#lms clone script

[appysa-technologies]

Unleashing the Power of Elearning with Innovative Scripts and Apps: Creating Your Own Udemy, Coursera, LMS, and Lynda Clones

Are you ready to dive into the booming world of online education? In this article, we will explore the dynamic landscape of elearning, guiding you through the process of creating an elearning script with apps, akin to popular platforms like Udemy, Coursera, LMS, and Lynda.

Elearning Script with Apps: Transforming Learning on the Go

The core of any successful online education platform lies in its elearning script, especially when complemented by intuitive mobile applications. Integrating apps into your script not only ensures accessibility but also takes the learning experience to new heights. Imagine the ease of accessing courses, quizzes, and discussions anytime, anywhere – that’s the power of an elearning script with apps.

Udemy Clone: Your Gateway to Diverse Learning Opportunities

Udemy has set the benchmark for diverse online courses, and you can follow suit by creating your Udemy clone. Tailor your platform to offer an extensive range of courses, attracting learners with varied interests and learning objectives. With a user-friendly interface and comprehensive content, your Udemy clone can become a go-to destination for knowledge seekers worldwide.

Coursera Clone: Providing a Global Learning Ecosystem

Building a Coursera clone means crafting a global learning ecosystem. Ensure your platform offers a multitude of high-quality courses, creating an environment where learners from different corners of the world converge to enhance their skills and knowledge. Emphasize collaboration and a sense of community to truly emulate the Coursera experience.

LMS Clone: Streamlining Elearning Management with Efficiency

Your elearning venture demands an efficient Learning Management System (LMS). Develop an LMS clone that streamlines course management, making it easy for both instructors and learners to navigate through content, assessments, and progress tracking. An intuitive LMS clone is the backbone of a successful elearning platform.

Lynda Clone: Specializing in Skill-Based Learning

Lynda has carved a niche in skill-based learning, and you can do the same with your Lynda clone. Focus on curating content that enhances users' expertise across various domains. Whether it's coding, design, or business skills, your Lynda clone can become the preferred platform for individuals looking to upskill and stay competitive in their fields.

Conclusion: Creating Your Unique Elearning Identity

In conclusion, the key to a successful online education business lies in creating a unique identity. By combining an innovative elearning script with user-friendly apps and drawing inspiration from Udemy, Coursera, LMS, and Lynda, you can build a platform that stands out in the competitive elearning landscape. Start your journey today and empower learners worldwide with your distinctive elearning solution.

[codenance]

Find the Best LMS PHP Script to Start Your Own Learning Management System Like Udemy

What is Udemy Clone LMS PHP Script?

As per my knowledge LMS script is an already developed learning management code that is written in PHP. With this PHP script, you can start your own learning management app or platforms like Udemy or Coursera. Udemy Clone script is also ready-to-use code in PHP which code is similar to the Udemy app.

However, as of my last update, there were many open-source Learning Management System (LMS) platforms written in PHP that you could use as a starting point to build your own Udemy-like platform. Some popular PHP-based LMS scripts include:

Codenance: Codenance is one of the most widely used open-source LMS platforms, written in PHP. It offers a wide range of features for creating and managing online courses, user management, and assessments.

Moodle: Moodle is another popular open-source LMS written in PHP. It provides a user-friendly interface and various tools for course creation and management.

Claroline: Claroline is a simple and efficient open-source e-learning platform written in PHP, allowing instructors to create courses and manage learners.

ILIAS: ILIAS is a comprehensive open-source LMS that is written in PHP. It comes with a variety of features, including course creation, assessment tools, and collaboration features.

When building an LMS, keep in mind that it requires careful planning, security considerations, and ongoing maintenance to ensure a successful and reliable platform.

If you're not experienced in web development, you might consider hiring a professional developer or team to assist you in creating your LMS.

Remember to respect copyright laws and always check the licensing terms of any scripts or code you use as a starting point for your project. Additionally, it's crucial to verify the legality and licensing of any "Udemy clone script" you come across to avoid potential legal issues.

