#install scala on windows

[atomic-taco-muffin]

The Lost Princess Chapter 21

Warnings: Angsty angst angst

Rating: SFW

Sora and the others boarded the gummi ship and flew around space. While they were flying, Sora thought about you and how you were holding up. 

“Well, we found the Navi-Gummi piece. Let’s go back to town,” Donald said, causing Sora to snap out of his thoughts. 

“Cid’ll install it on the ship once we bring it to him,” Goofy said. They returned to Traverse Town and traveled to the First District, where they found Pinocchio and Geppetto in a new house.

“Pinocchio?” Sora asked. 

“Hey, it’s Sora,” Pinocchio said. 

“Well, hello Sora!” Geppetto said. 

“How did you get here?” Sora asked. 

“A man named Leon helped us. He even got us this house to live in. I don’t know how I’ll ever repay his kindness. Say, I hear you three are fighting the Heartless. I thought I might be able to help you, so I made this,” Geppetto said as he handed Sora a gummi ship blueprint. 

“For us?” Sora asked. 

“But of course! Pinocchio and I can’t thank you enough! We’ll do anything we can to help you,” Geppetto said. 

“I’m being good, even without Jiminy’s help,” PInocchio said. The three of them left and spoke to Cid in the First District.

“Looks like you found the other one. Let me see it,” Cid said. Sora handed Cid the gummi block.

“Okay, wait here. I’ll get it installed right now,” he said. As they waited for Cid to modify their ship, Sora stared at the ground sadly.

“Sora!” Donald said. 

“Now, just remember what Donald said to ya: no frowning, no sad faces,” Goofy said. 

“How can you be so cheerful? There’s still no sign of (y/N) or your king. Aren’t you worried?” Sora said. 

“Aw, phooey.” 

“The king told us to go out and find the key bearer, and we found you. So as long as we stick together, it’ll all work out okay. Ya just gotta believe in yourself, that’s all.”

“Yeah but what about (Y/N)? What’s will happen to her?” 

“It’s just like Goofy said. You just gotta believe.” 

“Just believe…” Sora closed his eyes and heard two voices.

“I believe in you,” you and Kairi said at the same time. Sora found himself flying toward a great shining light, which enveloped everything. Slowly, a room began to fade in around him, filled with bookshelves and stained glass windows. He floated in the air, watching.

“Where am I?” he asked. He saw an old woman sitting on a chair under a long staircase. A young girl with red hair ran up to the woman, who smiled down at her.

“Long ago, people lived in peace, bathed in the warmth of light. Everyone loved the light. Then people began to fight over it. They wanted to keep it for themselves. And darkness was born in their hearts. The darkness spread, swallowing the light and many people’s hearts. It covered everything, and the world disappeared. But small fragments of light survived…in the hearts of children. With these fragments of light, children rebuilt the lost world. It’s the world we live in now. But the true light sleeps, deep within the darkness. That’s why the worlds are still scattered, divided from each other. But someday, a door to the innermost darkness will open. And the true light will return. So, listen, child. Even in the deepest darkness, there will always be a light to guide you. Believe in the light, and the darkness will never defeat you. Your heart will shine with its power and push the darkness away. Do you understand, Kairi?” the old lady said. Sora blinked and the woman disappeared.

“Kairi!?” he asked. He scanned the room, seeing no one for a second. Blinking again, he was back floating in the air, seeing the 4 year-old Kairi, who looked around. He bent forward, trying to reach her, but she disappeared and he was thrown to baby you. He saw you with your father in castle being surrounded by his friends. He blinked again was thrown to 4 year old you. He saw you walking out of the castle in Scala ad Caelum, holding someone’s hand. He couldn’t see who it was but he could tell that you were happy. He blinked again and was back floating in the air and saw you meeting him and Riku. He suddenly heard someone whisper in his ear

Please...save my sister...

He was then thrown back into reality where Donald and Goofy looked at him worried. 

“Huh?” he asked, shocked. 

“What happened?” Goofy asked. 

“I-I don’t know...I think Kairi and (Y/N) called to me.” Cid walked back to the trio.

“I installed that navigation gummi. But, ya know? That place is crawling with Heartless. Don’t say I didn’t warn you,” he said. Sora looked at him confused. 

“Here, take this along,” Cid said. He gave them a gummi block. They left for the Olympus Coliseum and competed in the Hercules Cup. They reached the final match with Hercules.

“Show me what you’ve got!” Herc said. 

“Hercules, wait. Let’s go one-on-one!” Sora said. 

“Oh, brother. What a show-off,” Donald said. 

“What’re we gonna do?” Goofy asked. 

“Let him go alone, I guess.” 

“Good luck, Sora!” 

“I’m not gonna go easy on you!” Herc said. Sora fought and defeated Hercules, winning a trophy. Phil danced on the steps of the arena as Sora smiled at Donald and Goofy, holding the trophy in his hands. They returned to the Vestibule.

“Wow! And I didn’t even hold back!” Herc said.

“Now I finally know what you mean about strength of heart. Mine comes from Donald and Goofy,” Sora said.

“Come again?” Phil asked. 

“If we stick together, we’re unbeatable. Not even Hercules stands a chance.” Hercules smiled.

“With these guys beside me, I’m ready for anything!” Sora said. 

“But that’s not exactly what I—” Phil said. 

“Of course. Your friends give you strength. Isn’t that right, Phil? The three of you together make great heroes,” Herc said as he picked Phil up. He put Phil back down.

“And as a team, I’m sure you can overcome anything,” Herc said. Sora and Hercules slammed their hands together. Sora, Donald, and Goofy pushed the pedestal in the room over to reveal the Keyhole in the floor. Sora stood in front of it and held his Keyblade up. The blade glowed and the Keyhole was sealed. Sora talked to Hercules afterwards.

“Phil wasn’t happy that I lost to you. Said I was getting soft. You beat me last time, but next time won’t be so easy,” Herc said. They left the Olympus Coliseum and traveled to the next world. They disembarked on a tiled platform in the middle of a raging waterfall. Strangely, the waterfalls seemed to be going upward. Goofy pointed further ahead, past the waterfalls.

“Gawrsh, look at that!” Goofy said. 

“I know this place…” Sora said. They walked closer and gazed up at Hollow Bastion, a ruined castle, twisted by the darkness inhabiting the world for so long.

“Hmm, that’s strange,” Goofy said.

“I wonder why… I feel this warmth inside, right here,” Sora said as he placed his hands over his chest. 

“Aw, you’re just hungry,” Donald said.

“Hey, I’m serious!” A loud roar erupted from further ahead, startling them.

“Let’s go!” Sora said. They traveled along the crystalline platforms toward the origin of the sound. Above on a platform with a stone arch, Riku was confronting a figure in a violet cloak. From the hairy claws and tail protruding from the bottom of the cloak, it was undeniably animal.

“No vessel, no help from the Heartless… So tell me, how’d you get here?” Riku said. The beast stood on its hind legs as a human, and it gazed upon Riku with the same resolution as human eyes would, but the rest of its body, from its horns to its fangs to its claws, screamed otherwise. It began to speak, its voice low and rough.

“ I simply believed. Nothing more to it. When our world fell into darkness, Belle was taken from me. I vowed I would find her again no matter what the cost. I believed I would find her. So, here I am. She must be here. I will have her back!” he said.

“Take her, if you can!” Riku challenged. The beast roared and leaped up at Riku. It swiped at him with its sharp claws, but Riku flipped backward, dodging the attack completely. The beast’s cloak settled to his side as Riku landed on his feet. With lightning speed, Riku charged forward at the beast. Sora arrived in time to see the beast fall to the ground with a stinging growl.

“Stop!” he said. Riku looked over at the three of them standing in front of the beast and smirked confidently.

“So, you finally made it. About time. I’ve been waiting for you. We’ve always been rivals, haven’t we? You’ve always pushed me as I’ve always pushed you,” he said. 

“Riku…” Sora said. 

“But it all ends here. There can’t be two Keyblade masters.” 

“What are you talking about?” 

“Let the Keyblade choose…” Riku held a hand to his chest. 

“…its true master,” he said. He extended his hand out toward the Keyblade, which began to shake violently in Sora’s grasp. Sora grabbed the blade with two hands as it started to pull itself toward Riku. The Keyblade flashed out of Sora’s hands….

“Huh?” Sora and Goofy asked.

“What?” Donald asked. …and reappeared in Riku’s. He stared up at it, smiling darkly.

“Maleficent was right. You don’t have what it takes to save Kairi and (Y/N),” he said. He turned his gaze skyward.

