export TOX_LIMITED_SHEBANG=1) - by jdknight ( #794) a Linux host running a Jenkins Pipeline), a userĬan set the environment variable TOX_LIMITED_SHEBANG to workaround the In the event that tox cannot invoke scripts with a To use, for example, pypy27 knowing that the correct intepreter will beĪdd support to explicitly invoke interpreter directives for environments with Was a common source of misconfiguration and is rarely, if ever, desirable fromĪ user perspective - by stephenfin ( #477)įix bug with incorrectly defactorized dependencies (deps passed to pip were not de-factorized) - by bartsanchez ( #706)Īdd support for multiple PyPy versions using default factors. Py27 or django18-p圓5, should be ignored or result in warnings. Added test to check for this, andĪdd ignore_basepython_conflict, which determines whether conflictingīasepython settings for environments containing default factors, such as Revert “Fix bug with incorrectly defactorized dependencies ( #772)” due to a regression ( (#799)) - by obestwalter PYPY_VERSION_TUPLES, OTHER_PYTHON_INTERPRETERS, and DEFAULT_FACTORS -Īdd a system overview section on the index page that explains briefly how tox works. (and scheduled for removal in tox 4.0: CPYTHON_VERSION_TUPLES, As such, the following public constants are now deprecated This enables p圓8 andĮventually p圓9 / py40 / etc. Python version testenvs are now automatically detected instead of comparingĪgainst a hard-coded list of supported versions. Run unless there are changes to setup.py or setup.cfg files that have Theĭevelop-inst-noop action, which, as the name suggests, is a no-op, will now Reinstalls the package under test, to always run has been resolved. by gaborbernat ( #849)Ī caching issue that caused the develop-inst-nodeps action, which by gaborbernat ( #783)Īllow to run multiple tox instances in parallel by providing the by gaborbernat ( #935)Ībility to specify package requirements for the tox run via the tox.ini ( tox section under key requires - PEP-508 style): can be used to specify both plugin requirements or build dependencies. This could helpĪvoid some of the shebang limitations. Switch pip invocations to use the module -m pip instead of direct invocation. parallel-safe-build no longer cleans up its folders ( distdir, distshare, log). With advance notice in the Deprecations section of releases. ).īackward incompatible (breaking) changes will only be introduced in major versions Reducing boilerplate and merging CI and shell-based testing.įor more information and the repository please see: Running your tests in each of the environments, configuring your test tool of choiceĪcting as a frontend to Continuous Integration servers, greatly Tox is a generic virtualenv management and test command line tool you can use for:Ĭhecking your package installs correctly with different Python versions and It is part of a larger vision of easing the packaging, testing and release process of Python software. run_toxic.Tox aims to automate and standardize testing in Python. Tar xvf toxic_build_linux_x86-64_release.tar Uncompress the downloaded file with unxz toxic_build_linux_x86-64_
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Andrews changed to an 18-hole round, the Prestwick golf course boasted 12 holes, and at the time, this was not seen as odd or controversial, and tournaments were played over 36 holes. It started as a 7-hole course in 1810, increased to 14 holes in 1825, then reduced to 11 holes in 1849, and then a mind-blowing 25 holes in 1866 but reduced to some semblance of normality after 1874.
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Unsplash-logo Cameron Kirby Get The Jest Handbook (100 pages) If you’re looking for a good place to host your Dokku instance, I recommend DigitalOcean, they have a great One-click install and deploy Dokku, if you use this referral link you’ll get $100 free credit. I would also suggest using dokku mongo:unexpose YOUR_DATABASE_NAME when not actively using the connection.įor more about Dokku and deployment see: Deployment options: Netlify + Dokku on DigitalOcean vs now.sh, GitHub Pages, Heroku and AWS or the “Deployment” category on Code with Hugo These connections are not done with TLS (transport layer security), which is fine for non-sensitive data. > db.getCollection ( 'newest-public-spaces' ).find ( Security concerns Ssh -t _SERVER_IP mongo:connect public-database Let’s disconnect and go back to the dokku-mongo plugin connection and get data for the newest-public-spaces collection to see if we were talking to the same database. 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If we look back at the mongo:info output we’ll notice the following line: Exposed ports:. It should open a MongoDB shell: MongoDB shell version v3.4.9Ĭonnecting to: mongodb://127.0.0.1:27017/public-databaseĭokku’s behaviour around access of MongoDB Run the following command: ssh -t _INSTANCE_IP mongo:connect public-database Service root: /var/lib/dokku/services/mongo/public-databaseĬonnect to your remote MongoDB instance on Dokkuįirst off, let’s check that we can connect using the included dokku-mongo :connect command. => MongoDB container created: public-databaseĬonfig dir: /var/lib/dokku/services/mongo/public-database/configĭata dir: /var/lib/dokku/services/mongo/public-database/dataĭsn: mongodb://public-database: :27017/public-database You should get the following output, the bolded string is the mongo connection URI: Waiting for container to be ready