[linkwell]

In just two years due to covid-19 we all have adapted technology. For two years children have not been able to go to school. College students have not been able to meet in classes. Everything was just a big mess for all the people including the students. But thanks to the Linkwell System’s website, software and applications that have been helping people often with the best Educational LMS Portal Design System. Linkwell System’s Technologies have been making the most suitable and affordable E-Learning application, making it more inconvenient and flexible for the user.

[udemycloneexpertplus-blog]

[sol1056]

if you promise peaches, deliver peaches.

After S7, the asks have been piling up. A few examples:

I was so confused in ep4 when Acxa disappeared, I thought she’d stuck with the team after ep3 and maybe I just missed the scene where she left, but others have brought that up, too.

Funny how the majority of the problems in s7 are because they tried to force BP Keith to the detriment of the story, and ironically, Keith's story, too.

I thought Lance’s family reunion would be much more emotional and be a part of his arc, since he was the most homesick, but then they gave that to Hunk?

Shiro got tossed aside in the most ableist, racist, and homophobic way, and Allura could have had a cool storyline mixing her paladinship and her castle storyline with a new altean mecha, instead of Shiro becoming a bad Allura 2.0 and Keith becoming a bad Shiro 2.0.

Srsly tho, am I the only one who finds it extremely bothering that in writing Allura and Lance they don't bother to show Allura coming to view Lance in a romantic light after her breakup?

Why even bother in S6 to make such a big deal of Shiro/Kuron saying his dream is to be a paladin over and over? Until he was revealed a clone some of us thought he was Shiro, so it's even harder to accept Shiro not being BP anymore.

The EPs seem to be so stuck in their initial idea and salty they couldn’t do it exactly as they want that they just ignore the story itself?

The EPs have spoken of being determined to get the VLD gig out of fear it’d be given to someone who'd wreck the story. That's understandable, but we're talking about a 78-episode, six-season, space opera mecha series. This genre practically demands a sprawling world and a massive cast, and it's far beyond the scope of anything either JDS or LM have ever helmed on their own. 

My guess is that JDS and LM didn’t realize the enormity of what they were taking on, or they (and their bosses) seriously underestimated the degree to which they were wholly unprepared.

Behind the cut: what I meant when I said these EPs are not storytellers.

I’m not surprised the EPs over-estimated their skill, really. People will look at a creative process like art –- where you often start young, practice daily, maybe study it formally, apprentice or intern (especially in animation), and gradually work your way up -- and they see the effort. They know it wasn’t an overnight thing. 

Too often, the very same people won’t accord that respect to the art of storytelling. It’s treated like divine inspiration, something that just happens. We’ve been hearing and reading and watching stories all our lives; how hard can it be to do it ourselves?

It’s goddamn hard, is what it is. I would love to tell you otherwise, but that’s the truth. You can rock your dialogue but you gotta track character goals, too. Complicated backstories only get you so far if you don’t understand how to modulate tension. You can have a great premise but you still gotta resolve the damn thing. A story has a hundred moving parts; scale up to a space opera’s necessary levels of epic and we’re talking exponentially more.

In my experience, the hardest part of storytelling — not the technical aspects of writing, but the art of storytelling — is holding the shape of the story in your head. The entire thing, all at once. You have to, if you’re to see how a choice at this point will echo down the line, or a motif laid here should reflect there, how the theme shifts but stays true from start to end, how these secondary arcs weave together to undergird the main arc.

I’d say a lot of what we learn in our first few novels is how to see — and hold —the story’s shape in our head. I’m not talking dialogue or voice acting or choreography. I’m talking about the overall shape, the vision and theme it establishes, evolves, and eventually resolves.

If we cannot, we will find our stories promise peaches and deliver pine cones.

Looking back, there are too many clues --- almost all given by the EPs themselves --- that they didn't have the experience to do this story justice. What they did have was a certainty that their vision was the best, an inability to deviate from that one story they'd devised, and a continual low-grade frustration at being held back.

Let's go back to the beginning. S1 starts a little rocky (to be expected as a team finds its groove), but S2 builds on S1 quite deftly. It’s not perfect, but in a storytelling sense, it’s the strongest season, and it's much too self-assured to be a beginner’s. It moves swiftly but steadily to a pivotal midpoint, and from there snowballs gracefully into its finale; it balances nuanced characterization with plot movement, and its opening promises bear fruit by the end.