“It’s up to me. Only the Keyblade master and a spirit can open the secret door…” he said. He held the blade up high.

“…and change the world,” he said. 

“But that’s impossible. How did this happen? I’m the one who fought my way here with the Keyblade!” Sora said. Riku looked at his Keyblade again.

“You were just the delivery boy,” he said. He dispelled the blade and pulled out a wooden sword.

“Sorry, your part’s over now. Here, go play hero with this,” he said. He tossed the sword to Sora, which landed on the stone platform with a clunk. Sora fell to his hands and knees in defeat as Riku left. Donald and Goofy watched him leave.

“Goofy. Let’s go. We have to remember our mission,” Donald said.

“Oh! Well, I know the king told us to follow the key and all… But…” Goofy said. He gazed back toward Sora giving a sad grumble. Donald stopped.

“Sora, sorry,” he said. 

“No you’re not. If you were sorry then you would’ve helped me search for (Y/N) and clues about her. But all you cared about was your stupid king!” Sora said. Donald ignored him and they continued after Riku. Sora didn’t move, feeling the cold stone beneath his fingers and the spray of the water on his clothes. He was nearly deaf to the low growl and thumping footsteps behind him. He looked up, seeing the beast walk past him. He watched as it fell to the ground again with a moan. Sora got up and ran to his side.

“Hey, don’t move. You’re hurt,” he said. the beast looked over at Sora, who noticed his intensely human eyes.

“Why… Why did you…you come here? I came to fight for Belle,” he said. He looked up at the castle and stood up again. He started slowly walking ahead.

“And though I am on my own, I will fight. I won’t leave without her. That’s why I’m here,” he said. Sora turned around, staring at the wooden sword on the ground. He picked it up and walked back to the Beast’s side.

“Me too. I’m not gonna give up now. I came here to find two girls that are very important to me,” he said. They made their way up to the furthest platform and gazed at Hollow Bastion. Mysterious gases swirled from pipes protruding from the castle. The center of its towers displayed a large Heartless emblem, shattered from the inside, the gears clearly visible from the platform. Mechanical cranes were built into all sides of the castle, though are largely rusted and overgrown, as if the innards of the castle themselves came alive and rooted themselves deeply across its façade. The rest of the world below had become a barren crystalline wasteland and darkness waited at every corner. A switch activated and a pink light appeared at the castle. A magical line appeared toward them, bringing a metal platform with it, rigged to the line with electric sparks. Sora and the Beast walked onto the elevator, which took them up to Hollow Bastion. Finding the castle gates locked, they descended into the watery underbelly of the fortress, finding the access switch in the confusing maze of the dungeons. They released the switch, and the gears in the wall began to spin and they heard the sound of a door opening. Heading back to the castle gates, they entered the main Hall. Meanwhile in the Grand Hall, Jasmine, Alice, and the other princesses of heart are encased in crystal chambers on the sides of the room under the effects of a sleeping curse while you were still tied up in the center, fading in and out of consciousness. Maleficent walked over an ornate carpet bearing the Heartless insignia toward a large open room, each footfall echoing in the vacant hall. Kairi’s body rested in a dark capsule in the center of the room next to you. Maleficent’s fingers curled around her staff as she passed the capsule and ascended the stairs. She whirled around to face the princesses of heart and you.

“O purest of hearts and spirit of light! Reveal to me the Keyhole!” she said. She raised her arms fervently. You screamed in agony as you felt you power being forced to do this spell. The hearts of the six maidens lining the walls glowed in unison and beams of pink light shined out from them. The six met at a point in the air over you and Kairi’s body, pointing a trail of sparkles to a great heart in the room beyond. Maleficent watched, and smiled. Meanwhile, Sora and Beast arrived in the Entrance Hall, seeing no one.

“Be on your guard. They’re close, I can feel it. Are you ready for them?” Beast said. Sora moved forward as Beast gasped

“Belle?” he asked. He whirled around, seeing the faint shape of a woman in a golden dress in the dark doorway. It erupted into a cloud of darkness, where a Shadow Heartless appeared. The Beast shook, rage and frustration flowing within him. He gave out a great roar and charged after the Heartless, the door closing in on him, separating him from Sora. The sound echoed in Sora’s ears.

“Quit while you can,” Riku said. Sora turned, seeing Riku with Donald and Goofy.

“No. Not without Kairi and (Y/N),” he said. 

“The darkness will destroy you,” Riku said. Tendrils of darkness erupted around Riku and his clothes took on a darker quality. He clenched his fists, feeling the dark powers inside his heart, and glared at who he used to call a friend.

“You’re wrong, Riku. The darkness may destroy my body, but it can’t touch my heart,” Sora said. He held a hand over his chest.

“My heart will stay with my friends. It’ll never die!” he said. 

“Really… Well, we’ll just see about that!” Riku said. He thrusted his hand forward, releasing a dark fireball aimed straight at Sora’s heart. The energy coursed through his hand, causing the air to ripple, his hair whipping across his face. Sora was paralyzed as it drew near him and he closed his eyes, hearing a crash.

“Sora ain’t gonna go anywhere!” Goofy said. Sora opened his eyes, seeing Goofy standing in front of him with his shield out. The energy, upon contact with the shield, had fizzled into the air around him.

“You’d betray your king?” Riku asked.

“Not on your life! But I’m not gonna betray Sora, either, or (Y/N), ‘cause he’s become one of my best buddies after all we’ve been through together!” he said. He turned to look at Sora, giving him a thumbs up.

“See ya later, Donald. Could ya tell the king I’m really sorry?” Goofy waved. 

“Hold on, Goofy! We’ll tell him together,” Donald said. He ran over to the two of them and looked up at Sora.

“Well, you know… All for one and one for all,” he said. 

“I guess you’re stuck with us, Sora,” Goofy said. 

“Thanks a lot… Donald, Goofy,” Sora said as he looked towards the ground.

“How will you fight without a weapon?” Riku asked. Sora looked back up at him.

“I know now I don’t need the Keyblade. I’ve got a better weapon. My heart,” Sora said. Riku scoffed.

“Your heart? What good will that weak little thing do for you?” he asked. 

“All though my heart may be weak, it’s not alone. It’s grown with each new experience, and it’s found a home with all the friends I’ve made. I’ve become a part of their heart just as they’ve become a part of mine. And if they think of me now and then…if they don’t forget me…then our hearts will be one,” Sora said. He then took out the wooden sword. 

“I don’t need a weapon. My friends are my power!” he said. The Keyblade flashed in Riku’s hand, much to his surprise. It disappeared and he stared at his hand, gasping in total astonishment. The Keyblade reappeared in Sora’s hands, and he stared down at Riku, who took out Soul Eater, his winged sword. Riku rushed forward attacking Sora in a flourish of hits. Sora dodged sideways and spun around, sliding back toward Riku and striking with his Keyblade. He reeled back, landing on his right foot. Bending his knee, he pushed off and jumped into the air over Goofy. Riku landed back on the floor and struck through Donald, knocking him out. He sent all his frustration into his sword as he slashed at Sora, who held his Keyblade in two hands, blocking Riku’s blows. Seeing a free opportunity, he bashed Riku in the side with the blade, sending him flying backward toward the fountain in the center of the room.

“No… Not yet…” Riku said. He bent over, breathing heavily. The darkness around his clothes faded and he ran away in disgrace. Beast entered the room behind them.

“So, your heart won this battle,” he said. Sora nodded and they continued through the castle. In the Castle Chapel, Riku ran over the cold stone floor out of breath.

“Why? It was mine,” he said. 

“Know this,” someone said. He stopped at the sound of the voice, caught his breath and turned around.

“The heart that is strong and true shall win the Keyblade,” the person said. Riku saw a cloaked figure emerging from the darkness covered in an unearthly glow.

“What? You’re saying my heart’s weaker than his?” Riku asked. Riku glared at the figure in defiance.

“For that instant, it was,” the figure said. Riku’s eyes widen and he shook his head, staring at the floor.

“However, you can become stronger,” the figure said. The figure walked closer to Riku, the X on its chest nearly visible.

“You showed no fear in stepping through the door to darkness. It held no terror for you. Plunge deeper into the darkness, and your heart will grow even stronger,” it said. 

“What should I do?” Riku asked. 

“It’s really quite simple. Open yourself to the darkness. That is all. Let your heart, your being become darkness itself.” Riku glowed with a green aura. He looked up at the figure, as it moved closer to him. Meanwhile, Sora, Donald, Goofy, and Beast ascended the castle. As they approached the Castle Chapel, Maleficent stood in the Grand Hall, gazing into the Dark Depths where the Keyhole laid in wait and you looking very weak. Riku, in his dark clothing, walked to join her. He spoke, his voice taking on an eerie quality.

