When I started making The Moonstone Equation it was just a test-bed for ideas and a place to try our new things; it didn't even have a name. It was years into development before I considered making it a commercial product and because of this it's ended up being created from the ground up on a custom engine, written in C++ using minimal external libraries. If you're the sort of developer that thinks this is a good way of doing things then this page should serve as some sort of warning to you. Or at the very least give you some indication of what you might be getting into.
You should also be warned that this is a really long and occasionally technical article. But, if you can't get to the bottom of this page then you've got very little hope of actually doing the work it describes.
So you've decided to write a game and engine from scratch without using any of the hundreds of great libraries or dozens of existing engines. Good for you. Like me you're probably doing this to learn more about game development (and programming principles) along with the various bits of code and technology required to make everything work. First thing to decide is where you're going to draw your distinction for 'no external libraries' because unless you intend to start writing drivers you're going to have to use at least a few libraries. In my case I chose to use some of the C standard libraries like stdio.lib (because I'm old) along with Direct X, XInput, XAudio and a few helpful windows libs like PSAPI and WinInet but that's about it. Obviously I could have chosen a different minimal set and the inclusion of all that Direct X already represents quite gap between me and the actual hardware but it's also a very very long way from what's required to make a game engine (and game); as you'll see below.
Now it's clear that you've decided to do things the hard way then you've definitely decided not to use any of the helpful C++ functional libraries or any of C++ standard templates and containers. This sort of thinking is actually very common in the games industry. In most cases we decide our additional context or domain knowledge and specific target platform decisions mean we can do a better job for the smaller set of cases we actually have to cover. This isn't always completely crazy. For instance, the standard templates are very generic, very well tested and often very useful but they're also pretty ugly, difficult to debug and often do things that make games developers teeth itch; like allocate memory in unpredictable (or annoying) ways. That's okay for you though, you're making everything yourself. So what will you actually need?
Bear in mind here that I tried to just make the things I actually had a use for but occasionally some interesting shiny problem would catch my attention and I'd spend a few days implementing something obscure just to see how it worked. You might spot a few of these as you read.
You're not using those helpful libraries so you're going to need to implement some basic universally useful functions in order to implement anything even a little bit complex. These are the sorts of functions that you see in computer science courses and you'll find to be popular choices for interview questions for programming jobs so it's good stuff to know about anyway.
Lets start with the ones and zeros. There are tons of uses for functions that mess about with individual bits and better still they can all be quickly tested for all possible inputs to make sure they're working (unless you're doing everything in 64Bit). They're also an endless source of distraction; my inner micro-optimiser loves nothing more than to stare at a ReverseBits function and wonder if it could be done in less cycles. At the very least you'll need a bit swapper, counter, setter and getter along with functions calculate the next power of two and calculate log in base 2 of a given integer. You might also want to implement grey code conversions and and integer crushing while you're at it.
Even though I'm not talking about the cryptographically secure hashing functions you might use to protect your bank account here it's worth noting that this field is crammed with people that can and have definitely done a better job than you could. These things should be approached for study, don't go building big bits of your engine on top of your own hand-rolled hashing function unless you want to deal with some super obscure bugs in later life. Understand and implement an existing (non-patented) algorithm and stick with it.
You're going to be asking lots of questions about parts of pieces of text so it's good to get a strong (and well tested) set of string handling functions written. String processing is so common that the more different functions you can think of the better. You can even get distracted and spend days optimising and tweaking it all too if you like. I think these might be my inner micro-optimisers second favourite source files. Also, I'd suggest you stick with Unicode with occasional char conversions as needed (because some old function) you'll thank yourself later. I opted for some obscure stuff along with lots of basics like ToUpper, StringLength, EndsWith and Concat but you can go as crazy as you like.
If you're not doing maths and logic or looking at strings then you're probably moving blocks of data about. You'll need some classes to contain and manipulate contiguous blocks of bytes. Initially you'll just need to make them, fill them empty them and copy them about. Later on you'll be doing a lot more. At this point you should also create the functions that allow you to convert ints, floats bools and all that into steams of data and back again.
A general purpose set of classes or functions for measuring the number of clock-cycles between two points in time is essential; either because you want to check that those high performance functions you've written really are or to control how much time different parts of your engine spend doing work. We've had high resolution timers available on our PCs for a long time now so they're definitely the place to start. However, it's worth doing a little reading to make sure you understand the effect of using such timers on modern chips that have multiple cores that may or may not all be running at the same speed as each other.
Most games need lots of (pseudo) random numbers and your's is probably going to be no different. You could just use the rand function but that's really not in the spirit of writing everything yourself (it's also pretty terrible). Much like hashing functions this is not an area to approach lightly. Lots has been (and still is) written about generating random numbers so you might find it much more useful to base this critical system on an existing (non-patented) algorithm instead of rolling your own. I'd also suggest avoiding the really big ones like the mersenne twister unless you really have a huge need for quality numbers over performance. Obviously you could write more than one. It's also worth making sure that when needed you can control how your RNG is seeded; not only will this help you hunting bugs it will also make it easier to write procedural, network or replay code.
Humans make mistakes. Despite occasional evidence to the contrary, programmers are human. So I always try to write my code in a way that defends my future self from my own errors (or potential errors). I achieve this in a few ways. First there's the testing, simply writing something and walking away assuming it's all fine usually ends badly. Then there's things like exceptions and asserts to make it clear when I've violated my original design assumptions or my past self did something stupid; he's done that a lot. Finally, the part that's relevant here, I try and make things that avoid the possibility for me to make stupid mistakes. If you're going to spend years making your new engine and game then you might consider doing the same and a good place to start is your nice new container classes.
Having at least two array classes, one pre-allocated and one that auto re-allocates is a good place to start. Your future self will thank you for having a simple array that clear's up after itself and handles range checking instead of leaking or overflowing. Obviously you can spend as much time as you like considering important things like cache alignment, thread safety or what strategy to use for array growth; I used 1.5 but some people like doubling and others prefer a little bit of fibonacci, it all depends on expected usage patterns.
I love the intrusive linked list. It's gone out of fashion in the last 20 years but for me it's useful properties far out weigh it's negative points (terrible cache behaviour or reliance on things being derived from a base list-node class often come top of that list). If this thing is new to you then great, that's why you're writing everything yourself right? In it's simplest form an intrusive list is made up of classes that contain the list referencing machinery inside them; usually in the form of a next (and if you like previous) pointer. Once you've allocated a pile of list-node derived classes then these containers come with constant time insertion and removal, linear time traversal and zero extra allocations; all good stuff.
Now you've got the simple containers you can move on to the more tricky containers. The design of these is sufficiently complex that people continue to write research papers about their implementation. Once you've done some reading and gone straight to implementation you might find you have to re-write these a few times until you're happy with them. The main benefit of doing these yourself is the huge amount of understanding you gain about their implementation. You also get to impose constraints on their design that allow for some domain specific optimisation.
Everyone needs a string class (probably). Now you've written all those helpful string functions and containers this is probably the first point where you can mix a few together to create a useful new class. The first thing you might want to consider in your new class that significantly differs from the standard strings is their immutability and behaviour for small units of data (a common use case). In my case I opted to make my string class use memory from a pool of 64 byte blocks unless it's contents required more than about 28 letters (leaving some bytes to store length and hash) I also made then mutable (allowed their contents to be changed in place). This meant for 95% of my use cases there was no heap allocation when working them and simple work was nice and fast. Obviously you're making your own game and engine so you can do what ever you fancy.
A fun place where many programmers like to make their lives difficult is in the handling of references to locations in memory. If you like you can just rely on your own fleshy brain to remember all the places you stored pointers to objects with potentially dynamic life-times; or, you could do the sensible thing and implement some wrapper classes for common pointer behaviours. At the very least I'd suggest you need an unique-pointer (something that only one object can own) and a shared-pointer (something many objects can own). As with many things you should do some reading here and about 300% more testing than you think is appropriate.
So now you've got the critical things written you're on your way to developing your engine. The next thing you might consider doing is the other universally useful stuff that's not necessarily game orientated but forms the back-bone of many game engine systems. We're starting to move very distinctly into territory that's coloured by the decisions I made when developing my engine. You can (and should) approach these things in any number of different ways.
Almost everyone that plays your game is going to do so on a device (in my case PC) that has more than one processor running on an operating system that supports multi-threading. So making some effort to use all that other processing power is probably a good idea. As threading makes everything just a little bit more complicated there are a few things you're going to need.
Adding values, assigning things and comparing values are all open to complex interdependence when threads get involved. To reduce the risk of thread bugs driving you insane I'd suggest some wrappers for basic atomic operations. For instance I have some atomic counters and classes to call functions under conditions defined by atomic operations along with a few atomic math functions.
There are some times when you need to do a little more than assign and test an integer. Thread synchronisation primitives are there for those occasions when you simply have to talk between threads and as such need some way to mediate what's going (so everything doesn't just explode). This is another area where you should take significant caution. Even after years of working with threads they still occasionally catch me out. In the end I only needed to implement simple wrappers for the critical section and semaphore.
This is the bottom level of the more structured file/resource handling system. The point of contact between the engine and the operating system for gathering data stored on disks either locally or perhaps across a network. It's also another fun place to worry about performance.
It'll not take you long to realise that file paths are like an extra complicated string handling problem. At that point you'll realise you need a specialist path class to contain all the extra functionality used to manipulate what is basically just a string. Things like RemoveExtension, MakeRelative and Exists. In the end I found my simple path class needed 26 public functions.
You're doing everything yourself so your only option is the basics fopen, fread, fseek, fwrite and fclose. Actually that's close but not quite true. Some of those functions have some undesirable security characteristics so you should really be using fopen_s and fclose_s. Once you've wrapped these in a nice class and tested it endlessly you can move on to more significant things.