In those earliest interviews and panels, the EPs are often casually vague about basic details, like character ages or relationships. At least twice their answers change, giving the impression they hadn't known and had needed to confirm with someone else. Generally, though, they're low-key and hopeful, possibly leaning on the borrowed confidence of that other storyteller’s influence.

By S3/S4, their tone shifts to a peculiar kind of non-ownership. They joke about having no idea what's going on, tossing out guesses as though they'd be the last to know. They offer head canons, rather than insight. They wear their frustration openly, alluding to the story they'd wanted, chafing at what had been decided for them.

As the story moved into the split-seasons, it's clear that whomever lent that guiding hand in S1/S2 was no longer present. Someone else’s fingerprints are on S3, and my guess is it’s mostly Hedrick, at least on the script-level. The word choices change, the cadences change, the beats change. From S3 on, VLD has all the hallmarks of a muddy vision. 

You can see that in the story’s shape. It holds together, but barely. It darts forward, then sideways, then treads water for a bit. It’s erratically paced, dropping plot points and introducing new ones, only to drop those as well. It can’t settle on a driving antagonist, and when it finally does, it can't keep the antagonist’s goal consistent. It sacrifices nuance for one-note characterization, and shoves most substantiative character growth off-screen.

This continues to S6, which generally continues the focus on plot coupons over character goals, exposition at the cost of emotional beats, and neglecting established characters to introduce left-field swerves in the guise of plot twists. On the plus side, it does manage to rally enough to end its multi-season prevarication, and put to bed questions hanging around since late S3.

It's worth noting that both EPs have only a single writing credit each, for the pilot three-parter. That makes it doubly striking that JDS chose to write the Black Paladins episode. After the season aired, JDS complained in passing about rewrites on his episode. If that seems odd, remember that an EP has final approval on every script. If it bothered him to have his ideas rejected in favor of keeping Shiro, it must've burned to have his writing choices countermanded.

From the timing and the episode credits, this must've been around when Tim Hedrick left the team --- and the EPs took full ownership. 

It shows in their post-S6 interviews. Gone are the ambiguous expressions or vague promises of doing their best. Their wording is declarative: what Kuron had been, what Shiro would be, the resolution of Shiro’s illness, the nature of Shiro’s past relationship. None is equivocated, nor couched as head canons. They’ve taken control of the narrative, and their interpretation is now the deciding one.

This change was important enough to them that they had to make sure we’re aware. There’s simply no other reason to tell us S7 had been written in its entirety, let alone tell us the original outcome. Nor is there any other reason to tell us they petitioned for — and got — permission to rewrite.

When I look at S7 with my writer’s hat on, everything tells me this is where the brakes came off. With Hedrick’s departure, there was no one left but the EPs themselves to steer the story. By whatever means, for whatever reason, VLD went from a crafted vision, to a conflicted one, to none at all.

Set aside the larger controversies for a moment, and just think about the shape of S7. It’s almost three seasons in one: the first part skips from event to event, then abruptly timeskips to reset the entire playing field. That second part in turn is divided from the last half by a two-parter that halts momentum for an overlong flashback with an entirely new cast, followed by a finale that mostly backseats its protagonists in favor of letting that new cast dominate.

There’s a common pattern in the way beginner writers react to critique, and I see that all over the EPs’s responses, from the beginning. It’s only grown worse since S6. They can’t quite juggle the story they think they’re telling versus the story they’re actually telling.

I’ve had these conversations too many times to count. I ask, how did this character get from here to there? The newbie storyteller is quick to explain, usually in great detail. I ask, but then why did this happen? The more I dig, the greater the chance the newbie will get angry that I don’t seem to be reading the story they’re so obviously telling. If I keep pushing, they’ll get defensive.

They’ll confidently assure me this is exactly the story they’d intended to tell, and if I don’t like it, that’s my problem. (They may not be able to hold the shape in their head, but they’ve probably already taken to heart the adage that one must stay true to one’s ‘artistic’ vision. The part about listening to critique even when it’s uncomfortable… that takes a bit longer to learn.)