“So, I see the path has emerged at last,” he said. 

“Yes. The Keyhole to the darkness. And it’s all thanks to the spirit,” she said. The great heart before them brimmed with energy.

“Unlock it and the Heartless will overrun this world,” Riku said. 

“What do I care? The darkness holds no power over me. Rather, I will use its power to rule all worlds,” Maleficent said. 

“Such confidence.” He held up his hand and a dark Keyblade appeared, the blade’s teeth forming the negative space of a heart. Maleficent gazed down at it, intrigued.

“Oh!” she said. The Keyblade failed to react in the Keyhole presence, much to Maleficent’s annoyance.

“Impossible! The princesses of heart and the spirit are all here! It must be her,” she said as she turned back, her eyes narrowed in irritation, settling on the body of Kairi, sleeping on the floor. They walked over to her and you.

“Without her heart, she will never be able to release her power,” Riku said. They heard a sound and looked in the direction of the Castle Chapel.

“The king’s fools are here. I’ll deal with them myself,” Maleficent said as she began to walk away. 

“You stay here and guard the princesses and the spirit,” she said. She gracefully exited as Riku watched her leave, a smirk appearing on his face as an unearthly glow surrounded him. Maleficent entered the chapel, coming face to face with Sora, Donald, Goofy, and Beast.

“I’m afraid you’re too late. Any moment now, the final Keyhole will be unsealed. This world will be plunged into darkness and you’ll lose your precious (Y/N). It is unstoppable,” she said. Her eyes flicker with her dark thoughts.

“We’ll stop it! After coming this far, there’s no way we’re gonna let that happen!” Sora said as he armed himself with the keyblade. She glowered at his impertinence, slamming her staff against the stone floor.

“You poor, simple fools. You think you can defeat me? Me, the mistress of all evil?” she said. She raised her arms and the platform underneath her rose out of the ground. It hovered in the air out of their reach. She tapped her staff against it, and it sailed across the room. The top of her staff sparked with green fire and she lifted it into the air, cackling.

“Now you’ll know the meaning of fear! A bolt of lightning to strike them down!” she said. Violet lightning crackled on the ceiling, sending thunderbolts down on top of them. Donald sent a Gravira spell at the witch’s platform, causing it to crash to the floor. Maleficent recovered from the fall and they rushed in and attack her.

“No!” she said. She swiped at them with her staff, knocking Sora away.

“Meteors of heaven, unleash thy fury!” she said. Behind her, a swirling vortex appeared, and large meteors flew in towards them. The wind whipped through Sora’s hair as they attempted to dodge the unending shower of rocks. Goofy covered himself with his shield as Beast was struck down by a meteor. Donald jumped away, but was sideswiped by another. As the witch cackled evilly, Sora stood his ground, placing a hand over his heart.

“Give me strength!” he said. Sora spun the Keyblade in his hands, holding the blade upwards and turning it clockwise. The tip of the blade glowed and magic swirled down the shaft. As it reached the hilt, Tinker Bell emerged twirling in the air. She flew to Sora and touched his nose, healing him. He smiled as she twirls around him. Tink flew to Beast and healed him as Maleficent narrowed her eyes.

“Come out!” she said. Tinker Bell continued to heal the party as Heartless appeared in the room. Maleficent raised her platform again, knocking Sora and Goofy off, floating to the other end of the room. Sora took out the Heartless as Donald striked the platform with another Gravira spell. Sora slid toward Maleficent and attacked her.

“Away!” she said. A large bolt of lightning erupted from the ceiling, striking Sora at full force. He fell over, but Tinker Bell revived him and disappeared. Donald attacked the witch with various spells as Goofy protected him. Just as she was about to summon another meteor shower, Beast lunged at her, claws bared.

“No!” she said. She bent over, her breath coming short. A portal appeared behind her and she walked through it. In a hidden room of the castle, Maleficent clutched her chest, using her staff for balance. Her breath came in tight as a corridor of darkness appeared behind where she treaded. Riku stepped out of it, the dark Keyblade in hand.

“Do you need some help?” he asked. 

“Riku!” Sora said. Sora and company entered and Riku turned to face them.

“Is that--” Donald asked. 

“Yes. A Keyblade,” Riku said as he held the Keyblade up.

“But unlike yours, this Keyblade holds the power to unlock people’s hearts. Allow me to demonstrate… Behold!” Riku stabbed Maleficent in the chest with the Keyblade.

“Wha--” She asked. The witch’s chest flooded with darkness.

“Now, open your heart, surrender it to the darkness! Become darkness itself!” Riku said. He released the Keyblade and retreated into a portal. Maleficent stood up straight, and quietly laughed to herself.

“This is it! This power!” she said. She glowed with a green aura, laughing.

“Darkness… The true darkness!” she said. She erupted in green flames, sending them billowing higher into the air, her dark shadow etched in its smoky tendrils as her form changed. She grew larger, her black cloak expanding outward and filling with green. From her back, large wings pushed outward splitting to her sides, knocking the green from her body into sparks. The black wings connected with gray translucent skin to a large black body, heavily muscled and scaled. The dragon reared back on its hind legs and slammed the ground, eyes and mouth a blazing yellow. Donald sent a Blizzara spell at the dragon, who brushed it off like nothing. Sora went after the head as Beast charged forward, his roars echoing off the stone walls.

“Step aside!” he said. His claws dug into the dragon’s flesh. The dragon screeched and spun, knocking them all back with her tail. The dragon’s mouth foamed with green flame and it spew fire from its mouth, setting the room ablaze. Goofy threw his shield at her, but it only enraged the monster further. Donald continued shooting Blizzara spells to try to dampen the fire, while Sora searched for a way over the flames. He whirled around, his eyes settling on the thick vines lining the walls and started climbing. The dragons screeched, Beast having made it angry enough. It reared back on its hind legs, conjuring fire at the base of its neck. The fireballs flew through the air towards Sora. Finding the highest point of the vines, Sora saw the fireballs coming at him. He sent a Blizzara spell, but it only took out half of them. Donald saw this and conjured an Aero spell around Sora, protecting him from the rest of the fire. As Beast distracted the dragon, Sora kicked off the wall spiraling towards the creature. He spins and his Keyblade missed the dragon but something went through the dragon, who thrashes in pain before crashing to the floor, sending ashes into the air. It was your dagger! You were able to get free of your binds and able to use you dagger. You still felt weak and ended up fainting but Beast caught you before you hit the ground. The thorny vines surrounding the room burst into green flame and disappeared as Maleficent left nothing but her torn cloak behind. Riku walked over it.

“How ironic. She was just another puppet after all,” he said. 

“What?” Donald asked. 

“The Heartless were using Maleficent from the beginning. She failed to notice the darkness in her heart eating away at her. A fitting end for such a fool.” He grounded his foot into the floor and the cloak disappeared. He backed away into a corridor of darkness. Sora found a summon gem and they returned to the Castle Chapel, where a hidden entrance appeared. They followed it to the Grand Hall, where they see the princesses encapsulated. They ran up the stairs to the main area in front of the great heart, where Kairi slept. A barrier prevented you, Beast and Goofy’s entry, to Donald’s surprise.

“Kairi!” Sora said as he rushed over and knelt beside her, lifting her into his arms.

“Kairi! Kairi! Open your eyes!” he said as he gently shook her.

“It’s no use,” Riku said. Sora looked up, seeing Riku sitting above the great heart.

“That girl has lost her heart. She cannot wake up,” he said. Sora set Kairi down softly, sensing the darkness in Riku’s voice.

“What? You… You’re not Riku,” he said. 

“The Keyhole cannot be completed so long as the last princess of heart and the spirit princess still sleeps,” Riku said. He dropped down off his seat, falling in front of the dark depths.

“The princess…? Kairi’s a princess? And so is (Y/N)?” Sora asked.

“Yes, and without their power, the Keyhole will remain incomplete. It is time they awakened. Although, it seems like (Y/N) has done that.” Sora looked at Beast and Goofy and saw you looking at him with very weak eyes.

“Sora...” you said. Sora clenched his teeth and looked back at Riku. 

“Whoever you are, let Riku go! Give him back his heart!” he said. 

“But first, you must give the princess back her heart,” Riku said. He pointed his Keyblade at Sora, who clutched his chest and fell to the floor, catching himself.

“Sora!” you and Donald said. 

“What’s—” Sora asked.