Your game is probably going to depict graphical objects moving around in some sort of space (I hear many do) so you're going to benefit from some structures that relate to more complex mathematical objects like vectors and matrices. Again, there are definitely very functional, fast, well tested maths libraries out there but at least by creating some yourself you'll grow to understand why you should usually never create them yourself, at least not entirely.
The common approach is to create some 2d, 3d and 4d float and integer vector classes, fill them with tons of operator overloading and helpful functions and leave it at that. That's exactly what I did because it makes game development easier each day. What it doesn't do is make high performance code. Worse still, some people then decide the best route to improve each of their classes is to replace the individual members they simply called x,y and z with a SIMD primitive instead. If you want high performance vector operations don't make tons of little classes. instead understand your problem domain and make big parallel blocks of vectors to suit. Anyway, rant over, back to making your game engine.
When it comes to the next level of math classes you need something reliable and understandable. If you can't verbally explain to another person how a quaternion works then you should probably not be writing a maths library. After spending some significant time writing things myself and finding occasional weird edges cases that didn't work correctly I opted to throw the whole lot away and wrap the DirectXMath matrix and quaternion functions in a simple interfacing class and walk away; you might want to consider doing the same.
You're not always going to want to read files stored in a binary format. A great deal of power comes from being able to read and interpret text files. This is where all this string functions get some use. When writing your script reading classes you should bear in mind that structured text files can be much more easily edited by fleshy error prone humans and are therefore much more likely to contain mistakes. Obviously binary files can also contain errors that need to be handled, but the nature of parsing makes the task of error handling in a text file a little bit more complex. As you'll see when you implement it.
Once you've created your robust tokenizer and are happy it's capable of dealing with all sorts of input you can move onto process of turning that into data inside the game engine. You could write an XML or JSON or just do as I did and write some helpful functions to read values and understand structure markers like brackets, semicolons and line-ends.
As you'll see later there's a great deal of power that comes with a reliable script reader.
I should start by saying that this is an absolutely non-essential feature of your engine (or mine) but it is a source of some very interesting (and very distracting) problems. It's also an easy way of accidentally violating some patents so you should take a little care if you intend to implement any sort of compression. Interestingly, unlike hash functions and random number this is a great area to attempt to roll your own stuff. There's very little risk and the worst thing that can happen (assuming you code is still tested and reliable) is that your files are all exactly the same size as they already are (and you wasted a few CPU cycles).
There's lots of literature available about all sorts of methods for compressing data and if you want to write your own then you're also going to have to do a lot of reading. There are lots of options ranging from very simple things like run-length-encoding through huffman encoding to horrors like adaptive arithmetic encoding. Obviously if you choose to implement something you don't understand your future self will probably not thank you for it.
I'm mentioning encoding separately from actual compressors because they're have different jobs. Encoders are primarily tasked with reducing the entropy of a block of data without necessarily making it any smaller. A few good encoding steps can often turn your average compressor into something pretty good. Again this is an area where you can roll your own code (as the results are easy to test and measure) but you'll also want to implement some classics like the Burrows-Wheeler-Transform and the Move-To-Front transform.
Knowing that you have a single file location to go to for all your data is quite useful. It also makes deployment a lot easier. First thing you'll have to do is extend your basic file handling to deal with files that are potentially stored inside larger files (which may now be compressed). Simple implementations of this are just big package files (all the content of all the files bunched together in a single file) with indexes of contents at the start. These can either be read when files are requested or read when your engine starts up. In either case you simply use that information to decide weather to read a file from a package or a loose file when it's requested based on those indexes. I opted for variation of this method. I knew I didn't need lots of data so I read all the packages in when the game launches and unpack them as needed, basically creating a file system located in memory that's checked before disk. Oh, and don't forget you'll need to write some tools to create those packages.
As your engine and game grow in size you are going to start leaking memory. I say that with certainty because I've never seen a situation where every programmer perfectly accounts for all their allocations 100% of the time; unless you're some sort of memory allocation savant. That's okay, you just need some tools to ensure that you can spot when it happens and fix it. That's where you need a memory tracker. This is a piece of code that notices every single memory allocation and de-allocation and keeps track of its source and lifetime. It can be quite slow and memory intensive so it's probably not something you want running in your released code. In my case I start the memory tracking up before everything else (including the initialisation of static objects) then analyse the results as the application closes and display a report in the debug window; simple but effective.
Okay you're doing pretty well; you've got some basic globally useful systems and you can start to think about the architecture of your engine. This is so subjective and there are so many ways to approach the problem that my only option is to tell you what would be required to make my engine. So, from now on I'll assume you've curiously decided to make exactly the same design decisions as me, that may or may not be a good thing. Luckily I've made a fairly generic PC-centric engine so many of the things I talk about below can apply to other designs.
I've defined the distinction between the engine and everything else as the point at which systems and classes are designed to be part of a complete whole that supports the creation of a game rather than separated parts that could be used in lots of different applications. There's much more cross-dependency within the engine.
You're not going to get very far without data, usually in the form of graphics and audio or scripts/binaries. You'll quickly realise that simply calling a simple open-read-close style 'loadBlah' function when you want something is going to be horrible to use and add lots of stalls to your game when ever it happens. Instead you could make use of all that thread code you wrote earlier along with some of those containers to create a streaming resource system that supports lots of different type of file. Obviously you'll need to handle the possibility that some resources rely on others and most need some sort of fix-up function once all that loading is complete, that should also be threaded. You should also make sure it's easy to add new resource types as your engine grows, at the moment you've not got a renderer or a sound system but you'll need to feed them both with data once they're created. So what's the minimum set of file types to support? That depends what you're making. I didn't need to load 3d models but I did need textures, audio, shaders, general scripts and binary data. The file handling for each of these is detailed in the sections below that relate to the systems they feed.
This is it. The point at which you'll be able to compile your code, press run and see a window appear. Well it will be once you've understood all the weirdness of the windows message pump and spent at least a few hours cursing the smell of 20+ years of legacy code its functionality is clearly encumbered by.
As with everything else here I'm not going to detail the step by step process you'll need go through to open a dialog window. There's tons of exciting documentation littered around the rest of the internet for all that. However there is one very important thing you should ensure when you're writing your window code. It needs to be responsive; all the time. It should appear as soon as absolutely possible, it should handle size changes quickly and it should close as soon as the player requests the game to quit. If you've ever been annoyed by how long a game takes to open its window or how long an application takes to quit you'll understand how important this is. Don't just open the window and present a black screen either, that's just as bad.
Prepare to scour the internet for the best way to handle the windows message pump. Also prepare to find a lot of bad information. This is one of the more esoteric parts of the window handling process and you'll probably be fiddling with it for years. Don't forget about suspend and resume either. In these modern times more people have a laptop that they just fold shut when they want to pause for a while. That'll suspend your game and unless you handle the resume you'll find that everything is very very broken.
It's within your windows message pump that you'll receive a lot of the information you might want about the activity of the mouse and keyboard. You've not yet written your input handling but now would be a good time to add the functions you need to transmit that mouse and keyboard info to other parts of your engine. You might also consider disabling the windows key while your game is running (and has focus), there are not many gamers that enjoy accidentally pressing the left windows key at some critical. Also, If you intend to make lots of use of the mouse you should also spend some time implementing high resolution data capture from the mouse device because getting an event only when the mouse pointer moves from one pixel to another is actually terrible for camera controls.
Even though you're making everything yourself you still have to use some significant libraries if you want to use some devices. XAudio is about as low as you could go without being an audio engineer. Even then you still to have to do a lot of work yourself.
Once you've done lots of reading and have a second type of 'bus' in your vocabulary (as in, not the vehicles) you can start to create the framework classes for getting raw audio data from some source, through some mixers and effects to some configuration of speakers. This is another great place to make use of all that threading code you wrote earlier, because unless you want lots of pops and pauses you're going to have to feed those busses constantly using threads. This will give you a new appreciation of the efforts that go into sound engine design.
Time to make use of that threaded resource loading. Initially you'll want to read uncompressed WAV files as these are much simpler than any of the alternatives. You can find lots of documentation on the RIFF format that it's based on and from there you can quickly get some sounds on your bus.
You've heard sound great music in other games and you want to have some of that emotional punch in yours. You've got two choices; write a sequencer or read compressed audio. I opted for the second using MP3 format. A fun thing to remember about MP3 format is that its creation and decoding is protected by patents and licensing. Luckily windows comes bundled with a licensed decoder. So, once you've read up on (and implemented) the acmDriverEnum function and all it's friends and located some accurate information about the internal format of MP3 files you'll have some data and a working decoder to feed. If you get everything right you'll also have a set of classes to turn disk files into music streams. You'll probably find the whole music handling part of your audio so time consuming and tedious that you'll neglect things like smooth switching between different music tracks until you realise your game needs it.
You and many other people playing your game may have gone to the effort and expense of purchasing and installing arrangements of speakers to simulate spatially located audio. It's up to you how far you want to push your support; 2.1, 5.1, 7.1 maybe even 11.1. In any case you'll need the notion of an audio listener (or potentially many audio listeners if you're making a split screen game) within your engine. This will need to handle additional things like environmental effects like reverb and filters.
Graphics system design is sufficiently large and complex that some people mix and confuse 'graphics engine' with 'game engine'. In this section we're just considering the creation, manipulation and transference of geometric and textural data from somewhere in main memory (or disk) through the graphics devices onto the screen. That's already a lot of stuff.
I've opted to use Direct X (something I occasionally regret). Unless you writing a software renderer you're going to have a lot of pieces of data that you want to manipulate and send to some graphics device. Some of those pieces of data represent results from work on the graphics device while others represent relatively static data you want the device to use.
Lets start by detecting and selecting the device you'd like to handle all your graphics work. There's often more than one to choose from and very regularly the least capable one is presented first (looking at you on-board intel cards). This whole job got a lot easier with the more recent versions of Direct X. It was ugly in DirectX 9 and terrible in the versions before then.
