1]. Said page now redirects to
https://www.theserverside.com/opinion/Master-slave-terminology-alternatives-you-can-use-right-now
In contrast to attempting to defend the term, as some Godot developers did, the authors of this website seek to provide alternatives in language.

I think it is clear: Master/slave is an inappropriate and racist term. These 'slaves' are not people, they were never taken from their homes and forced to work in unbearable conditions. They have never had to suffer the innumerable accounts of life under slavery that can be read or watched. This linguistic metaphor trivializes the centuries long experiences of victims of slavery and their descendants. These so called "Master and slaves" are pieces of hardware, of plastics and metals, of zeros and ones. Though in regards to the last sentence it should be known that many electronic devices and their components (see: conflict minerals) are created in unethical and unbearable conditions. But that is another essay. Furthermore, the problem of Master/slave is not just one that is exclusive to the Godot engine, but the field of Computer Science as a whole.

Going back to the issue as brought up on Github, some seemed receptive to Hikari’s request, but one person in particular gave a strongly dismissive response. Said person is Reduz [Juan Linietsky], a head developer of the Godot engine alongside Ariel Manzur. His objection is as quoted:

"Sorry, I think this is stupid, slavery has been erradicated centuries ago and there is no one alive that could be offended or discriminated by such condition.... I understand there are a few retrograde countries still around, but i think naming convention in a game engine is the least of their problems. ...I'm all for stuff like inclusion, equality, human rights, etc. But using less clear and accepted technical terminology for groundless cause (IMO) is not a good idea."

I think this is an incorrect reasoning. Slavery has been ceased in the manner of the USAmerican plantation (chattel slavery), but still there is human trafficking, the prison-industrial complex, and other atrocities. The memory lives on in many a people's consciousnesses. There is even discussion of trauma that can be passed down to generation to generation. The scars of such deep atrocities do not heal easily as this Reduz could think. He does not consider the feelings of people who are different from him. Reduz mentions "retrograde countries" but does not really elaborate on this concept. Does this imply that Reduz believes the fact that slavery is a problem in the global south is a reason that the global south is how it is? It is a circular logic that does not think of the etiology, the origin, of the problems of the global south. Does one not remember the hundreds of years of colonialism and imperialism of the Global North (mainly the European powers) upon Africa, North and South America, and Asia? The Global North exploited these areas for their labor force and natural resources among other things. This statement is merely scratching the surface of why the Global South is how it is. This further ties into Conflict Minerals, where most of the conflict is in the Democratic Republic of the Congo (A former colony of Belgium until 1960). This website seems a bit outdated but it is a good starting point if one wants to research conflict minerals in the DRC: https://conflictmineral.wordpress.com/

Another one such complaint by "freemanfromgodotengine" says more of the same:

"I checked. Original text by Global Language Monitor[2] says clearly, that it's all about Political (in)Correctness. So, imho, if we are not making politics here with Godot - and we are clearly not, because it's a game engine for all - we should stay with the most logical terms and meanings of words..."

Game engines and politics!? In the circles I orbit I have seen some mockery of such behavior, of thinking that games can be without politics. And the phrase 'Political Correctness' is a dog whistle to reactionaries. It is often used to either point to the antisemitic conspiracy theory called 'Cultural Marxism', or simply to mock anyone who supports leftist or liberal policies. It is a dangerous phrase to use. I think the fact that the Godot Engine is “free and open source software released under the permissive MIT license” https://godotengine.org/license entails an anti-capitalist political bent in a world full of computer program subscription licenses. It is to go against the almost monopoly-like nature of proprietary software such as Microsoft and Adobe. Free and Open Source Software is, in many cases, a community effort. Godot is one such example. Does freeman’s use of “for all” not entail a collective use? Is Godot not for people who object to the use of "master/slave" terminology? Because of this fiasco I feel excluded from using this engine to make games! I do not feel comfortable working on games if the lead creators of the game engine have such a dismissive world view of such issues.

There is some more talk of it not really mattering, and then a few days later the administrators close the issue. However, on Godot's official IRC channel, a less visible but still public space, further discussion continues.