“Don’t you see yet?” Riku asked. He descended the stairs in their direction.

“The princess’s heart is responding. It has been there all along. Kairi’s heart rests within you!” he said. 

“Kairi… Kairi’s inside me?” Sora asked. He looked down at her body.

“I know all that there is to know,” Riku said. 

“Tell me. Who are you?” Sora asked. Riku smirked.

“It is I, Ansem, the seeker of darkness!” he said. 

To be continued...

[architectuul]

FOMA 41: In Search Of Theatrical Halls

Lemonot, a tandem that meets between architecture and performative arts to trigger and celebrate the spontaneous theatre of everyday life, is presenting five Forgotten Masterpieces that shaped their modus operandi. 

The first cholets were sighted almost fifteen years ago by Freddy Mamani Silvestre. | Photo © Lemonot

Five architectures seem at first glance completely disconnected, they are located in five different cities, designed by different architects, with different programs in diverse historical times. Yet they’re all united by the presence of prominent public interiors with a strong emphasis on the use of unique spatial languages, that make them great examples to investigate how to stage alternative forms of theatricality beyond specific theatre architecture.

In his “Texts on Theatre” describes Jacques Copeau how architecture doesn’t  simply contain the drama but produces it, by co-creating its meanings, conventions and aesthetics. Staging a performance, Copeau continues, “is about acting in architecture: it is a practice that demands we pay attention to distance, scale, style, person-to-volume ratio and the immaterial architectures of light, heat and sound. Furthermore, using performativity as a design tool outside the boundaries of fictional scenographies leads to real yet unconventional spatial experiences.”

Indeed, the uncanny linguistic features of these buildings, in terms of geometry, colors, materiality or the clash between architectural layout and designated purpose, affect the way people inhabit them, enabling a peculiar acting in space as the performing of collective rituals and daily routines.

The Solimene Factory was born from the friendship of Vincenzo Solimene, called  “Il Vasaio” (the Pottery Maker) and Paolo Soleri, who in 1950 traveled to Italy with the purpose to learn the art of pottery. Solimene entrusted him with the first and only project carried out in Europe, allowing him to design the factory for the production of ceramics.

Circular bases of round terra-cotta vases are embedded in the concrete cladding and decorate the facade. | Photo © Luca Bullaro

The building is as if carved into the rocks overlooking the sea, incorporating the objects it produces. From the outside a bright enamels mosaic in the form of a drapery, almost as a garment giving a hint of what is produced inside, constructed with sixteen thousand waste vases, glazed in copper green or in simple terra-cotta embedded into the facade.

Facade and section. | Photo © Luca Bullaro, © Cosanti Foundation

If the outside is wavy and sinuous like the Amalfi domes, the inside is geometric and defines the space towards the center. This fifteen meters central skylight illuminates the objects that are produced every day by expert hands. The interior, flared upwards, follows the same archaic principle of the object that is produced: the growth of the vase on the lathe. The ramp going through the floors, defines the four stages of ceramic processing and allows us to better observe the thousands of coloured and painted dishes, cups and vases.

The pieces are fired at the top floors and slowly come down to be painted in the main atrium, as you descend into the building you see this chromatic and also geometric change - from the material to its final creation. The building accompanies you throughout the production of a single object - starting with the terracotta and gradually seeing its final shape and colours. The objects become part of this scenography, framed in every gaze. They’re simultaneously actors and props that drive the public - constraining you to squeeze and linger among them. It is an architecture that screams the craft made with hands, which is still in full fervor today.

The building received the ASA Architectural Conservation Award in 2012. | Photo © Antoine Lassus

The Scala Theatre in Bangkok was without doubt the grand old theater and the finest movie theater left in Southeast Asia. Named after the Teatro della Scala in Milan, it first opened in 1969, showing the American civil war movie “The Undefeated”. Unfortunately, it has been recently closed down, probably due to the impact of the Covid-19 pandemic and changing consumer preferences.

Its wonder is certainly due to the central location in Bangkok, one of the most chaotic cities in the world. The most interesting part of the building is not the enclosed screening hall. Rather, it’s the covered yet open foyer, whose elegant and geometric interiors are constantly and directly contrasted by the noise of the mopeds, by the smell of street food grills and tropical plants that can be seen from the windows. Its relationship with the city is definitely theatrical.

The foyer consists of a huge domed ceiling, set up with bronzed art deco flowers. | Photo © Antoine Lassus

In the past these kinds of theaters were usually situated in city centers and markets, where they became community gathering points as they supported the theater and the community.  In this line, the foyer of Scala theatre acts as a proper public space, as a shaded portico that offers shelter from the heat of Bangkok. This is reflected in its overwhelming but at the same time welcoming decorations - columns that drop from the ceiling, lights in the shape of geometric flowers, floors and walls covered with velvet fabric. Thai culture is eccentric, it is flamboyant and greets you by dominating your senses.

The architecturally significant cinema’s Art Deco stylings and interiors were designed by Jira Silpkanok, which with its velvet curtains, veteran ushers, and vast auditorium, evoked the golden age of film exhibition. Specifically, the foyer consists of a huge domed ceiling, set up with bronzed art deco flowers. You are conquered by the vaulted windows that frame Bangkok as a choreographed spectacle - by the different types of textures both on the base of the columns outlining the shadows. Two stairways converge at the top taking you to the second floor, while almost touching the long chandelier that illuminates the center. A visionary architecture, where as soon as you enter it seems to be in a ship, or a spaceship.

The Bellini Theater in Palermo was first called Teatro Travaglino, from the name of a Sicilian burlesque mask. A hidden truth is hidden in its name since the theater has had to change many faces throughout the centuries. Destroyed several times by earthquakes and wars and many times rebuilt and renamed, looking for a new identity. What we have today is an incomparable Architectural stratigraphy of historical facts.

The theatre was an open living room in between privately owned palaces where the public could go in for the first time. | Photo © Lemonot

The theater has been literally carved inside a noble dwelling, the gallery and the stage are built between private houses, in fact it is still possible to see the windows of the neighbors that overlooked the main stage. It was entertaining popular operas and due to this fact, the space was constructed around a small stage with few wooden benches. Initially the main gallery had only festive purposes, banquets were set up and dances were often opened; it is only later that great artists were presented and therefore had a primarily cultural purpose.

Destroyed, rebuilt and renamed. | Photo © Lemonot

Over time Marquises of Santa Lucia sacrificed part of their palace to build in 1726 a classic Italian-style theater with 4 tiers of boxes and entirely in decorated wood, it was called the theater of St. Lucia. The need for a more refined theater for the Elitè was entrusted to the royal architect Nicolò Puglia who accommodated more than 500 spectators.

Due to the disastrous earthquake that struck Palermo in 1726, the theater remained closed for several years, reopened only in 1742, enlarged and restored again, incorporating some neighboring houses of the Marquis Bellaroto.

In 1943 during the second world war it was also requisitioned by the US military and used as a movie theater for soldiers. In 1964 the building was damaged by a fire and subsequently recovered thanks to the intervention of the Teatro Biondo Stabile in Palermo and thanks to the professionalism of its director Claudio Grasso who regained the license from the Palermo police headquarters and returned the theater to its original function in 1980 until 2014.

It was reopened as a permanent exhibition venue. | Photo © Lemonot 

Since 2019 is hosting a mixed-media installation designed by Alfredo Jarr. This operation led to many controversies - since part of Palermo’s cultural community stated that a theatre should be open only for spectacles and actual plays. The theatre layout and the museographic stage set affect and update each other in a very interesting way: the usual relationship between the proscenium (the place for the spectacle) and the platea (the place for the audience) is inverted, since the public gathers to admire the exhibition from the first, while the artworks are hosted in the latter, emptied of chairs’ rows.

Furthermore, this peculiar theatrical framework, shifting the way we look at the artifacts, activates a spontaneous layer of performativity, otherwise left behind in most traditional museum environments.

The Cistern Chapel or the Sewage Cathedral is a former pumping station designed by chief engineer Sir Joseph Bazalgette and architect Charles Henry Driver. Its construction became necessary in response to the the Great Stink of 1858.

The meticulous designs and bright colors have made the Crossness Pumping Station a real Victorian-style gem. | Photo © Lemonot

Its construction became necessary when the Thames became particularly polluted enough to raise a putrid smell throughout the city. The situation was aggravated by the unusually hot climate that hit the English capital and made the stench even stronger and unpleasant. To solve the problem, the Bazalgette plan consisted in the construction of two sewers to be placed in the outermost areas of the city. One of these was the Crossness Pumping Station which, at the time, had the function of draining the putrid waters to the east by running clean water into the Thames.