My reaction almost always boils down to: you’re telling me this amazing story, but that’s not the story you’ve actually written.

Sometimes the best description of the shape of a newbie’s story is that of a house after a tornado’s swept through: the front door is on the chimney, the roof is half-off, and the windows are shattered in the front yard. Most of the pieces are there, but it’s all so jumbled the newbie storyteller can’t see what’s missing. They can’t hold the shape of the story in their head, so even when they know here’s where something goes, they’re too overwhelmed to remember the door they need is still on the chimney.

An epic story is no cakewalk, and boy do I give credit for that effort, but it’s one thing to learn by noodling in a fandom on AO3. It’s quite another to do it at the scale of a television series, let alone one with the expected scope of a space opera spanning galaxies. This is not the place to learn as you go.

Here’s why the shape of the story — and holding that in your head — is so important. 

Think of a story’s resolution like a fresh peach. You want the reader to bite into the peach as the culmination of everything the story has been, from start to end. But you don’t get a peach by planting pine trees. You must start with the proper seeds, and make sure what grows is a peach tree, such that your final act bears the right fruit.

I touched on this before with the promise of the premise. Themes, backstories, world-building, and motifs are facets of the seeds planted in the first act. Everything you need to resolve the story must be present when the story begins; that’s where your premise lies, and your promises are made. 

Through the entire second act, the tree must grow. The storyteller’s task is to trim as needed, bind this to that, shore up the roots, add water and nurture: this is where the theme expands, the foreshadowing laid, the questions reveal answers that lead to further questions, narrowing the outcome, each outlining the tree’s shape in sharper detail.

By the time the story turns the corner into the third act, the readers should be reasonably certain they’re going to get a peach tree. This is not a bad thing! You want them looking forward to plucking the peach and enjoying it. You want everything planted at story-beginning to come to fruition, at story-end.

That is why you must hold the shape — the vision — in your head, always checking against where you began and where you plan to end. You cannot throw out the entire tree at the end of the second act and start over; if you ignore the fruit your story is producing and insist on serving up pine cones, you’re going to have confused and possibly angry readers.

You promised them peaches, damn it.

The story is now midway through the third act. Everything planted in the previous seasons must now be coming to fruition… but it won’t. The EPs are openly (even proudly) reversing course on everything that’s come before. That means directly violating every motif, every thematic element, every bit of foreshadowing in word, image, or sound.

And at the same time, the story’s scope is simply too vast, and they haven’t the experience to juggle all the thousands of moving parts. The result is the most slapdash season, yet. Characters simply drop out of sight, only to reappear again with no warning. Themes and motifs built up over so many episodes are tossed aside as if they mean nothing.

The hand-to-hand fights are visually striking — the EPs’ strengths are in storyboarding, after all — but emotionally hollow, bereft of dialogue that could finally give us closure. Characters that would’ve once spoken openly with each other barely exchange a word; character-distinct dialogue is uttered by someone else, as though the VAs mixed up the scripts in the recording booth.

To achieve the emotional heft required for a meaningful resolution, there must be echoes of the story’s beginning. But when the beginning is negated—underscored by a timeskip that resets the entire playing field—there’s nothing to refer back to. The events now are happening in a void, divorced from the themes and motifs that created the emotional context in the first place.

This is by design; the EPs’ vision has never matched with the story as it was told to this point. They can’t go back, so they’ve rebooted. Once with the timeskip, and again with a two-parter episode that introduces new characters that can be entirely their own. Compared to the protagonists, these secondary characters have been lavished with attention to the point of overload: full names, backstories, designs. All of of that, and the time required to introduce them is to the detriment of the actual protagonists.

Whatever story VLD ostensibly set out to tell, that story is gone, now.

This is no longer a matter of losing track of the story, such that the promised peaches have transmuted into pine trees. We passed that point somewhere in S6. The EPs have burnt down the orchard to plant new seeds, while doing their best to ignore the charred stump of the story we'd been promised.

I would've preferred peaches, myself. That was the story I was promised, and that was the fruit I expected from everything I saw onscreen. But now? 