Reduz acknowledges other’s experiences by saying “Where I live, racism pretty much does not exist, so I am completely indifferent to master/slave terminology, but I can understand if this was more offensive somewher[sic] else like in the US”. What proof does Reduz have of racism not existing in his publicly listed location of Buenos Aries? A cursory internet search gives discussion of racism and the likes in Argentina. Continuing the conversation, the community members make light of the debate, with Reduz joking that “Also, I suggest we replace master/slave with slug/human”. This trivializes and turns the traumas of slavery into science fiction tomfoolery. He further invokes a foolish straw man to replace “master/slave by sjw/whitemalecis” with no understanding of power dynamics, the benefits of being white as opposed to being black, the benefits of being a man as opposed to a woman, and benefits of being cisgender as opposed to being transgender.

As of 2018, Godot now uses the word "puppet" as opposed to "slave", shown here: https://github.com/godotengine/godot/pull/22087
Regardless, when discussing the change in a separate thread, now only open for comment to developers of the Godot engine, Reduz's behaviour still comes off as dismissive, arrogant, and heedless of the reasons for such a change being demanded. His responses can be found here https://github.com/godotengine/godot/issues/7986#issuecomment-421185969

To highlight an excerpt from Reduz:
"I hope you understand that, even though the majority was in favor of this change, most of Godot contributors are not from regions where the "slave" word (still) has a strong negative connotation (case in point, most contributors are not from the US). The world is more complex than many believe it to be."

Perhaps this has a tinge of calling feminism and civil rights movements as 'western propaganda'. It echos of freeman's comments of 'Political (in)Correctness'. It makes it seem as if the legacy of racism in South America is not as damaging as it is in the United States, Canada, etc.

To conclude this writing here are excerpts of further evidence of the Godot development community's problems from the IRC chat logs, publicly available, and my commentary:

[15:00:31] reduz: if you're using the "would you use such an engine"-argument, then you have to consider the tradeoff between "scaring some people off by not changing the nomenclature" vs "scaring some people off by changing it"
[15:01:56] because I am sure, changing the name would be interpreted as "submitting to the SJWs" by some people, and that might prevent them from supporting godot. now it's a "them vs those", and, following that argumentation, you'd need to do whatever keeps the "more valuable (potential) developers" at the project.

Windfisch's words come off as indifferent to the feelings of those upset by the use of the "slave" term! They think of a few developers, who may or may not even care about the issue, before the good of the community. They value the right of the lead developer to be argumentative over creating a positive and welcoming space. What entails a "more valuable developer"? Does Windfisch find white people who are indifferent to racism in terminology more valuable then people of color, or anyone who takes offense to the "master/slave" term? I think that is what this user is getting at.

[14:52:23] Groud: Let me cut to the point, this is almost 99% an US issue because, in their culture, getting offended about things they don't like (be it with reason or not) is very common. Still, it's an important part of our community and we should respect it I guess
[14:54:20] It's kind of like the 60s all over again
[14:54:36] where everything was politically correct

Again Reduz accuses the act of correcting the language as being of an USAmerican centrism. And again the reactionary phrase `politically correct` is used. Does he really believe that USAmerican colleges are centers of Marxist indoctrination?

[15:08:12] (how did we get from slavery to lbgt?)
[15:11:23] Windfisch: well, that is where inclusive language comes from (All this is about inclusive language)

Just as the theory of intersectionality can be used to describe an interlinking of oppressed people, it can also be used to describe how oppression under slavery and bondage is interlinked with oppression as a lgbtq person. It is reductionism to dismiss anti-racist language as simply lgbtq persons being 'frivolous'. It is dismissive of the decades of work by civil rights activists.

As mentioned, these IRC logs are publicly available, and logs I quoted from can be accessed from the link below. There is much more evidence of harmful remarks and debates within.

http://godot.eska.me/irc-logs/devel/2018-09-13.log

http://godot.eska.me/irc-logs/devel/2018-09-14.log

In conclusion, the behavior of Reduz in regards to the “Master\Slave” situation is my primary motivation to stop using Godot Engine. I do not seek to shame anyone continuing to use the engine to make their games. I am simply a person with a strong conscious. Thank you for taking the time to read this.