The complex is covered with decorations surrounded by cast ironworks forming columns rising up from the ground floor. | Photo © Lemonot

An architecture is made of joints and unconscious paths following geometric shapes and colored corners. The light is drawn to the central octagonal arcade, which supports a frieze of regimented yet twisting leaves and tendrils and on each column flowers, leafs and fruits decorate the capitals. At the time, the highly crafts fancy curlicues of cast iron weren’t seen as an unnecessary expense - it was the first time for such functional purpose to build with opulent and organic decoration of this kind.

Indeed, there is a great sacral charge within the main octagonal space that encourages the people to gather between the columns, inviting you to look up but also to hide among the industrial spaces - that become almost domestic.  All four engines were named after members of the royal family; Victoria, Albert Edward and Alexandra: for this reason the choice of colors, materials and different patterns follows a specific narrative, becoming a built embodiment of their personalities. The spatial elements are actually personified, transformed into architectural characters.

Sprawled over a high plateau above La Paz, El Alto is arguably Latin America’s largest indigenous city. At an altitude of 4800 m, colorful buildings arise and geometric facades are visible from the teleferico travelling above the altiplano. The first cholets, also called New Andean architectures, were sighted almost fifteen years ago by Freddy Mamani Silvestre. Since then, they proliferated: various architects have appropriated them in terms of style and copied them typologically.

Cholets became expressions of wealth and cultural pride after centuries of oppression and colonialism. | Photo © Lemonot

Cholet is a portmanteau of the high-class chalet - the pitched roofs of these mansions resemble the ones of Swiss cottages and the derogatory cholo, a racist slang for an indigenous person. Mamani ‘s buildings have a common language, two or three storey and a ballroom on the highest ceiling room filled with Andean symbols, casted columns and windows with different geometrical profiles cutting the whole space.  Using the colors of textiles are tracing inspiration from traditional garments and folkloric masks. These ballrooms are identified not only through iconographies but also by the use they make of it - from dances to ceremonies, to domestic inhabitation, to basketball courts or swimming pools.

Cholets are always designed in close contact with the buyer, triggering a personal and almost process of embodiment of the owner with the building itself. The building is to produce income. On the roof is our own home. The spatial experience can be read in completely opposite way, during the day the light from outside is absorbed by the colors and it seems to be in a video game, a confetti space. As soon as darkness falls, the LED lights direct you into the ballroom and surround every architectural element.

Not only the architecture itself is ornamental but the eccentricity with which the Aymara use and change the program of the space. The one of cholets is a controversial phenomenon, that nonetheless portrays the political, social and economic contemporaneity in Bolivia. On an urban level the cholets have become a symbol, recognizable monuments - able to immediately recall Andean identity nationally and internationally. Ultimately, the architecture of Crucero del Sur speaks the same language of the ceremonies that take place inside it. In these exuberant interiors, matter and performance achieved an absolute reciprocity.

—

#FOMA 41: Sabrina Morreale and Lorenzo Perri 

Sabrina Morreale and Lorenzo Perri are architects, educators and co-founders of Lemonot, a design and research platform based in London. Hungry observers and compulsive collectors of anthropic mirabilia, they’re interested in all those iconographic gestures that enable the mutual immanence among objects, bodies and rituals. Their academic research focuses on contemporary folklore as a trigger for unconventional spatial languages, between geometrical abstraction and material figurativism. They’re Programme Heads of the AA Visiting school El Alto and currently teach at the Architectural Association and the University of Applied Arts Vienna.

[gaur4vgaur-blog]

Scala installation on Windows

It is fairly easy to install Scala on windows. The video is a step by step guide to install Scala on windows. The steps should be same for all versions of Scala.

[angel-with-a-pipette]

Now I’ve criticized the main story of KH3 extensively (well, at least in front of friends and in some reblogs?? I didn’t really get around to continue my playthrough posts and idk if I will ><). And I won’t excuse some of the things Nomura has done - before some clever person reblogs this to tell me that I am defending Nomura’s decisions and the story of the game. I am NOT.

I’ve also praised the writing for the Disney worlds (and it is magnificent in terms of humor) and actually hoped that Disney might butt in in the future and make sure that their own characters are written well (e.g.: Kairi).

But then I’ve been thinking about KH3 more, about how the game proposed story lines that were dropped in the middle, how promotional material did the same, heck, Nomura’s interviews and BBS Volume Two had a bunch of stuff that didn’t make it into the game or was altered (although this has to be taken with a grain of salt since this only included rough concepts).

And with the engine switch and the 1-2 years it set them back, with the early announcement of KH3 before any substantial work was done on it, with the heavy involvement of Disney and Pixar, especially with Frozen which seemed to have been heavily regulated, with parts of the game that scream cut content (Radiant Garden, Kairi’s Rescue, Scala ad Caelum), with the fact that Nomura says himself he rewrote the ending many times and with the original story only taking idk 10 hours at most if you combine the endgame and all the cutscenes in between?

Maybe that wasn’t Nomura’s vision after all.

Maybe it was a series of unfortunate events, a strict release window given by Square, the forced engine switch, working as closely with Disney as never before - maybe it has taken up all the time for the original story. I can absolutely imagine Disney demanding perfection and when you look at it? The Disney worlds are gorgeous. The writing is amazing. Everything is beautiful and engaging.

The one thing that is severely lacking is the original story that is squeezed into the end. And obviously, since Disney was so deeply involved, there was no chance to make huge cuts there (and maybe there have been cuts - Elsa’s castle anybody? San Fransokyo consisting of just one huge square map? 100 more like 0,1 acre woods?). It would make sense to cut content, cut entire story lines and to come up with alternatives to make the story understandable enough while putting every character in the place where they need to be for the future installments. It would make sense why certain character relationships haven’t been shown or been underrepresented unless it was strictly necessary.

I want to blame Nomura for making tons of stuff I don’t agree with (and I mean, in the end, he is to blame for certain choices) - but I also feel bad about it because in the end, he has to go along with all the big corporate decisions - and part of what happened might genuinely not be his fault.

I don’t know what I wanted to do with this post. I guess I just wanted to get these thoughts out of my system. Maybe I just want to keep this tiny piece of hope for the future of the series and especially Kairi? 

[dataplusweb-blog]

Dataiku : tout savoir sur la plateforme d'IA "made in France"

Dataiku :

tout savoir sur la plateforme d'IA "made in France"

Antoine Crochet-Damais

JDN

 

Dataiku est une plateforme d'intelligence artificielle créée en France en 2013. Elle s'est imposée depuis parmi les références mondiales des studios de data science et de machine learning.

SOMMAIRE

Dataiku, c’est quoi ?

Dataiku DSS, qu'est-ce que c'est ?

Quelles sont les fonctionnalités de Dataiku ?

Quel est le prix de Dataiku ?

Qu’est-ce que Dataiku Online ?

Dataiku Academy : formation / certification

Dataiku vs DataRobot

Dataiku vs Alteryx

Dataiku vs Databricks

Dataiku Community

Dataiku, c’est quoi ?

Dataiku est une plateforme de data science d'origine française. Elle se démarque historiquement par son caractère très packagé et intégré. Ce qui la met à la portée aussi bien des data scientists confirmés que débutants. Grâce à son ergonomie, elle permet de créer un modèle en quelques clics, tout en industrialisant en toile de fonds l'ensemble de la chaine de traitement : collecte, préparation des données…

Co-fondée en 2013 à Paris par Florian Douetteau, son CEO actuel, et Clément Stenac (tous deux anciens d'Exalead) aux côtés de Thomas Cabrol et Marc Batty, Dataiku affiche une croissance fulgurante. Dès 2015, la société s'implante aux Etats-Unis. Après une levée de 101 millions de dollars en 2018, Dataiku boucle un tour de table de 400 millions de dollars en 2021 pour une valorisation de 4,6 milliards de dollars. L'entreprise compte plus de 1000 salariés et plus de 300 clients parmi les plus grands groupes mondiaux. Parmi eux figurent les sociétés françaises Accor, BNP Paribas, Engie ou encore SNCF.

Dataiku DSS, qu'est-ce que c'est ?

Dataiku DSS (pour Dataiku Data Science Studio) est le nom de la plateforme d'IA de Dataiku.

Quelles sont les fonctionnalités de Dataiku ?