I hope you like carrots.

[growwider]

Best Online Learning Management System PHP Script I Udemy Clone

Growwider’s LMS is a script to set up an online school to offer courses with articles, videos, and quizzes. The bundle of online learning management systems includes an attractive Website with 4 designs, Full-fledge Blog to publish articles, Complete Forum to help users to communicate among themselves and learn as a group. The main LMS Script is built on Laravel 5.7 and coded with best practices and human-readable format to easily extend.

The LMS PHP script has all the basic requirements such as Login, Register, Social Login, Forgot Password, User Management, and Role Management. Admin can manage every aspect of the online learning management system while Teacher can create multiple courses with Lessons and Tests. Users can browse through the courses and can enroll as a student by paying for the course and educating themselves anytime and from anywhere with this Udemy clone app. All these functionalities are built with utter care and have detailed legible documentation to make the job easy.

It is like a Uber clone script.

[codenance]

LMS PHP Script | Udemy Clone App Development Services

Udemy clone app development and LMS PHP script offer a customizable and scalable platform to launch an e-learning startup or business. With this script, you can build a fully-fledged web application for your online education business.

The Udemy clone app is an easily customizable platform with amazing features to make your e-learning startup smart and can be launched in no time. However, creating a Udemy clone website can be challenging without proper guidance. The Udemy clone app is a well-suited customizable platform with stunning features to take your e-learning startup to the next level.

[abservetech]

Hey Entrepreneur! Have you interested to start your own LMS website business like Udemy? We, Abservetech, offer you the best Udemy clone script at an affordable cost. With the current market trends, we have developed our Udemy clone script that incorporates astonishing features to enrich your revenue.

[phoorn]

Let me complain about Meson

About Hobbits

Meson’s a build system. Or possibly Ninja, Meson’s backend, is a build system. Let’s just say the whole thing is.

It’s an alternative to CMake, which is an alternative to the Autotools, which is a way to write makefiles that work on various systems for fewer pints of blood and sweat. And makefiles are basically recipes, a convenient way to run shell commands that (most commonly) translate your source code into a binary that your computer can run.

When I first used Meson I went, “Wow”. I was thrilled. I’ve never got my head around makefiles, I think because – well, I’m always saying I’m stupid, so this time I’ll say – I’m lazy. Makefiles aren’t complicated at their core. I think what’s confusing is the many shortcuts you can take with them. Many shortcuts make things hard to learn. You can’t see the wood for the trees. And cruft.

If I do one day finally learn Make, I’ll deliberately restrict myself to the old, more verbose syntax. This general approach is what everyone should take whenever they learn something. Start with the scales (music analogy). I’m a guitarist and I’ve hardly bothered. They’re boring. And you think (’cause you’re arrogant) other people need to start with the scales, OK – and there’s nothing wrong with being dumb! – but me …

Lots of us are like this. We think we understand enough or at least trust our perception of our own intelligence – and rush ahead. When people ask other people how to make computer games they get told to make Pong. “Actually, sorry, no,” says OP, “I’m making an open-world simulation CRPG, thanks. Yes, I know it’ll take me a while.”

You’ve got to make Pong. I’m thirty-six and I’ve known this for years. And yet the game I’m writing is a Zelda clone. However, I have paid my dues, having written approximately 1,00,000 command-line programs.

The problem with bells-and-whistles, do-everything-for-you things (like Meson) is what do you do when you can’t get it to do the thing you you need it to do? Look in its documentation. Or possibly the documentation for one of the many programs/libraries/framewords/apis it uses. And when you do, you find (tenuous metaphor) they’re talking Mario and GTA and the Elder Scrolls and you don’t understand, because you didn’t make Pong.

They don’t want you to make Pong. “Try our system/framework/platform. It’s got x and y and you’ll love it! You’ll never have to bother with all those low-level things again.”

Tom Waits can explain it better.

And you end up dumb as a brick. A user instead of wizard you deserve to be. They took your magic wand.

So why am I ranting away about this? As any mediocre scriptwriter will be able to guess, there has been an inciting incident. I am incited, and an incident is responsible.