Next, it's time to make use of that resource loader you created earlier. If you're using Visual Studio for your coding then you get the benefit of built in shader compilers so the only thing you need to do is handle the loading of the resultant binaries. Even if you don't write your pixel and vertex shaders in pairs you'll probably want to support some sort of pairing to create 'material' objects. You could even include details about other aspects of surfaces like the depth read/write modes or culling order. Before long you'll find you've created a workable material format and all the loaders required to use it. You should also spend some time considering how you'll be passing parameters into your shaders when it comes to actually rendering everything. That includes semi-global parameters like viewport values through per-pass or per-surface parameters all the way down to per-instance parameters like world-matrix.
It's also very likely that your game is going to make use of some of those fancy modern pixel shader effects (like bloom) or need to be rendered in multiple passes. For that you're going to need to implement something to keep track of all the shaders and render targets used in multi-pass rendering. You'll also need to reuse things and make sure everything gets done in the right order. Also, don't forget to handle the screen resolution changing, lots of those targets will need suddenly to be recreated when your player presses Alt-Enter.
DirectX actually support loading and converting a huge number of different file graphics file formats but we'll just consider creating some raw image loading. You'll be surprised how often you just want some image data but don't want (or have) a whole graphics device setup just to get it loaded. Luckily a long time ago the TGA format was created. It's well supported by image software and it's super easy to read. In it's 24 or 32 bit uncompressed form (without palette) it's just a 18 byte header followed by interleaved image data followed by a 16 byte footer; easy.
All that image data is going to need something to hang onto. You could go for a very flexible vertex system that allows for easy broadening of vertex data as your requirements change but as you're already spending years making something small scale I suggest that you'll probably be just find with a few simple vertex declarations for common vertex formats. I use three.
Then there's the separate (but related) issue of vertex buffer management. As we're assuming you're making the same design choices as me, we'll also assume that you're creating a game with lots of dynamic geometry made up of lots of sprites. Unless you really love the idea of GPU memory fragmentation bugs I would strongly recommend not creating thousands of tiny vertex buffers. Instead you'll want to allocate some nice big vertex buffers and handle the progressive filling and reuse of them as you go. Each large vertex buffer should act like a slightly dithered queue with new geometry being added at one end with the other end becoming progressively unused as dynamic sprites end their life. Once a vertex buffer has no more live sprites in it you can simply reset your write position to zero and start again. You'll have to spend a little bit of time choosing the right balance of size for your big buffers to to avoid excessive wastage and keep a reasonable amount of vertex data 'live' at any one time.
Yet another area of engine design where people continue to write articles and get excited and emotional about exactly the best way of feeding data and commands to the GPU in order to produce the final results on screen. I opted for a simple method that's reasonably easy to adjust and debug. Each frame a list of jobs is created that represent geometry to be drawn to a specific surface (or surfaces); each containing details of vertex buffer and index buffer sources along with state, texture and shader requirements. These job lists are sorted to retain final results while reducing state changes or expensive resource movements. Then the lists of jobs are sorted by surface dependencies. Finally these lists are iterated through and applied. It works well but there are many better/faster/more-flexible approaches that have different time/bugs/complexity characteristics that you'll probably be distracted by for a few weeks or months.
You're going to need some UI and it's going to be more complicated than you expect so it's worth considering how you intend to graphically describe, create and manipulate it. Ignoring (at least partially) how you'll actually interact with it. UI has some interesting rendering characteristics that can complicate your handling of draw commands; it's usually very draw order dependant and it usually uses lots of different textures. I'm ignoring any desire to have some parts of the UI mask out other parts (scroll windows for instance) because a lot can be achieved without it and if you really feel like you need it then you'll just have to include render target switching in the generated draw commands. I opted to describe my UI using horizontal and vertical lists of elements that are either of fixed or flexible size arranged in a hierarchy defined in script files. This hierarchy is then traversed and the draw commands that represent it are built and marked such that they are never re-ordered. We'll consider how UI is interacted with in a later section for now you can concentrate on problems like word wrapping and odd space distribution in a pixel aligned lists of boxes.
Beyond the actual rendering of your geometry there's the more subtle aspects of camera motion and placement itself. This includes lots of things from cinema about framing and composition as well as lots of things learnt from games about motion and interaction. The first and best thing you can do here is look at every other game. There are lots of very good (and very bad) examples of game cameras and it's important to be able to spot what makes one good and another bad. There's also lots of room for subjectivity here so it's important to put your camera in front of plenty of different people to see if their response is the same as you expect. Pro-tip; vomiting testers is bad.
At the root of any reasonable camera motion system is some robust interpolation code. That means something beyond move-halfway-towards-the-target maths and into critical damping. Once you've got some good interpolation you'll find yourself using it all over the place. Even outside the camera code.
The code that handles this needs to balance what looks nice with what feels nice. There's lots of literature on aesthetically pleasing composition and framing so I'll just assume you've read, digested and implemented all of that. The other thing to handle is the motion of the camera as your character (or whatever) moves around. To start with you should obviously aim to keep your character on screen (almost) all the time. After that you can consider the extra marks stuff like giving a view ahead so the player isn't so surprised when that pit comes into view or subtly include points of interest in the frame to guide the players eye. If everything goes well your player will never notice all the code you've written to move the camera; it'll just work. This is probably a good reason in itself never to become a game camera programmer.
This covers anything you want to do to the camera that's short lived and in response to some in-game event. Everyone loves camera shake, right? Well people love the idea of camera shake but it's effectiveness is in the details of it's implementation. If you want to implement good and convincing camera shake you should probably do a little research on the different sources and effects of cameras shaking. Attaching your phone camera to stuff and recording a few videos works quite well. Also, while were talking about shake you should also understand the difference between physical camera shake and cinematic frame shake.
So now you've got your engine outputting graphics and sounds you might want to interact with it. You've already written the code to gather and transmit the keyboard and mouse events, the next step is to include gamepad input and bring it all together in a single system that can be used by your game. Lets call it the input system.
The first step is to gather the state of any attached gamepads (I ignored joysticks but you can include those if you like) and create events that can be handled along with those from the keyboard and mouse. As a general rule I try to avoid polling if I can do something using events but when it comes to gamepads at the very basic XInput interface you have to poll through the XInputGetState function. I turn these state polls into events by comparing against the state at the previous poll interval and informing higher functions about the differences. Once you've implemented all this you'll be able to add listener functions to the input system from higher level game objects and have those functions called evenly from any connected device.
Unless you want multiple systems responding to the same input you'll have to implement some code to filter input listeners in and out based on all sorts of complex constraints. This is useful all over the place but it's critical when you start to implement UI interactivity.
Now you've got a full compliment of input devices and signalling it's time to make yourself some interactive UI. This is another of those subtle and complex areas of code design but you'll find a lot less documentation around the internet about exactly how to handle certain things or respond in certain situations. That doesn't mean you shouldn't look for information, just expect it to be harder. I think the main reason for this lack of reading material is that unlike other areas where it's clear what good results look like, in UI and UX design the better it's working, the less you notice it. There are a few subtle details of interaction that you can see in windows itself (you probably use them without noticing). For instance button clicks are handled on release to allow you to cancel the click by moving your mouse pointer off the button before letting go. Or, when the mouse buttons are pressed other UI buttons cannot be highlighted (gain focus) even by using keyboard navigation; to avoid confusion. There are lot of them (books full in fact) and if you're going to implement a good UI system you'll need to understand them. You'll also have to integrate all that mouse based UI design with the gamepad and keyboard. Good luck.
Your game is going to need to move between different macro states. Loading screens, main menu, in game, etc. Writing some code to handle this stuff will make your life easier. I opted for a simple state stack. Moving on.
Being able to interact with any sort of online service is almost essential in modern game engines. Once you've got some basic system to handle basic HTTP/HTTPS requests and the generally asynchronous (occasionally unreliable) nature of network communication you can do all sorts of fun things. Don't forget that you're also going to need to learn PHP (or Ruby or what ever other language you fancy) and implement your server side code. This is a great way to learn about how all this works but it's also a great way of opening yourself up to all sorts of security and privacy issues. In short, use an existing service unless you are an internet security expert.
These are usually just simple sets of name-number pairs arranged in groups and sorted. super easy to implement and super easy to use.
Game developers love analytics but players are often suspicious of it. It allows developers to get clear information about the impact of their design decisions and potentially pick up on (and fix) issues that evaded testing but it's obviously open to abuse. I suggest that if you do implement analytics you should gather the minimum amount of data needed to answer only the key questions you might have. It's tempting to generate events and value for every single tiny little player action. This just results in a swamp of data. I opted to use analytics during testing and then scale it right back for release.
You're almost there but the things listed above are just a summary of the big stuff. I've skipped some of the simple (but often critical) things that glue it all together. Things like Exception handling, crash-dump generation, release versioning or debug logging. you'll need these 'glue' systems all over the place.
That's it, you've built a primitive engine capable of handling a simple game on a single platform (PC). The work in the previous section probably constitutes a solid few months of programming if you're able to spend all day doing it, but If you've only got a little bit of spare time to work with then you could expect all that to take many times longer; potentially years. At least it's done now. You can move on to the fun part where you actually create your game.
Obviously every game is different so there's very little point in me attempting to detail the steps you'll need to take to create yours. Instead I'll detail the work that went into making the significant systems within The Moonstone Equation. Some are applicable to other games, like platform handling and save game support, other are very specific to my game. Even though it might not be directly applicable, it might give you some sense of the scale of the workload you'll have to undertake.
This doesn't sound like making a game. Surely this is part of the engine? In most cases, yes, but as I've opted to make a platform game with tiles arranged in a grid I can avoid creating a generic collision detection and physics system and just handle the simpler case. There's a lot of very heavy duty maths required to create a full scale physics engine but non-rotating axis aligned boxes is all I needed. Once I'd created some basic box penetration handling, simple gravity and buoyancy I had all I'd ever need. I also excluded traditional friction. Nothing needed vertical friction and things stop moving horizontally on surfaces based on game rules and simple damping. On top of this there are a few extra bits of code to improve the player experience, like changes to how box penetration is handled for the player when they jump upwards near corners.