La plateforme de Dataiku compte environ 90 fonctionnalités que l'on peut regrouper en plusieurs grands domaines :

L'intégration. La plateforme s'intègre à Hadoop, Spark, mais aussi aux services des clouds AWS, Azure, Google Cloud. Au total, la plateforme est équipée de plus de 25 connecteurs. 

Les plugins. Une galerie de plus de 100 plugins permet de bénéficier d'applications tierces dans de nombreux domaines : traduction, NLG, météo, moteur de recommandation, import/export de données...

La data préparation / data ops. Une console graphique gère la préparation des données. Les time series et données géospatiales sont supportées. Plus de 90 data transformers prépackagés sont disponibles. 

Le développement. Dataiku prend en charge les notebooks Jupyter, les langages Python, R, Scala, SQL, Hive, Pig, Impala. Il supporte PySpark, SparkR et SparkSQL.

Le machine Learning. La plateforme inclut un moteur d'automatisation du machine learning (auto ML), une console de visualisation pour l'entrainement des réseaux de neurones profonds, le support de Scikit-learn et XGBoost, etc.

La collaboration. Dataiku intègre des fonctionnalités de gestion de projet, de chat, de wiki, de versioning (via Git)...

La gouvernance. La plateforme propose une console de monitoring des modèles, d'audit, ainsi qu'un feature store.

Le MLOps. Dataiku gère le déploiement de modèles. Il prend en charge les architecture Kubernetes mais aussi les offres de Kubernetes as a Service d'AWS, Azure et Google Cloud.

La data visualisation. Une interface de visualisation statistique est complétée par 25 graphiques de data visualisation pour identifier les relations et aperçus au sein des jeux de données.

Dataiku est conçu pour gérer graphiquement des pipelines de machine learning. © JDN / Capture

Quel est le prix de Dataiku ?

Dataiku propose une édition gratuite de sa plateforme à installer soi-même. Baptisée Dataiku Free, elle se limite à trois utilisateurs, mais donne accès à la majorité des fonctionnalités. Elle est disponible pour Windows, Linux, MacOS, Amazon EC2, Google Cloud et Microsoft Azure. 

Pour aller plus loin, Dataiku commercialise trois éditions dont les prix sont disponibles sur demande : Dataiku Discover pour les petites équipes, Dataiku Business pour les équipes de taille moyenne, et Dataiku Enterprise pour déployer la plateforme à l'échelle d'une grande entreprise.

Qu’est-ce que Dataiku Online ?

Principalement conçu pour de petites structures, Dataiku Online permet de gérer les projets de data science à une échelle modérée. Il s’agit d’un dispositif de type SaaS (Software as a Service). Les fonctionnalités sont similaires à Dataiku, mais le paramétrage et le lancement de l’application sont plus rapides.

Dataiku Academy : formation et certification Dataiku

La Dataiku Academy regroupe une série de formations en ligne à la plateforme de Dataiku. Elle propose un programme Quicks Start qui permet de commencer à utiliser la solution en quelques heures, mais aussi des sessions Learning Paths pour acquérir des compétences plus avancées. Chaque programme permet de décrocher une certification Dataiku : Core Designer Certificate, ML Practitioner Certificate, Advanced Designer Certificate, Developer Certificate et MLOps Practitioner Certificate.

Dataiku prend en charge les time series et données géospatiales. © JDN / Capture

Dataiku vs DataRobot

Créé en 2012, l'américain DataRobot peut être considéré comme le pure player historique du machine learning automatisé (auto ML). Un terrain sur lequel Dataiku s'est positionne plus tard. Au fur et à mesure de leur développement, les deux plateformes tendent désormais à être de plus en plus comparables.

Face à DataRobot, Dataiku se distingue cependant sur le front de la collaboration. L'éditeur multiplie les fonctionnalités dans ce domaine : wiki, partage de tableaux de bord de résultats, système de gestion des rôles et de traçabilité des actions, etc.

Dataiku vs Alteryx

Alors que Dataiku est avant tout une plateforme de data science orientée machine learning, Alteryx, lui, se positionne comme un solution d'intelligence décisionnelle ciblant potentiellement tout décideur d'entreprise, bien au-delà des équipes de data science.

La principale valeur ajoutée d'Alteryx est d'automatiser la création de tableaux de bord analytics. Des tableaux de bord qui pourront inclure des indicateurs prédictifs basés sur des modèles de machine learning. Dans cet optique, Alteryx intègre des fonctionnalités de machine learning automatisé (auto ML) pour permettre aux utilisateurs de générer ce type d'indicateur. C'est son principal point commun avec Dataiku.

Dataiku vs Databricks

Dataiku et Databricks sont des plateformes très différentes. La première s'oriente vers la data science, la conception et le déploiement de modèles de machine learning. La seconde se présente sous la forme d'une data platform universelle répondant à la fois aux cas d'usage orientés entrepôt de données et BI, data lake, mais aussi streaming de données et calcul distribué.

Reste que Databricks s'enrichit de plus en plus de fonctionnalités orientées machine learning. La société de San Francisco a acquis l'environnement de data science low-code / no code 8080 Labs en octobre 2021, puis la plateforme de MLOps Cortex Labs en avril 2022. Deux technologies qu'elle est en train d'intégrer. 

Dataiku Community : tutoriels et documentation

Dataiku Community est un espace d'échange et de documentation pour parfaire ses connaissances sur Dataiku et ses champs d'application. Après inscription, il est possible d'intégrer le forum de discussions.

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[educationtech]

These are the 10 best platforms for building a mobile app - Arya College

Android development is in great demand today. According to the research, there are billions of apps available in Google Play. With the growth in the use of Android devices, the need for high-quality Android apps continues to grow. Today, Android developers of

top engineering colleges in Jaipur

should stay productive to create better quality apps at record speed. They have a wealth of useful tools and applications at hand.  The top platforms to use for Android application are as follows:Android Studio: Key Android Build ToolAndroid Studio is the first one among Android developers' tools. It is an official integrated environment for Android app development that allow easily edit code, debug, and test. This tool is made a splash and unseated Eclipse Android Development Tools as the one and only IDE for native Android apps. It is free and actively supported by a vibrant Android development community.AIDEIt is an Android IDE that allows students of best engineering colleges in Jaipur to make an Android app on your Android device. AIDE offers a way to write the code on your phone or tablet and further run, test, and debug. This environment is a good choice for novice developers as opposed to Android Studio or IntelliJ IDEA. The drawback is that it only supports Java and C/C++.

Stetho

Stetho is an open-source library developed and designed for quick application debugging. Stetho provides a website experience by making the allows access to a Chrome Developer Tools feature native to the desktop browser. With the Chrome DevTools, an individual can easily view the hierarchy of an application, manage an SQLite database, monitor network activity, monitor shared Shared Preferences, and more.GradleGradle is an open-source build automation system that combines the best of Apache Maven and Apache Ant, this system is ideal for multi-project, large builds. Gradle allows easy to add a third-party library with one line of code. Gradle is particularly used for Android software development using Java, but there are also Groovy and Scala plugins. Android Asset StudioIt is an excellent collection of easy-to-use tools for generating different types of icons that you will need when designing and developing applications.LeakCanaryPowerful memory leak detection tool is developed by Square. Once installed, it will automatically launch and notify students of

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of every memory leak in your application. To resolve the problems, there is a built-in stack trace available for use.IntelliJ IDEAJetBrains created a Java IDE using Android support. It is considered as a good alternative to Android Studio, mainly used for simpler apps. IntelliJIDEA is fast and offers a variety of development tools right out of the box including smart code completion, instant code analysis, refactoring, and JetBrains plugins. Source TreeSource Tree is a simple and free tool that provides an easy way to manage Git repositories using Git GUI that can visually visualize all your changes, commits, branches without writing even a single command in the command line. It is available for Mac and Windows users. Unity 3DCreating mobile games lets students of engineering colleges Jaipur turn to a cross-platform engine with a wealth of features for graphically intensive and VR/AR games. It is good to stick with Android Studio or IntelliJ IDEA for developing games, but Unity will provide more tailored-to-game-development tools like storytelling, next-level performance profiling, real-time rendering, and many more.GameMaker: Studio This is one of the most popular game engines that allows aspirants to develop 2D games for Android and other platforms. It is a powerful yet simple, easy-to-use tool with a convenient drag-and-drop interface and helps you easily kick off your game development career. BlockCanaryThis powerful performance monitors library that helps you identify when your application's user interface thread is blocked for a while and later slows down the application. Installing BlockCanary is very simple, and works much like LeakCanary.AVD ManagerAVD Manager is a useful tool from Android Studio that stands for Android Virtual Device. It allows developers of

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to create emulations of all Android devices on a single computer to test an app's performance and responsiveness. AVD manager also eliminates the need for having each type of physical device, screen size, and resolution. FirebaseMobile apps require a server to perform tasks like authenticating users and synchronizing user data across multiple devices. However, building a server requires a skill set that most ISVs lack. There are various back-end service platforms, often referred to as BaaS, that you can use today. Google's Firebase is one of them. Firebase platform provides essential services like analytics, user authentication, crash reporting, and cloud messaging for free. Its freemium services has real-time NoSQL database, file hosting, and static website hosting.VysorVysor brings Android to the desktop so you can display and interact with the device right from your computer. It allows students of the

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type from your keyboard, show your screen during meetings, and work more efficiently. In other words, Vysor is compatible with all type of operating systems. Android Debug Bridge Android Debug Bridge is a versatile command-line tool that helps you communicate with a device. With this, you can exchange data with a running Android emulator or a real connected (via USB, Wi-Fi network) Android device (tablet, phone). The tool belongs to Android SDK tools and mainly included in the Android SDK Platform Tools package. ConclusionAndroid development is evolving rapidly and there are lots of tools that make daily work easier. Usually, the choice boils down to personal preferences as well as product requirements. These Android development tools will help you deliver useful applications for Android.