[1] https://web.archive.org/web/20170204003218/http://searchnetworking.techtarget.com/definition/master-slave
[2] A word of caution: As of writing, the website for the Global Language Monitor seems to have real life gore on the sidebar. We can conclude that the website is biased to the reactionary right wing by its' use of the phrase 'political correctness' and claiming words such as cisgender are 'politically incorrect'.

Game File: 

coinsweeper.zip

Z jumps, Arrow keys move. I think it's more fun if you figure it out yourself

Game File: 

Vindication 2.4.5.zip

Vindication is a traditional RPG created in RPG Maker 2003 over the course of more than five years. It uses a real-time battle system similar to Final Fantasy games from the SNES and PSX eras. The game is about 15-30 hours long and features several side-quests and multiple difficulty settings, with eight major playable characters.

Vindication is a constant barrage of off-the-wall comedy; a game where eccentric characters encounter absurd situations non-stop. The humor assaults the player at full-speed as the characters are assaulted by 80s style robots from the future, struck by meteors, and forced to take pity on villains who try their best to be evil but fail miserably. But in its more serious moments, Vindication is primarily the story of one man, James Clyde. His quest for revenge against those who have wronged him rules his life, but begins to conflict with his desire to protect his daughter, while a force capable of destroying the world is left unchecked, even encouraged. It is an epic tragedy hidden within a whirlwind of wacky hijinks and terrible puns.

While unarguably a story-driven game, Vindication also strives to create a meaningful challenge for the player. Each character has a unique set of abilities which must be utilized to their fullest to overcome a variety of obstacles. Constant party changes and splits keep you on your toes and require you to come up with new battle strategies constantly, while still rewarding you for developing your team members and building your strength. On the harder difficulty setting, the game plays almost like a survival horror game, with very limited resources and no way to replenish them, forcing you to manage your items wisely in order to survive the dungeons and defeat the bosses, which are stronger and faster than usual.

(via offworld)

This looks right up our alley! It's launching this month, apparently, which is weird because it seems to be flying largely under the radar for most folks.

Check out some screenshots and "kode" samples on their blog.

so a little over a week ago, I decided to embark on a experimental (for me) game-making project, in the hopes it would lead me out of the creative funk I've been in for a month. the plan was to make one game a day, with a sheer time limit of one hour per game, for 7 days in a row. of course, I'm not going to pretend this is some kind of new idea I just came up with- incredibly fast paced "trainwreck" games were one of the first ideas behind Glorious Trainwrecks! what is new is getting myself to stick to this one-hour rule.

sticking to a short schedule has always been difficult for me, so I wanted to see if I could re-approach fast paced game design in a rigourous way. over-commitment has been a thorn in my side, as I regularly want to take breaks from large projects by making something short and scrappy, but so often they end up becoming another large, time-consuming project when I keep coming up with more ideas for it without limiting the potential scope. so the result is I either put a prior project on hold, or I effectively cancel something I had suddenly become very passionate about. yowch!

thankfully, my Week of Games experiment was very successful, and I feel like I learned a lot along the way. I'll be spending the rest of this post detailing my process for making each game, my thoughts on how it went, and concluding each with the lessons I've gotten out of it. also, if you got here without seeing the games first, you can find them here!

1) Monday: "Monday"

to kick off the first game, I decided I would write something in Twine 2, to avoid any possible technical issues from a more complicated engine. I didn't want to hesitate while I tried to come up with a subject, I just wanted to immediately start making *something*, which in this case quickly became a simple Choose Your Own Adventure story from the perspective of Garfield the cat. you know, because Garfield hates Mondays! haha, what a silly cat!

since I don't actually like Garfield, I had no personal investment in the material, so if the story ended up being a total flop when time was up, I wouldn't feel bad about it. in the end, I wrote about 10-15 minutes worth of text, which is a great pace for the work of just one hour! it was an easy process, because I made up everything up on the spot. it's a very silly game, but it was fun to make, which is exactly what I wanted to get out of this experiment.