When it comes to understanding how to make decent platform game handling It's lucky that there's so much reference material. By that I mean there are lots of great platform games that demonstrate how handling should feel. They also demonstrate that there's still tons of scope for difference. If you play Super Mario 3 followed by Ray-Man Legends and you'll see what I mean. Aside from the essential stuff like responsiveness and predictability there there are lots of differences in how they feel. On top of that there's subtle (almost invisible) things these game do to make the player feel more in control. For instance, Mario allows to to successfully jump upwards from a ledge for a few frames after you might actually have walked off of it and Ray-Man subtly alters jump arks to guide the character between tricky platforms. These give the player a sense that they're better and more accurate than they actually are and they make the game feel more enjoyable as a whole.
With all this in mind and an understanding of how I wanted The Moonstone Equation to feel when it was played I set about implementing my variation of platform handling.
If I was going to get anything completed I needed some tools that made the process of creating my game world as quick and fluid as possible. For that reason I opted to stick with 16×16 pixel tiles and a level editor built into the game. This is one of the areas where all that UI system wok really payed off. Making and changing editor dialogs is reasonably easy.
To further speed things up I implemented some procedural tile selection for particular sprite sets. Things like selection based on tile neighbour or selection from a random pool.
As this isn't actually the last century there's nothing to stop me from breaking a few rules for aesthetics when I want to. I've opted for an aligned grid of tiles to aid the primary game rules and give a particular look to the but sometimes I might want to place a decorative sprite in a very specific place. It's all just polygons in the end so I made sure the editor allowed me to choose between grid-snapping and free placement.
Ambient occlusion and light flow are not things I think I've ever seen in a 2d tile based game. So I implemented it. It allows me to better control the mood of the levels as well as helps differentiate The Moonstone Equation from all the thousands of other games it has to complete with in the wider world. Someday I'll write a long article about how it's done. For now I'll summarise by saying; lots of maths that it took some time to get it looking just right.
The Moonstone Equation contains a few dozen computer terminals for the player to interact with. I wanted them to have rich functionality and really feel like computers (rather than the elaborate text boxes and menus used in many other games) so I basically implemented them as virtual computers; between them they're running over 50 different little programs from games to email and services. To make all this stuff work I approached the problem from two sides with the aim of meeting in the middle.
The first step was to define the virtual computer I wanted to use. I didn't need it to be an accurate simulation of the inner workings of actual hardware, I needed it to be convincing (and interesting). I started with the terminal display. It's handled through a pixel shader referencing a 32×32 pixel texture representing screen memory. Each pixel can be one of 256 colours corresponding to one of 256 code symbols arranged in a grid on a larger texture. This basically means that I can use a 1024 byte array as traditional terminal screen memory with byte values representing letters (just like ASCII). It might sound archaic but it's actually very refreshing to use. Once that was all working I wrote hundreds of simple helper functions to act as the basic terminal tool-set. These included things to write text, scroll the screen contents, read keyboard input, draw lines and so on. As this isn't a real simulation, these were all just written in C++.
The next step was to define the virtual processor that was going to actually handle the running of my little programs. Again because it's not a simulation I could cheat, so I opted for a simple stack machine with 36 basic instructions that could operate on a range of types (ints, floats, bools and strings). This instruction set also included the ability to call specifically formatted C++ functions so once I'd created some glue code the virtual processor was interfacing directly with the entire terminal tool-set (along with any other functions I wanted to expose).
At this point I switched to the other end of the problem. The tools to allow me to write code for these virtual machines. I wanted to write code using something that was enough like C/C++ to make it easy for me to write. I can write in C++ much faster than I can write pascal because I do it most of every day (I would also mean I could use code colouring in Visual Studio). It also needed to be simple, I didn't want to extend the virtual machine functionality to accommodate it. At this point there was a bit of a pause while I did lots of reading. I obviously needed to do research for many of the other areas I've already covered but I think this is the only place I stopped and read nearly a whole book on the subject. If you ever feel the need to write a compiler I recommend reading Compilers: Principles, Techniques, and Tools, it's basically got everything you need to get started all in one place, which is nice. In the end I opted to support C style syntax for functions and statements along with simple static allocation of basic variables, no structs and definitely nothing like classes. This was more than enough.
With my language defined I set about creating the abstract syntax tree representation of it followed by converting it all into reverse polish notation (Code parsing is full of some great terminology). I didn't find a need go beyond this to an intermediate language and I didn't implement any optimisation steps aside from pre-evaluating constant statements. I'd opted to implement a stack machine (on purpose) So the result was something I could simply traverse to generate the instructions required by the virtual machine. The machine instructions could just be saved as a block of unsigned integers in a binary file.
Doing all this extra work for the in game terminals meant I could implement a much richer experience for the player. Instead of simple boxes of text I've created full games to play, email systems, research terminals, and machine monitors that contain relevant and dynamic content. With a bit more work I went on to allow the virtual characters in the world to make use of all the terminals as a connected research network; sending messages to each other (and the player), logging in (and out) daily to create reports or write journals and just generally adding another layer of believably to the world that I couldn't have done without it.
It's been done in a few games but I don't know of any puzzle-platformers containing a world that persists and changes while you're away (a little bit like Animal Crossing).
It would be trivial to just write some code that read the clock and made decisions based on it but (obviously) I wanted something a little more interesting. The first step was to make sure that in the places within The Moonstone Equation world where you could see the sky it (and the lighting) reflected the time of day. I already had a dynamic lighting system so this was the simpler part. The next step was to make sure that the characters and many of the objects in the world developed over real-time as well as in response to the actions of the player. This itself can be broken down into two parts. First there's the simple but laborious task of making sure that the characters take account of any passed time when they say things to the player. So if someone hasn't seen you for weeks they might comment on it, especially if they expected to see you sooner; or if they always see you early in the morning they might ask about you sleeping habits. This was basically achieved by a combination of heuristics and branching conversation trees that can persist or change over time; this also produces an absolutely huge number of possible ways to experience the story elements of the game, which is nice. The Second and more complicated part was making the world feel like it's a little more alive. Characters are supposed to be doing research, sending emails, writing reports and notes, resting, going to sleep and so on. Things like the position of commonly used objects like books, mugs, small machines, boxes and so on should change over time. You'll even see some plants grow if you play for long enough. For the characters this was achieved using a simple AI simulation that gives everyone a rough schedule and simple goals. This simulation is updated for the passage of real-time and when you return after being away it just catches up when the game loads (which is why it needs to be very simple). The objects in the world that change do so in only a few ways. Plants and such progressively develop from an initial form to a final (usually more interesting) state. Renewables like the contents of the vending machines cycle through a pattern with occasionally interesting 'special' states. Variable objects like the books or boxes on shelves are subject to semi-random changes based on how often they're used. Finally there are some special objects develop in specific ways depending on things like plot and player action.
When it's all considered together, the areas of the game world where people live and work hopefully feel like that's happening all the time. It also allows for some contrast against the areas of the game where it (intentionally) looks a little bit more like time stands still.
Just like in the engine there are lots of little parts of the game that are essential glue between the larger parts that are not large enough for a whole section of their own. Here are a few.
Many less people than you might expect actually own a gamepad for their PC (about 12%-16%) so making sure your game is fun and playable on keyboard is critical stuff. The Moonstone Equation feels as good on game-pad as it does on keyboard. It's also important to allow your players to switch from one to the other as they choose while the game is running, including unplugging or plugging in a controller. This should all happen seamlessly and without fuss. I've seen plenty of (sometimes big) games fail at this. Oh, and don't forget that all those on screen controller hints will need to match the input device.
I opted to make The Moonstone Equation so it can be played to completion using either game-pad or a keyboard but there are some occasions where you have to type on the keyboard if you want to experience everything; I think the computer terminals feel more authentic if you get to type simple commands into them. I hope that very few people find this design choice odd or inconvenient. I expect that everyone has a keyboard within easy reach and I have a very very low expectation of ever porting my game to a games console.
The earlier work on the engine to support structured files and versioning made most of the task of supporting game saves file a lot simpler. The hardest part was making sure that I could reliably iterate through all the world data and apply the changes the player had made since they started playing without missing anything new I'd added to the game since the save file was created.
There's lots of different types of dynamic moments within the game world that call for some sort of audio-visual response. I didn't write a particle system within the main engine because I didn't want to spend the time writing the tools that would be required to turn a general purpose system into specific effects for specific occasions. Instead I opted to implement a simple code based system that make use of the dynamic vertex/index buffer handling to continuously generate particles when needed. It's not the most optimal approach but I only need a few thousand particles at a time; PC hardware has been capable of those sorts of numbers for a long time. Along with the general particle stuff there's also a few parts of the game that use pixel shader effects. These are always much easier to write directly as needed; especially when you've already written the rest of the engine.
Congratulations, You've battled through ten thousand words of my rambling warning about the risks and effort involved in making everything yourself (or you've just scrolled to the bottom to read this bit). If you're still considering starting from some very basic point and writing an engine as well as a game then great, you've obviously got some serious determination.
However, there are a few significant things I've left out (along with many small things).
For a start I've only focused on the technical aspects of game creation, There's a lot more to game production than just that. I've not mentioned the thousands of (occasionally animated) sprites that went into the Moonstone Equation, or all the other artwork and UI. On top of that there's the creation and balancing of hundreds of sound effects and the composition and production of a dozen or so musical scores. If you opt for branching narrative and puzzles as I have you can expect that to take up a significant amount of time too.
Once all that's done (actually before all that's done) you've also got to consider how you're going to tell everyone/anyone about your amazing creation; that means marketing. So now you'll also need to create screenshots, videos, trailers and other promotional materials along with a website, social media accounts and forums to put it all on to allow you to communicate with the fans and supporters you hope to find.
All this effort might also lead you to write a long rambling article warning others about the perils (and potential folly) of your protracted development methods.