[kavindius]

Programming Frameworks

Programming Paradigms

Programming paradigms classify programming languages based on their features and characteristics.

Ex: Functional programming, Object oriented programming

Some computer languages support multiple paradigms.

Ex: C++ support both functional OOP.

Non- structured programming

Earliest paradigm

A series of code

Becomes complex as the number of lines increases

Structured programming

Handle the issues of non structured programming by introducing the ways to structure the code using blocks.

               -  Control structures

               -  Functions/Procedures/Methods

               -  Classes/Blocks

Types of structured programming

               -  Block structured (functional) programming

               -  Object oriented programming

Event driven programming

Focus on the events launched outside the system.

               -  User events (Click, drag/drop)

               -  Schedulers/compilers

               -  Sensors, messages , hardware interrupts

Mostly related to the systems with GUIs.

Functional programming

Origins from Lambda Calculus.

Lambda Calculus : This is a formal system in mathematical logic for expressing computation based on function abstraction and application using variable binding and substitution.

No side – effects = Referential transparency

 Execution of a function does not effect on the global state of the system.

Use a declarative approach

Declarative approach : is a programming paradigm that expresses the logic of computation without describing its control flow.

This helps to minimize the side – effects.

Procedural programming

This paradigm helps to structure the code using blocks (procedures, routines, sub-routines, functions, methods).

 A procedure can implement a single algorithm using the control structures.

 Has side – effects.

 Use imperative approach.

Imperative approach : is a programming paradigm that uses statements to change program’s state.

Software Runtime Architecture

Languages can be categorized to the way they are processed and executed.

The general software runtime architecture

The communication between the application and the OS

needs additional components.

Compiled languages

Some executables can directly run on the OS.

Some uses virtual runtime machines.

Scripting languages

Source code is not compiled, it is directly executed and at the execution time the code is interpreted by a runtime machine.

Markup languages

No execution process for the markup languages.

The tools who have the knowledge to understand the markup languages can generate the output.

Development tools

Computer Aided Software Engineering (CASE) tools are used throughout the engineering life cycle of the software systems.

CASE software types

Individual tools – for specific task

Workbenches – multiple tools are combined focusing on a specific part of SDLC.

Environments – Combines many tools to support many activities throughout the SDLC.

Frameworks vs Plugins vs Libraries

Frameworks are concrete

A framework is incomplete

Framework helps solving recurring problems

The difference between JDK and JRE

JRE

JRE is an acronym for Java Runtime Environment. It is also written as Java RTE. The Java Runtime Environment is a set of software tools which are used for developing Java applications. It is used to provide the runtime environment. It is the implementation of JVM (Java Virtual Machine). It physically exists. It contains a set of libraries + other files that JVM uses at runtime.

JDK

JDK is an acronym for Java Development Kit. The Java Development Kit (JDK) is a software development environment which is used to develop Java applications and HYPERLINK applets. It physically exists. It contains JRE + development tools.

JDK is an implementation of any one of the below given Java Platforms released by Oracle Corporation:

Standard Edition Java Platform

Enterprise Edition Java Platform

Micro Edition Java Platform 

The JDK contains a private Java Virtual Machine (JVM) and a few other resources such as an interpreter/loader (java), a compiler (javac), an archiver (jar), a documentation generator (Javadoc), etc. to complete the development of a Java Application.

JVM

JVM (Java Virtual Machine) is an abstract machine. It is called a virtual machine because it doesn't physically exist. It is a specification that provides a runtime environment in which Java bytecode can be executed. It can also run those programs which are written in other languages and compiled to Java bytecode.

The JVM performs the following main tasks:

Loads code

Verifies code

Executes code

Provides runtime environment

JDK = JRE + Development tools

JRE = JVM  + Library classes

Why we have to edit the path after installing the JDK?

When you type any thing in Command prompt , except the standard keywords like ( cd , dir) , the command prompt searches them in the folder where you are and tries to execute it , also as the cmd ( Command Prompt ) is from C:\WINDOWS\SYSTEM32 , so all the programs from here are accessible form anywhere in windows , also this is necessary , here , this is a necessity for windows to keep them in hand , whenever needed , where ever needed .

The path points to the location of the jre i.e. the java binary files such as the jvm and necessary libraries. The classpath points to the classes you developed so that the jvm can find them and load them when you run your product.

So essentially you need the path to find java so it can then find your classes and run them from the classpath.

Why you should need to set JAVA_HOME?

When you run a Java program you need to first start the JVM, typically this is done by running an executable, on Windows this is java.exe. You can get that in lots of ways for example just giving a full path:

C:\somedir\bin\java.exe

or may having it on your PATH.

You specify as command line arguments some class files or Jar files containing class files which are your program. But that's not enough, the java.exe itself needs various other resources, not least all the Java libraries. By setting the environment variable JAVA_HOME you specify where the JRE, and hence all those runtime resources, are to be found. You should ensure that the particular Java you execute matches the setting of JAVA_HOME.

Difference between PATH and JAVA HOME

Java IDE’s and comparisons

Eclipse

Eclips is  an open source platform. This is used in both open source and commercial projects. Starting in a humble manner, this has now emerged as a major platform, which is also used in several other languages.

The greatest advantage of Eclipse is that it features a whole plethora of plugins, which makes it versatile and highly customizable. This platform works for you in the background, compiling code, and showing up errors as they occur. The entire IDE is organized in Perspectives, which are essentially sort of visual containers, which offer a set of views and editors.

Eclipse’s multitasking, filtering and debugging are yet other pluses. Designed to fit the needs of large development projects, it can handle various tasks such as analysis and design, product management, implementation, content development, testing, and documentation as well.

NetBeans

NetBeans was independently developed and it emerged as an open source platform after it was acquired by Sun in 1999. This IDE can be used to develop software for all versions of Java ranging from Java ME up to the Enterprise Edition.

NetBeans offers you various different bundles – 2 C/C++ and PHP editions, a Java SE edition, the Java EE edition, and 1 kitchen sink edition that offers everything you will ever need for your project. This IDE also offers tools and editors which can be used for HTML, PHP, XML, JavaScript and more. You can now find support for HTML5 and other Web technologies as well.

NetBeans scores over Eclipse in that it features database support, with drivers for Java DB, MySQL, PostgreSQL, and Oracle. Its Database Explorer enables you to easily create, modify and delete tables and databases within the IDE.

IntelliJ Idea

IntelliJ offers support for a variety of languages, including Java, Scala, Groovy, Clojure and more. This IDE comes with features such as smart code completion, code analysis, and advanced refactoring. The commercial “Ultimate” version, which mainly targets the ​enterprise sector, additionally supports SQL, ActionScript, Ruby, Python, and PHP. Version 12 of this platform also comes with a new Android UI designer for Android app development.

IntelliJ too features several user-written plugins. It currently offers over 900 plugins, plus an additional 50+ in its enterprise version.

Conclusion

All of the above IDEs come with their own advantages. While Eclipse is still the widest used IDE, NetBeans is now gaining popularity with independent developers. While the enterprise edition of IntelliJ works like a marvel, some developers may consider it an unnecessary expense.

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Plantation Shutters are one of the best window treatments that increases home value and aesthetics. They not only improve the look of your house but are also helpful in keeping out unwanted elements. These windows provide protection from sun rays, rain, wind, etc.