Basically, I was playing with Zig 1. No one’s written a Syntastic (Vim linting plugin) checker for it, but there is a Zig language server. So I got rid of Syntastic and got ALE (Asynchronous Language … ?), which does the same job as Syntastic, but asynchronously and with LSP support.

LSP – Language Server Protocol – is a Microsoft thing. A good thing, a way for any editor to offer lots of IDE-like things. We could always do those things, with various tools like Ctags but this does it better. Because it makes use of your actual compiler or interpreter’s output.

Getting it set up’s not easy, though, though it worked for me first try this time. A testament to how much I’ve learned? Maybe, but ALE knew where to look for the compile_commands.json and Meson stuck it in the right place.

I always make an effort to properly introduce technical things I talk about, for the sake of the fictional layperson. I, for one, get bored and stop listening to things I don’t understand. But it’s hard, and I’ve failed here before even getting to my point.

Which is systems like Meson are shit. I’ll keep using it, though. I won’t write Pong, and I won’t use Cmake.

The reason it’s shit is I’ve spent five hours trying to silence a clangd warning. clangd’s the name of a language server. For C and C++. At some point today I completely forgot about Zig.

I use gcc to compile my C programs, and too eagerly use gcc extensions. The language server stuff is all to do with clang. So, though I’m compiling with gcc, clang is being used to LINT 2 my C program.

This should be fine. clang claims to be a drop-in replacement for gcc. But it’s not.

Tom Bombadil

I like gcc’s “-fms-extensions” flag. That lets you include structs that have already been defined as anonymous members of another struct.

struct apple { char *name; }; struct orange { struct apple; };

It’s -fms-extensions that permits the nameless struct apple inside the struct orange. Normally you’ve have to give it a name, like:

struct orange { struct apple apple; };

And refer to it like orange.apple.name = "Frederick". -fms-extensions lets you do orange.name = "Frederick".

It’s just nice. I’ll show you another trick, while I’m on the subject.

It fixes the only downside of this approach, which is that now you can’t refer to the member struct as itself: it doesn’t have name. But!

struct orange { union { struct apple; struct apple apple; }; }

Now you are eating your cake in addition to having it. You can now refer to apple’s members without saying apple’s name. And you can pass just the apple to functions that expect one. By writing orange.apple.

One last thing on this topic. Even without -fms-extensions you can mostly do this. You can define anonymous structs, anonymous unions. You just can’t define a struct outside and then use it inside without its name. You can do this:

struct fruit { char *name; union { struct { float sourness; }; // oranges struct { float crunchiness; }; // apples } }

The Barrow Downs

Right now I’d rather know the language of Make. I would have silenced that warning in a jiffy. I’d be rich by now, the time I saved.

It’s swings and roundabouts. I’m obsessed with this idea. There’s no such thing as a free lunch. Programmers (and maybe writers) know this better than anyone.

You do this really awesome thing in an effort to make your program or story better. And it takes ages. And when you’re done you have …

Oh, sometimes you’ll have more flexible code, or more robust code, or faster or more memory-efficient code. But you’ve sacrificed something. Readability, perhaps. Speed. Whatever. It’s gone and there’s no fucking way you’re going back over it again. You’re stuck with it. You’ll defend your decision to the death. You bled for it.

Meson’s big selling-point is it just works. Oh, it’s worth it. I said it was shit earlier – that was a lie. But I’m still mad it took me ages to fix my linter problem.

Hey, Wait, We’re in Mordor?

I’ve got a new complaint.

When I first started programming, I used Visual Studio and Windows. I remember how hard it was for me to compile my first program, which was probably an SDL example. Probably there was Hello, World before that.

Someone said somewhere the hardest thing you’ll ever do in programming is compile your first program. And, oh, I agree. Because there’s all this stuff to learn.

I buggered off to Linux, partly because I’d come to realise if you want to program, particularly in C, it was the place to be. A lot of programming in Windows and Mac is programming in Linux. Users of those OSes use virtual machines, compatibility layers and servers to do it. They have, I am sure, mighty brains, because it’s one thing to compile a program, and quite another cross-compile it, or do it in a VM or container, or do it on the web somehow.