text:
behold a new dawn
ROLLS-ROYCE DAWN – UN-COMPROMISED DROPHEAD LUXURY
8 September 2015, Goodwood
"Our new Rolls-Royce Dawn promises a striking, seductive encounter like no other Rolls-Royce to date, and begins a new age of open-top, super-luxury motoring. Dawn is a beautiful new motor car that offers the most uncompromised open-top motoring experience in the world. It will be the most social of super-luxury drophead motor cars for those who wish to bathe in the sunlight of the world's most exclusive social hotspots.
Quite simply, it is the sexiest Rolls-Royce ever built.
The name 'Dawn' perfectly suggests the fresh opportunities that every new day holds – an awakening, an opening up of one's senses and a burst of sunshine. In its tentative, inchoate, anticipatory state, dawn is the world coming to light from the ethereal dark of the night. The early-day chill of dawn provides an erotic tingle on the skin, awakening the senses and passions as the day begins.
Like Eleanor Thornton, thought by many to be the inspiration behind the Spirit of Ecstasy, the
Rolls-Royce Dawn will itself prove to be the muse that leads its owner to believe that at the start of the day, anything is possible."
Torsten Mueller-Oetvoes, Chief Executive Officer, Rolls-Royce Motor Cars
Article by Rolls-Royce
Images Courtesy of Rolls-Royce Motors
Click here for the Promo video