CONCLUSION: writing nonsense works well if the only ending you have in mind is an arbitrary time limit, because that way you don't have to worry about fitting in some kind of arc. it just happens, and then it's over!

2) Tuesday: "Tuesday"

similar to the previous game, for Tuesday I had an immediate association that I then fit the rest of the game around. Underworld's song "Spoonman" has a sample of somebody saying "Tuesday", so I made a minute long re-arrangement of the song focusing on that sample. from there, I had a restraint on what the game itself would be- it would last as long as the music.

continuing the theme of the day, I decided the goal would be finding Tuesday. I put down a random klipart background and spread out copies of it into a 10-by-10 grid, creating the playing field. I started replacing as many grid squares as I could with different klipart backgrounds to create a textured and diverse world. Some of the images were sourced from a calendar, so that finding the square labeled "Tuesday" could be the winning condition.

unfortunately, I planned the scale of the game quite badly. 10-by-10 seemed like a nice size at first, but I eventually realized that it was demanding I gather 100 unique pieces of art to fill it completely! I had to repeatedly redo the grid dimensions until it was a reasonable size. this cost a lot of time, leaving the remaining art choices and all of the coding in a rushed state. most of the tiles are the default I set, and the ending conditions do the exact opposite of what I intended. oh well!

CONCLUSION: planning out an appropiate scale for the scope of your time committment is difficult, but necessary. this was a good lesson to run into for what was supposed to be a very simple game, because one of my biggest problems is how often I plan games that are *way* bigger than they have any need to be!

3) Wednesday: "Cycle The Recycling!"

on Wednesday morning, I helped my mom take all of the recycling we had laying around the basement to a recycling depot. during the ride back, I was thinking about making a game to reflect the experience. after my lesson from yesterday, I knew I had to make something simple. so the plan was to have recyclables randomly fall from the ceiling, leaving it up to the player to drag each item over to the appropiate bin (e.g., plastics, glass). it would be a cute little game, as well as educational!

however, I ended up spending most of my time searching for real life photos to use as graphics! I love the look of the game, and I am glad for the work I put into it, but after implementing basic physics and a scoring method, I didn't have time to actually let the player control what was happening. all you can do is watch the bottles, cans, and broken electronics bounce into each other and fall into the bins. but it's kind of fun to watch, and hope for luck to be on your side and correctly "cycle" the recycling!

CONCLUSION: finding / making a visual aesthetic you like for a game is a considerable task not to be taken lightly. if you don't have assets on hand to use immediately, be prepared for work.

4) Thursday: "Help Nikki Shave"

CONTENT WARNING: discussion of dysphoria

for Thursday, following the reality of yesterday's game, I decided I would follow it up with something more personal- in this case, my difficult experiences with shaving. I used to not mind my facial hair, but when I decided to try out shaving my whole face, I realized that I liked it better that way. more recently, I had to confront the fact that my facial hair causes me dysphoria, which I had been avoiding admitting. it felt good to imagine processing that through a game where the player helps me shave.

unfortunately, the initial result only made me feel worse. my first approach was to use a real photo of myself, and distort my appearance with klipart to prevent it from being *too* real. when the hour was up, I immediately rushed to share it on Twitter, as I had for the previous games. unfortunately, in my excitement with having completed a game, I ignored my own feelings. the way I had made myself look in the game was frankly ugly, which worsened my dysphoria, instead of helping me process it. I deleted the tweet, and said I was putting this game on hold to re-evaluate it. I needed to treat my image with care and self-respect for the game to succeed.

I revisited the game later and redid the art in ms paint. decky, one of my partners, helped with the drawing and art direction, which I'm very grateful for. instead of an exaggeration of physical traits I dislike, the game now shows an abstract but much more comfortable representation of myself and my facial hair. I feel good about it and in the end I'm glad I had this idea, and that I spent extra time making it better for myself.

CONTENT WARNING OVER

CONCLUSION: making a game handling a personal/serious subject is not something to be taken lightly, especially if there is a tight time limit on it. also, taking care of yourself is more important than the performance of sharing something in public.