For experimenting faster it is very nice to set up a bunch of controllers and play with to find good parameter values for a sound, rather than manually inputting them as text over and over. MIDI controllers of course, but also (even easier!) the x/y coordinates of the mouse, coordinates from a wacom tablet, touchscreen-apps running on your phone/tablet, gamepads/joysticks. This is highly subjective of course, but a tips for anyone that thinks the SuperCollider language is weird and want something more traditional (although not everyone likes LISP either of course :) ).Īnother thing that I found very helpful, but perhaps obvious, is that it is so easy in SC (or Overtone) to bind all sorts of input controllers to control sounds. Lately I must admit I have abandoned SuperCollider in favor for Overtone that is still actually SuperCollider but hidden behind a Clojure shell with imo a much nicer syntax. I have played with SuperCollider on and off for several years though and made some other sounds, and it would probably work really well for game sfx yes. Here's a soundclip of the demons chattering for those without the time to run the code You should check it out though, so far it's been pretty easy and fun! They literally have the documentation right next to the editor so it's easy to search around and see how things work. I also found this Super Mario Theme song in SuperCollider, but not much else song wise. Or this one that's similar but randomizes the pitch/delay and sound like a bunch of demons chattering what you say. You should check it out, I made this fun little thing that turns your voice from the mic into an evil robot voice! ( Has anyone else experimented with this for game music and sound work? design track Supercollider kicks off the sole red band trailer produced for. Once you learn the basic syntax and important sound generators, it was really fun to play around with. Of all the things I tried, the only thing that made any sense was SuperCollider. I already do the art and programming for my game, so I figured why not get into the musical art form as well. Yesterday I decided to break into the world of music. supercollider.js is a full-featured, batteries included client library for the SuperCollider audio synthesis server and the SuperCollider language interpreter. Feedback Friday Screenshot Saturday Soundtrack Sunday Marketing Monday WIP Wednesday Daily Discussion Quarterly Showcase Related communities 1 JavaScript library for the SuperCollider music language and synthesis server. For questions, get in touch with mods, we're happy to help you. Free assets OK, be sure to specify license. If you need to use screenshots, that's ok so long as is illustrates your issues.ĭo not solicit employment. Use discord, /r/indiegames, /r/playmygame or /r/gamedevscreens.īe specific about your question. Feedback, praise, WIP, screenshots, kickstarters, blogs, memes, "play my game", twitch streams. The splintering off of rooms is almost constant. Every room has a ton of doors, some of which lead to dead ends, some of which lead to upgrades, and a rare few which lead to save rooms. This time I found the save point in a path which I hadn’t taken before, because the game doesn’t indicate in any way which path is best to take. I hadn’t run into any save points yet, so I had to create a whole new save and sit through two minutes of unskippable cutscene once again. I think that the power only activated after I’d collected a second card, although I couldn’t switch between these cards, and they were in separate parts of the menu for reasons I don’t know.įive minutes into playing, I ran into a mini-boss and got my ass kicked. The L button did nothing until I tried it later in the level, and it gave me a very powerful flaming whip. There was no option for weapons in the equipment menu. However, I picked up a knife, and R didn’t make me throw it. There’s a DSS section in the menu, but when I tried clicking on a card, I was redirected to the start menu.īy checking the controls section, I found that DSS is used with L, and weapons are used with R. However, one of the first enemies drops a “DSS card,” and the game in no way suggests how to use it. This is forgivable because there are only so many buttons on the GBA, and the game isn’t especially complicated. Because I have to hold the A button to control the height of my jump, timing the press of the B button is awkward and annoying.Īt the start of the game, I was given no information whatsoever on how to play. To attack these, I must hit the B button before reaching the apex of my jump, so that I’m at the crest of my jump when the whip activates. What makes the delay a pain in the ass is that there’s a lot of flying enemies, and enemies on the ceiling. There are elements of timing with some enemies, but they don’t necessitate the whip delay to be difficult. Ground enemies attack slowly, and never rush the player in such a way as to necessitate lightning-quick decisions. Timing the whip in Circle of the Moon (going on my experience playing up to the first boss) is not difficult, but merely annoying. This reminded me of Egoraptor’s Sequelitis video about Castevania II: Simon’s Quest, wherein he criticized the delay on the whip because it didn’t fit with the more streamlined combat of the game, compared to the densely calculating combat of the first game. Like in the early Castlevania games, the whip has a delay on it, so that there’s a split-second between hitting the B button and the actual use of the attack. It’s not just that the movement speed is slow, but the sprite itself looks like it’s taking its sweet time, even though I’m supposed to be urgently finding my way up the Castle to save my mentor and kill Dracula. Right off the bat, the first thing I noticed is that my character moves slow as fuck. I decided to start with the first one, Circle of the Moon, and go from there. All three Castlevania games for the GBA are listed high on the console’s best-of lists, with Aria of Sorrow being the most popular. I wanted to check out Castlevania, not starting with Symphony of the Night, but picking a game that that’s somewhat well-liked. I’ve also played the Castlevania-inspired Touhou doujin game Koumajo Densetsu at some length. I’ve played a few hours of Portrait of Ruin and a few minutes of Symphony of the Night. Before I begin: I’ve never played a Castlevania game at length. |