redpajama_set_name: RedPajamaCommonCrawl


As you might, or might not know, May is National BBQ Month. And why shouldn't it be? May is loaded with many BBQ opportunities like Cinco De Mayo, Mothers Day and, of course, Memorial Day. So, to start off the festivities BBQ Junkie will be conducting the first annual Seven In Seven BBQ event. During the first week of National BBQ Month, BBQ Junkie will do seven straight BBQ restaurant reviews in seven days. That's right, seven reviews in seven days.
I am not free to disclose exactly which BBQ restaurants I am going to review but you can be sure that a few of them will come from the "BBQ Food in Los Angeles" post.


The Houston Rockets were on fire from three-point range in a win over the Washington Wizards in the NBA on Wednesday.
Houston broke the NBA's single-game three-point record by hitting 26 in a 136-118 win over the Wizards. The previous record was set by the Cavaliers in March 2017.
Even more impressive, the Rockets nearly made 50 per cent of their shots from beyond the arc (47.3).
Gary Clark tied the record with the 25th made three-pointer in the fourth quarter and Michael Carter-Williams broke it soon after.
James Harden led the way for the Rockets with 35 points. He hit six of his 11 three-point attempts.
Houston have now won five games in a row and at 16-14 are two games over .500 for the first time since November 21.
Kawhi Leonard had 28 points, 10 rebounds and six assists in the Raptors' come-from-behind 99-96 victory over the Pacers.
Nets forward Rondae Hollis-Jefferson and Bulls forward Justin Holiday were competing for the game's most futile effort on Wednesday as both players went two of 10 from the floor. The Nets won 96-93.
Luka Doncic is turning into must-watch for the Mavericks (15-14) and the Clippers (17-13) play some of the best team basketball in the NBA.