What I didn’t like about Visual Studio was simple: you gave the compiler and linker and build system options by filling out textboxes and picking from menus.

I roared, “But how does it work?”

I felt strongly that Visual Studio’s friendly user interface was obscuring the reality of what I was doing. Now it blindingly obvious to me it’s turning all those textboxes, checkboxes into a commandline, which it’ll fire at the compiler. But I didn’t then.

Meson gives me a strong whiff of that. Look.

add_global_arguments ('-fms-extensions', language: 'c') add_global_arguments ('-Wno-microsoft', language: 'c') m_dep = cc.find_library ('m', required : true) sdl2_dep = cc.find_library ('SDL2', required : true) sdl2_image_dep = cc.find_library ('SDL2_image', required : true) sdl2_ttf_dep = cc.find_library ('SDL2_ttf', required : true)

These are just commandline flags. Meson is taking these strings you give it – “SDL2”, “-fms-extensions”, etc – and appending it to a call to gcc. The cc.find_library function is calling something like pkg-config or cmake. Is all this stuff really better than:

gcc -ggdb3 -Wall src/* -fms-extensions -Wno-microsoft \ -o build/whatever -l -lm \ $(pkg-config sdl2 --cflags --libs) \ $(pkg-config sdl2_ttf --cflags --libs) \ $(pkg-config sdl2_image --cflags --libs) \

Maybe so.

In summary, I could have solved this Meson/LSP/ALE/Vim thing in five seconds flat if I’d written a makefile (or, frankly, since my project is hardly huge, a shell script). But I won’t start writing Makefiles any time soon. I reserve the right to complain about it in the future, though.

a language I definitely approve of, that’s packed good ideas and things done right, that I probably won’t use, because already know how to do the things it tries to solve, and learning new languages makes me feel like a toddler or an old man. Maybe one day! But it’s new, too, and if there’s one solid lesson I’ve learned in my years using Linux and programming it’s don’t use new things. Use old and safely dead things, expecially those whose undead life is regulated by crusty old men and women. Because there’s documentation! And they’re getting round to implementing those features you envy. They’ll get there. And in the meantime, well, you can do it gcc already.↩︎

A linter is a program that looks at your code and points out some kind of problem. Some show syntax errors, some tell you that it doesn’t like your coding style. Some just annoy the shit out of you and you don’t know how to shut them up.↩︎

[oursathish11-blog]

Udemy Script | Lynda Clone Script | PHP LMS Script | i-Netsolution

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[sol1056]

more asks: when retcons attack

tl;dr: harsh truth, y’all: there’s only one way out of this quagmire, and it’s not around or behind or above. It’s through. 

Let’s see. First in the list are the bunch o’ anons who want to know when Yoo left + when EPs changed + issues of S2′s writing (reveal, filler eps). 

Yoo has EP credit for all 24 episodes of S1/S2. (The three-part pilot is counted as a single episode.) Oddly, the Koplar brothers have 23 credits, skipping S1E2, Some Assembly Required. The outlines and story ideas for those episodes were probably hammered out back in 2014. Animation may get behind schedule, but it almost always does start well in advance. 

The fact that Yoo may’ve contributed greatly to the story outline doesn’t mean he has writing credit. It’s possible he made vague motions at “the team finds out Keith is part-Galra,” and left the ‘finding out’ to be handled at the script level. If Yoo did contribute enough to the story to get the EP credit for that, then he probably worked at the broadest strokes. If the episode is badly written, that’s on the writer and the story editor. 

My guess at who influenced which seasons: 

S1, S2: Yoo  S3/S4, S5: Hedrick* S6: Hedrick, with greater EP input (plus script) S7, S8: JDS and LM

* remember post-S3/S4, where the EPs’ interview tone was of not knowing what was going on. It’s possible that was more truthful than we realized at the time, if they’d left the scripts in Hedrick’s control. I have nothing to go on but my gut, but I wonder if the growing EP involvement was out of annoyance that Hedrick was setting up the pieces for Shiro’s return as Black Paladin, rather than his return and benching.