If you live in Richmond, and want the best shutters in your home, go for plantation shutters. To assure you why you must buy them, here are some of the benefits and tips to buy them wisely!

In the blog:

Evolution of shutters

Advantages of installing shutters

How to buy shutters from the manufacturers

Are shutters worth it Richmond

The bottom line

To begin,

Evolution of shutters

 They have been around since the time of the Romans. In fact, the word “shutter” comes from the Latin word “scalae” meaning slats.

The first shutter was a wooden structure that covered the window opening. Later on, the invention of iron shutters helped them become popular.

 Nowadays, plantation shutters are manufactured using different materials like wood, metal, plastic, vinyl, fiberglass etc.

Advantages of installing shutters

 The major advantage of plantation shutters is their durability. They are made from strong materials that make them last longer than any other type of window. In addition, they are easy to maintain after installation.

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How to buy shutters from the manufacturers?

 You should always opt for high quality plantation shutters. There are many companies manufacturing these shutters. But if you are looking for good deals, then you can get them online. You can check out some of the best online stores where you can find affordable plantation shutters.

 If you are planning to buy plantation shutters, then you need to know about the features that you should consider before buying them. Here are some of the things that you should keep in mind while purchasing plantation shutters.

 • Quality – Always go for high quality plantation shuttering. You should never compromise on the quality. Make sure that you purchase shutters that meet your requirements.

 • Material – Choose plantation shutters that are made from durable material. You should avoid cheap shutters. They may break easily.

 • Size – When choosing plantation shutters, make sure that they match the size of your window. If you don’t do this, then you might end up getting shutters that are too small or too big.

 • Colour – You should select shutters that suit the colour of your room. If you are going for dark colours, then you should go for shutters that complement those colours.

 • Price – You should compare prices before making final decisions. Look at the price per square foot. If you are looking for cheap shutters, then you should avoid them.

 • Installation – Before installing shutters, make sure to measure the exact dimensions of your window. Then, ask the installer to cut the shutters accordingly.

 • Maintenance – After installation, you should clean the shutters regularly. This will help you prevent dirt accumulation and mold formation.

Are shutters worth in Richmond?

Yes, they are indeed useful for homes in Richmond. These types of shutters have been around since the early 1900's, and They are originally designed to keep out insects and birds. However, over time, these window treatments have become popular for their aesthetic appeal.

The bottom line is many people prefer shutters to traditional window treatments. They offer privacy, security, and protection from the elements. In addition, they allow natural light to enter the home. That’s why plantation shutters Richmond-wide are popular window Security Solutions even at affordable prices.

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How to Install and Run Apache Kafka on Windows?.

Apache Kafka - Download and Install on Windows.

Jul 10, 2018 · Download the file to your PC and then in the bash shell: Create a directory where to extract the files to. cd to the download directory: Figure 3: Make Kafka Directory. In Figure 3 we see how I create the /opt/kafka directory, and how I cd to the Windows directory where my downloaded files are. For /f "delims=" %%x in ('dir /b sts*') do set name=%%x cd "%name%" for /f "delims=" %%a in ('dir /b') do ( move "%%a".. ) cd.

Setting Up and Running Apache Kafka on Windows OS - LoginRadius.

Before you download Zookeeper and Kafka, make sure you have 7-zip installed on your system. (Great tool to work with tar and gz files.) In this article, first, we'll make sure we have some necessary tools. Then we'll install, configure, and run Zookeeper. After that we'll install, configure, and run Kafka. So, let's get to it. Install Tooling.

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The download page shows... Windows Linux Mac: SHA-1 (deprecated)... % gpg --fingerprint DE885DD3 pub 1024D/DE885DD3 2002-04-10 Sander Striker <. With Windows, Kafka have some knows bugs. This tutorial is for beginners and does not use separate zookeeper instance – to keep things simple and focused towards Kafka only. 2. Download and install Kafka. Download Kafka from official site. I download the latest version on today which is 2.5.0 and file name is ““. STEP 6: Start Apache Kafka. Finally time to start Apache Kafka from command prompt. Run command with kafka config/server.properties configuration file. This will start our Apache Kafka successfully. Conclusion. That is all for installing Apache Kafka on windows. Time to understand some of the Apache Kafka theory topics now.

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In order to start Kafka, open a command prompt by clicking on the Windows Start button and typing “ cmd ” followed by pressing “ ENTER ”. Navigate to the (kafka_install_dir). Use following command to startup Kafka:. Download. The DataStax Apache Kafka Connector automatically takes records from Kafka topics and writes them to a DataStax Enterprise or Apache Cassandra™ database. This sink connector is deployed in the Kafka Connect framework and removes the need to build a custom solution to move data between these two systems.

Install Apache Kafka on Windows 10.

Download - Apache Kafka. Download for Windows. Click here to download the latest (2.37.0) 32-bit version of Git for Windows. This is the most recent maintained build. It was released 3 days ago, on 2022-06-27. Other Git for Windows downloads Standalone Installer. 32-bit Git for Windows Setup. 64-bit Git for Windows Setup.

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2. Kafka & Zookeeper Configuration: Step 1: Download Apache Kafka from its Official Site. Step 2: Extract tgz via cmd or from the available tool to a location of your choice: tar -xvzf Step 3: Copy the path of the Kafka folder. Now go to config inside Kafka folder and open zookeeper.properties file. Welcome to the Apache Tomcat ® 10.x software download page. This page provides download links for obtaining the latest version of Tomcat 10.0.x software, as well as links to the archives of older releases.... 64-bit Windows zip (pgp, sha512) 32-bit/64-bit Windows Service Installer (pgp, sha512) Full documentation: (pgp, sha512.

Apache kafka - How can I install and configure KafkaCat in windows.

Jun 15, 2022 · To verify the downloads please follow these procedures using these KEYS. If a download is not found please allow up to 24 hours for the mirrors to sync. By clicking and downloading the software you are consenting to be bound by the license agreement. Do not click on download unless you agree to all terms of the license agreement. Offset Explorer is free for personal use only. Offset Explorer supports Apache Kafka ® version 0.8.1 and above. Offset Explorer 2.3 (For Kafka version 0.11 and later).

Download - Apache Kafka.

May 04, 2020 · C:\software\kafka_2.12-2.5.0\bin\windows> --list --bootstrap-server localhost:9092 test Produce and consume Messages The producer writes the messages to the topic. The consumer consumes the messages from the topic. Apache Kafka deploys the build-in client for accessing the producer and consumer API. Dec 12, 2020 · Step 1. Introduction. To run Apache Kafka on a windows OS, you will need to download , install, and set up Java, ZooKeeper, and Apache Kakfa. After set up the Apache Kafka, we will run some commands to produce and consume some messages on a test topics on Kafka to ensure Apache Kafka is running properly. Step 2.

Install Confluent Platform (Kafka) on Windows - Niels Berglund.

May 02, 2020 · Apache Kafka is a distributed streaming platform. It provides a unified, high-throughput, low-latency platform for handling real-time data feeds. Kafka can be used as a Messaging system like ActiveMQ or RabbitMQ. It supports fault tolerance using a replica set within the cluster. Kafka can be used for storing the data and stream processing to read the data in nearly real-time. The producers.

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Use the links below to download the Apache HTTP Server from our download servers.... Apache for Microsoft Windows is available from a number of third party vendors. Stable Release - Latest Version: 2.4.54 (released 2022-06-08) If you are downloading the Win32 distribution, please read these important notes. Download Kafka binary package. 1) Go to Kafka download portal and select a version. For this tutorial, version Scala 2.13 - is downloaded. 2) Unzip the binary package to a installation folder. Now we need to unpack the downloaded package using GUI tool (like 7.

Set Up and Run Apache Kafka on Windows - Confluent.

Follow the steps below to install Kafka on Linux: Step 1: Download and extract Kafka binaries and store them in directories. Step 2: Extract the archive you download using the tar command. Step 3: To configure Kafka, go to server.properties.

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Mar 13, 2020 · Installation of Kafka: Step 1: Download Kafka from apache official website: Apache Kafka Download. 1.After downloading Kafka zip file the go to your Kafka config directory, like C:\kafka_2.11-0.9.0.0\config. 2. Then Edit the file “server.properties”.

How to Install and Run Apache Kafka on Windows?.

Verify the PGP signature using PGP or GPG. First download the KEYS as well as the asc signature file for the relevant distribution. % gpg --import KEYS % gpg --verify downloaded_file. or. % pgpk -a KEYS % pgpv or. % pgp -ka KEYS % pgp Alternatively, you can verify the hash on the file.

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