Since October 2015, the Wittmann Group, Kottingbrunn and Vienna, Austria, has also been present in Latvia and Lithuania with its own agency, WIBA Baltic Ltd. The company based near Riga, Latvia started its full marketing and sales activities at the beginning of 2016. In response to the positive development of the plastics industry in the Baltic countries, the Wittmann group decided to intensify its activities on these markets.
With Edgars Kraskovskis as Managing Director, WIBA Baltic markets the complete product portfolio of the WITTMANN group, including injection molding machines, automation and the entire range of peripheral equipment for the plastics industry. Co-owner of the new agency with Edgars Kraskovskis, who can look back on more than 10 years of experience in selling injection molding machines and peripherals, is the Managing Partner of the Wittmann agency WIBA Finland, Petri Häggman.


two forms of tos table of specifications - Digital Quarry marble crusher(2 forms of table of specification),AC crusher which type of crusher use in the lafarge . ... which type of crusher use in the lafarge, crushing process detail in cement industry The LS Crushers crush the limestone to minus, Lafarge The cement manufacturing .
Quarry Ii Lafarge Cement Indonesia. quarry pt lafarge cement indonesia lhoknga. Mobile Crusher. The mobile crushing plant has the advantages of easy transportation, low transportation cost, flexible configuration, convenient maintenance etc.
Employees led guided bus tours down into the quarry, during which guests learned about quarry operations. This included everything from how the blasting, crushing, screening and processing methods lead to finished stone products and how these finished products are then used to build roads, provide drainage, and control erosion.
New order: Renewing a crusher lineup April 27, 2015 By Giles Lambertson Replacing a broken crusher made a big difference for the Lafarge Pitt River Quarry.
lafarge basic crushing plant flowsheet Quarry Crusher Stone Crusher Machine From China Zenith.This page is about the zenith stone crusher machine,or crusher ... Online Talking. basic crushing plant flow sheet mascotmanorath.
Lafarge had closed the quarry, which produces crushed stone primarily used in the region's road projects, due to the weakened economic climate. The Niagara Quarry's dolomitic limestone formation is a feature of the overall Niagara Escarpment geology.
The CH660 went online in January as a tertiary crusher, and the benefits to the Lafarge Pitt River Quarry have been impressive. The most obvious one is the sizeable upturn in total production: The quarry experienced a 30 percent increase in aggregate output, reaching about 1,300 tph.


Shake and strain all ingredients except cucumber water over ice in a tall glass.
Top with Sparkling Cucumber Water. Garnish with cucumber slice and Lemon Wheel.
From Chef Bryan Caswell at Reef in Houston, TX.


text:
Abby Johnson (Activist) Biography, Age, Husband, Children, Family, Wiki & More
Updated On : August 28, 2020
Abby Johnson
10 July,1980 (Thursday)
Abby Johnson Photos
Abby Johnson Popularity on Social Media
Abby Johnson was born on 10-07-1980 in the United States. She is an American Activist, Founder, Spokesperson & Author.
Founder Spokesperson Author
Abby Johnson Wiki Link
Abby Johnson Complete Bio & Career
Abby Johnson was born on 10 July 1980. She is an activist. She went to Rockdale High School and for higher education; she went to Sam Houston State University. Initially, she worked in Bryan at the parenthood clinic. Activists were regularly encountered by her. She also received death threats for the same. But unhappy with her job, she resigned on 6 October 2009. After leaving her job, she acted as a volunteer with the coalition for life. Apart from this, she also wrote two books titled, Unplanned and the walls are talking: former abortion clinic workers tell their stories.
Later on, she started her anti-abortion ministry named, And Then There Were None (ATTWN). In 2017, a protest was carried out against Donald Trump and Johnson also participated in it. but despite this, she came in support of Donald Trump at the Republican National Convention. She also proposed several changes to the electoral system. She raised her voice against Racism and targeted police. Church had an objection with her working at Planned Parenthood and consequently, she left the church and stopped attending church even for a period of 2 years. Her book titled unplanned was also converted into a 2019 movie.
She also received certain allegations on her when she decided to part her ways from Planned Parenthood. She was accused of removing items and copying confidential files from the clinic.
Abby Johnson Popular Videos
Abby Johnson Family, Relatives and Other Relations
She is married to Doug Johnson and the couple has 7 children.
Life's Important Dates Of Abby Johnson
Skin Colour Wheatish
Home Town Rockdale, Texas
Address United States
School Rockdale High School
College Texas A&M University and Sam Houston State University
Qualification Graduate, Bachelor of science and Master of Arts in Counseling
Salary N/A
Net Worth N/A
Official Website N/A
Favorite Color Black
Favorite Politician Donald Trump
Favorite Actress Kim Kardashian
Favorite Place Hong Kong
Favorite Dress Western Wear
Favorite Accessories Earrings, Pendants
Shocking / Interesting Facts & Secrets About Abby Johnson
She worked for 8 years at Planned Parenthood.
She herself had 2 abortions.
She resigned due to the ultrasound-guided abortion at 13 weeks of gestation.
Abby Johnson Age, Birthday Facts and Birthday Countdown
41 years, 6months, 9 days old age Abby Johnson will turn 42 on 10 July, 2022. Only 5 months, 20 days, 19 hours,26 minutes has left for her next birthday.
Abby Johnson Born On Thursday
Abby Johnson has celebrated the total number of 42 birthdays till date. See the analysis by days count and bar graph.
Rajendra Prasad Biography, Age, Death, Height, Weight, Family, Caste, Wiki & More
Rukhsana Sultana Biography, Age, Husband, Children, Family, Caste, Wiki & More
Mana Shetty Biography, Age, Husband, Children, Family, Caste, Wiki & More
Anmol Kwatra Biography, Age, Height, Weight, Girlfriend, Family, Wiki & More
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Joe continues to see improvements each day he goes to therapy. For more information and the most recent progress updates, see Joe's blog at http://joeguintu.blogspot.com.
Joe left for Hawaii on March 9, 2007, with his girlfriend, Ivette, to join his parents for his cousin's wedding in Honolulu. Ivette and Joe set off on their own after the wedding. On the morning of March 12, they decided to go surfing close to their hotel in Waikiki. It was Joe's first time surfing while Ivette (being the cool super hip person that she is) had gone a few times before.
That is when Joe suffered a bizarre injury called "surfer's myelopathy". There was no "accident" in the sense of a bad fall or crash. He was simply laying on the surfboard stomach-down look up for waves, paddling and standing up on the board. At his first try at catching a wave, he caught it! Somewhere in that flow of movements, he apparently cut off the blood circulation to his spine by hyper-extending his back doing the normal surfing motions. When he was jumping off the board at the end of the wave, he noticed a sharp pain in his lower back. He assumed this a normal pain incurred during the course of surfing. Since it was his first time surfing, he assumed the pain to be a result of muscles that he had never used before. Joe was wrong. He was actually very good at surfing. He caught his first four waves and stood up - in the first 20 minutes! However, he could not catch any other waves for the rest of their time in the water, a total time of about 60 to 90 minutes. Ivette and Joe were cut and scraped from the rocks in the water; Ivette with a cut on her foot that was almost "stitch-worthy". Joe actually also had a sea urchin stuck in his foot that ended up coming out 2 months later. They stopped by the lifeguard to whine about the pains of surfing and after his blessing, they limped back to the room. They cleaned their wounds and Joe could not get comfortable, sitting, lying down, standing or whatever. They went to a Mexican restaurant to catch lunch and drink margaritas to make their pains go away.
Unfortunately, Joe's pain persisted and it was soon after that, he limped into a doctor's office. Once he heard of Joe's complaints, the doctor told Joe to lie down immediately and they transported him to the hospital right away in an ambulance. Joe's parents were about to board their flight back to LA when Joe called them. They immediately rushed to the hospital.
They took an MRI and easily diagnosed Joe's injury. Before he went into the MRI, his leg strength had already considerably decreased and after the MRI, he had no mobility from his waist down. Joe could feel if someone touched his legs or vibrations were set on his leg, however, they were quite numb and he could not differentiate very well sharpness.
Joe's journey started at Straub Hospital in Honolulu where he was stabilized and kept for 5 days. He was then transferred to Rehabilitation Hospital of the Pacific in Honolulu where he started to learn some practicalities of dealing with being in a wheelchair. This is where he first started his retraining in how to live life while in a wheelchair. He had to relearn everything from how to brush his teeth in a wheelchair to how to even sit up on his own in bed without using most of his core muscles.
Five days later, he was transferred to Craig Hospital in Englewood, Colorado. This is a specialized spinal cord and brain injury hospital. He flew coach with Ivette to LAX where he was greeted by his family and then caught his connecting flight to Denver with Ivette and his mom. During his 2 months at Craig Hospital, Joe went through a rigorous training schedule that usually spanned from 9am to 4pm that was balanced in teaching Joe how to be independent in a wheelchair while also working on Joe's recovery with therapy sessions. He was discharged May 11 and returned home to Southern California.
There have been a myriad of trials and tribulations throughout the whole process and going home to Southern California was no exception. Joe first celebrated his return home by meeting with family, friends and co-workers. After getting more situated back home, he started therapy again about a month and a half after his return. He has been attending Project Walk, a specialized and aggressive spinal cord injury recovery center in Carlsbad, California (in San Diego county), 100 miles from his house. He started attending Project Walk 3 times per week and then started going to another licensed rehabilitation center, Precision Rehab, in Long Beach, 2 days a week. So his current regiment includes attending rehab 5 days a week with additional activities such as acupuncture and neuromuscular therapy. Joe is doing everything in his power to make sure that he not only walks again, but runs again! He has a pact with Ivette that once he is up and about, they will run a marathon together. He is dedicated and driven. All of the support and prayers so far have been tremendous and much appreciated.
This page will be updated occasionally, but check out Joe's blog (http://joeguintu.blogspot.com) for more detailed updates regarding his recovery.