So THAT'S how EPs managed to steer the story their way, he wasn't there to stop them so they leaped at the chance post S2? And Hendrik could only try to make it make sense and keep the premise as much he could?

It’s the best explanation I can think of, at least.

With all the backlash, there’s no way [the writers] in this clusterfuck won’t spill the deets as soon as they can (in a professional way ofc) to absolve themselves for things they were forced to write

One way or another, most of the behind-the-scenes madness will come out. I can tell you this: if DW doesn’t give the EPs another show --- thus reducing the professional risk in speaking honestly --- we may get those truths sooner rather than later. If the EPs do prove to be paying someone under the table and are protected from their mistakes, we’ll still get the truth. It’ll just come at us sideways and in hints and allegations. But we will get it. 

That brings us to retcons. 

If DW want to fix VLD they can. It's only unsalvagable if EPs continue trashing canon and retconning things, and they will, but: the show has given so much to write plausible explanations: mind manipulation, AUs, messing with time, cryogenic sleep.

All of which aren’t new nor original to VLD. Those are standard SFF tropes, and anyone doing VLD (or some other futuristic SF series) will have those in their genre rolodex. The problem isn’t that VLD couldn’t tap those tropes, but that they didn’t throw them in because they were organic to the story. The EPs are proud of their rule-of-cool approach, and you can see it all over the story’s flaws. They threw in whatever seemed cool at the time and never thought of how it might impact anything beyond that one point of cool. 

And an anon with a lot of questions:

What's your idea of a well-written retcon?

A reboot from the ground up. 

What would you advise writers to be careful of?

Ever getting suckered into retconning someone else’s work to ‘fix’ it. 

Unless you are very, very good --- and I can count on one hand the writers with the right combination of curiosity and ingenuity --- you risk making even more of a mess by creating plot holes in the course of filling other plot holes. Just avoid it, and take some other job. 

Life’s too short to be someone else’s clean-up crew. 

Also what do you think about retcons in vld s7-8? ...If S1/S2 along with watered down S3/S4 [is VLD #1 and] S5-S6 is ... VLD #2, [can] another retcon somewhat fix things? It can't erase the damage or revert VLD to S1-2 sadly, but maybe cutting the infected parts will make way for future seasons/sequels to make Voltron VLD 1 again?

How? “Cut to Bobby in the shower, waking up to realize the entire season was a dream”? You said it yourself: it won’t erase the damage. The story is broken at this point. The best we can hope for is a band-aid, some paltry attempt at closure so we can all be done and move on. 

At the very latest, S4 was the last chance for the story to turn itself around. Keep Keith on the team, have Black reject the clone, have the clone attack, let the team deal with it, find Shiro, reverse the lion swap, take down Lotor, then Haggar, then return to Earth for one last clean-up and introduce new characters and setup the continuation. 

We’re thirty-one episodes past that turning point. There’s no going back now. Whatever fresh hell is currently springing full-grown from the heads of the nostalgia-obsessed EPs... well, it’s what we’re gonna get. 

We may get band-aids, but that original story and its promising setups are gone. Nothing’s going to change that. If that frustrates you, the answer is to pummel DW Animation TV with your complaints so they’ll realize that a) there’s a diehard fandom that wants VLD done right, and b) to make sure any redo has god-tier storytellers like Ehasz or the Hageman brothers. 

VA interviews prove EPs unprofessionalism

I think the EPs’ own interviews do that all on their own, tbh.

the EPs trashed canon by changing VLD's arcs and the natural storylines the VAs recorded, and let them take the fall for making "wrong" comments. ... Jeremy reassured VLD would follow logic: Keiths sacrifice will be addressed [and he’ll] be angry at Krolia for abandoning him, Lance will use his sword [and] be someone’s first choice. None happened.

I realize now I was wrong to side-eye the older VAs for seeming to not know what was in the upcoming season. Seems like they probably ended up recording multiple versions of the story. I wonder if they still do the group watching together when the season comes out (pretty sure they did it for S3 and S4, ‘cause iirc AJ was part of it)... it’s got to be somewhat subdued watching, now, to see none of what you’d thought you were helping tell ever made it to the screen. 

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