5) Friday: "A Conversation"

after having been immersed in Clickteam for several days, I wanted to try out a different engine to test out part of an idea I had laying around, an "everything simulator" that lets you type anything and creates a consistent state based off of the keywords you give it. I guess it'd basically be an interactive Inform 7, but whatever! anyhow, I chose to try making A Conversation in Twine 1. I was going to use Twine 2, but it gave me technical challenges for retrieving player input that I didn't want to grapple with for my one hour!

I wanted to make a simple but technically rich simulation of a conversation between two characters of the player's choice, allowing them to have each character speak/think/act out whatever they choose to write. I'm happy with the result and while it demands a lot of creative input from the player to accomplish anything, it was a neat little experiment and I'm pleased I was able to complete it so quickly. that said, I *did* spend some time planning the design of it before I started the timer, and I went beyond the original time limit to properly implement the pronoun selection mechanic. I didn't want to be stressed out by trying to design an engine on the fly, and hey, pronouns are important!

CONCLUSION: in-depth technical design is best handled outside of tight deadlines, as creative foresight is often needed to work around/with limitations.

6) Saturday: "Frogger 2 Advanced: The Greater Quest"

some of you probably know that I am a fan of the Frogger series. I find it fascinating that every game in the series recreates the entire Frogger universe. one of my favourite examples is the dreadful GameBoy Advance port of Frogger: The Great Quest. the GBA version turns the pre-rendered cutscenes into static screenshots with abrupt dialogue snippets. the uninspired 3d platforming gameplay of the original is turned into a banal 2d platformer, while retaining some of the awful collectathon traits. the best part is that if you don't find *all* of the special Ruby Stones or whatever junk, you get a bad ending that they made up just for this port. wow! I can't imagine being that cruel.

anyhow, I had the idea of making a classic "trainwreck platformer", and position it as another GBA port of a sequel to the original Frogger: The Great Quest. hence, my awkward title is meant to turn "Frogger 2: The Greater Quest" into "Frogger 2 _Advanced_: The Greater Quest". another aspect of the joke is that there are about four different, official "Frogger 2" games, and each has almost no familiarity with the game it is apparently a sequel to.

CONCLUSION: through this week's journey, I have finally found myself getting over a flaw (from my perspective) of my game design. specifically, I'm finally capable of making a complete, but absurd to play, trainwreck game in just an hour! woohoo!

7) Sunday: "You Can Only Shy 80 Times"

I probably spent more time on this than all the other 6 combined, but I'm fine with that! after my mostly-positive experiences with making games at a ridiculous pace, I was thinking about ways to turn it into a more regular practice for myself. such as, say, spending one day a week making a new game that I would finish within that day. so I'm going to excuse breaking my only rule of "finish in one hour" with this game, by saying that it's the first attempt at that! not that I need to excuse it in the first place. but anyhow.

I planned out exactly what I wanted the game to be before I opened up the Clickteam editor, which made putting it together a very focused task. the only goal I had was to make a sensible example of the parody title, which is a riff on another game I helped make, "You Can Only Die 80 Times". what does it mean to "shy"? well, that's if somebody says hi and you don't respond! how do you know how many times you've done it? a shyness meter! the rest of the game made itself from there. well, other than the day/night cycle I implemented for some reason.

a lot of my time was spent dealing with a significant technical issue: I wanted the speech bubbles to follow the character who it belongs to, making it clear who is saying what. for some reason, I found this conceptually simple task impossible to implement correctly, which was frustrating. and I was too invested in what I wanted the game to be to let it be unplayably broken! however, when I finally gave up on this one detail, and saw what it was like to have the speech bubbles remain static, I actually preferred it that way. so that was a good save.

also, when I picked out some nice midi music and set it to shift between two different soundfonts based on the day/night cycle, I was so enthused about the result that I made the decision to not put in an abundance pf silly sound effects. while I always enjoy that process, I think it would have only been a distraction from the bliss of the music. going against my typical / initial ideas made for a better experience! as a final aside, the player character (or "PC") is a "player chair"! get it?

CONCLUSION: if you are running into a block, whether technical or creative, try subverting the expectations that are forming the block. maybe it'll be better that way, maybe not! either way, it's good to experiment with going against your own expectations. as they say... "rules are made to be broken" - the matrix

I just got an Android phone, ostensibly to help me study Japanese on the go, but I've been downloading tons of free games as well. The latest freebie game I got is a shameless clone of Galcon named GalaxIR. It's not terrible, per se, but that's because all of its best mechanics are ripped from Galcon. Everything that it has added (including purchasable upgraded ships, bizarre limitations on how many ships can attack at once, overly aggressive AI, and a campaign mode which I will get to in a minute) is horribly unbalanced and awful. There is no sound, and the music sounds like a MIDI from a Sonic fansite on Geocities.

The real crowning achievement of all of this is the campaign. First, to even unlock it, you have to defeat three AIs on the "too hard for you" difficulty setting, which is laughably easy once you discover that the AI will attack your homeworld and leave itself vulnerable to a counterstrike on every other planet. After you've massacred the AI, you can start the campaign to "discover the GalaxIR history."

The campaign consists of 13 episodes, according to the description, but there are actually 15. They are a series of special missions, including "conquer some specific planets," "conquer all the planets," and "conquer some random planets." Each level is preceded by a bit of story that expounds upon the mysteries of GalaxIR.

Some gems from this amazing story mode:

"During 8 millennia, the MaxziimIR family has justly ruled the GalaxIR. But as every culture consistently shows in their histories, nothing is absolute except death."

"It is a drama; ZiggIR has already produced a lot of implants. He can now take the control of 50% of the population."

I think my favorite part of this is that the narrative switches from being an account of your history, to directly addressing you as a subordinate ("...but a flash on our RADAR appeared, sir..."), to complimenting you from the standpoint of a commanding officer ("Thanks to YOU the Emperor is now in power again!"). The specificity of controlling "50% of the population" is also hilarious. There's also a "holy Rising Star" macguffin in the beginning that is completely forgotten by the second mission. There are also references to the Third, Fourth, and Seventh Families, but those are all dropped as well. Sometimes, the scale shifts from describing a galactic conflict, to something like installing security cameras in everyone's house, and visiting your mother.

Apparently this was intended to be "season 1" of a long-running series, too.

All in all, it reads like Star Wars fan fiction written by a Dutch 10 year old with all the copyrighted names replaced with something that ends in IR that was subsequently run through Google Translate.

Oh, and one of the missions abruptly ends when you conquer a certain planet, and just turns the screen entirely yellow for 5 seconds. I thought the game froze, but apparently it's intended to represent an explosion that kills everyone.

So yeah. Recommended for download if you have an Android phone.

Dear All,
Ever since my last update I have been working on the game almost every day, encouraged by your comments. I have added a ton of new levels (and also deleted some unnecessary to make room for more among the 255 available), details and so on... I have also been working on the backstory, which I am afraid to say is getting darker and darker. Graphically I have started lately making more interiors,as you can see attached. But it really wore me out, especially that I have to incorporate more and more "action" elements which mean programming, failing, reprogramming without an end... So I will be taking a short break now and probably restart next year. I need a pause with these endless obstacles and also the everso more depressing narrative. But worry not, I love the project like a 3rd baby and will complete it for sure! It is just more exhausting than I initially thought it to be. As always, lots of pixellated love for you dear crazy computer peoples and keep creating!

Game File: 

exilchr1.zip

Before I learned of Foreign clipart that sung and danced and greeting carded for you, I came up with this title. This one will REALLY get you in the season, and I figure it's a good throwback to really get things going. I recall putting a lot of work into this one back in the day using some extra curricular procedures for the fancy art scheme. Who knows? It's been so long. Lost technologies but this was part of the puzzle, the one that brings you a joy for the season, to really patch things up. It's pretty much a 10 year anniversary of it so it may also have some datedness in it, but regardless enjoy. With this marking I think now it's time to bring back the ZZT caravan back in. Have an Exil Chaistmas everyone.