Tennis' widely praised debut Cape Dory, which The Wall Street Journal called "a winsome set of breezy pop songs," was released early last year. For their forthcoming album guitarist Patrick Riley, vocalist Aliana Moore and drummer James Barone headed to Nashville to work with The Black Keys' Patrick Carney. The first single from these sessions, 'Origins', is out now as a digital download on ATP Recordings via iTunes, a double A-side release accompanied by another new track 'Deep In The Woods'.
After the success of their first album and touring for the better part of a year that included shows as far away as Moscow, Riley and Moore returned home and realized what was initially a bedroom-recording project had quickly evolved into a band. The challenge of a second record was upon them, but songwriting came quickly and in three months the duo had most of the material for their new album.
The goal this time was to mature and vary their sound. Riley describes the new direction as "Stevie Nicks going through a Motown phase." By the time they hooked up with Carney, they had fleshed out most of the songs that would comprise Young and Old. With their friend and mentor at the producer helm, the recording progressed naturally and within 3 weeks the album was done. While their debut was written with a third touring member in mind, the new album is written and recorded with the addition of a fourth. Over the last few months, Tennis has also released a series of covers as free downloads including 'Is It True' by Brenda Lee and their take of 'Tell Her No' by The Zombies.
Tennis was born of Riley and Moore's nearly 7-month sailing trip, which consisted of selling all their possessions, purchasing an old sailboat, repairing it, and cruising up and down the eastern seaboard. Upon returning home, the duo began writing music together as a way to document the history of their shared experience. The result was Cape Dory, an intimate and concise recollection of life on a 30-foot sloop.


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text:
Q: MySQL Last_Insert_ID Syntax I have this code:
//insert user input into db
$query = "INSERT INTO test_details (test_title, user_id, likes)
VALUES ('$title', '$user_id', '0')";
$query .= "INSERT INTO test_descriptions (test_id, description)
VALUES (LAST_INSERT_ID(), '$description')";
if(isset($grade) && isset($difficulty) && isset($subject)) {
    $query .= "INSERT INTO test_filters (test_id, grade, subject, difficulty)
    VALUES (LAST_INSERT_ID(), '$grade', '$subject', '$difficulty')";
}
if(mysqli_multi_query($con, $query)) {
    echo 'Go back to start creating questions.';
}
else {
    echo "An error occurred! Try again later.";
    echo mysqli_error($con);
}

When I try executing the code I recieve this MySQL error: You have an error in your SQL syntax; check the manual that corresponds to your MySQL server version for the right syntax to use near 'SET @id = (SELECT LAST_INSERT_ID())INSERT INTO test_descriptions (test_id, descr' at line 2 Not sure what was done wrong, all the syntax seems correct. Thanks.

A: You're missing semi-colons in your mutli-query statement.
You can add them in front of the queries you are concatenating (.=) for consistency, since the if statement may or may not add a query into the mix.
//insert user input into db
$query = "INSERT INTO test_details (test_title, user_id, likes)
VALUES ('$title', '$user_id', '0')";
$query .= ";INSERT INTO test_descriptions (test_id, description)
VALUES (LAST_INSERT_ID(), '$description')";
if(isset($grade) && isset($difficulty) && isset($subject)) {
    $query .= ";INSERT INTO test_descriptions (test_id, grade, subject, difficulty)
    VALUES (LAST_INSERT_ID(), '$grade', '$subject', '$difficulty')";
}
if(mysqli_multi_query($con, $query)) {
    echo 'Go back to start creating questions.';
}
else {
    echo "An error occurred! Try again later.";
    echo mysqli_error($con);
}

Or as andrewsi mentioned, the implode method:
//insert user input into db
$query[] = "INSERT INTO test_details (test_title, user_id, likes)
VALUES ('$title', '$user_id', '0')";
$query[] = "INSERT INTO test_descriptions (test_id, description)
VALUES (LAST_INSERT_ID(), '$description')";
if(isset($grade) && isset($difficulty) && isset($subject)) {
    $query[] = "INSERT INTO test_descriptions (test_id, grade, subject, difficulty)
    VALUES (LAST_INSERT_ID(), '$grade', '$subject', '$difficulty')";
}
if(mysqli_multi_query($con, implode( ';', $query ))) {
    echo 'Go back to start creating questions.';
}
else {
    echo "An error occurred! Try again later.";
    echo mysqli_error($con);
}

redpajama_set_name: RedPajamaStackExchange


text:
The Dark Side of Graphene Oxide in the Injections & How Its About To Change Humanity Forever
By Natura Datura
https://seed177.bitchute.com/Hfkzh6vXS6Kv/VTBCaKtLbL4F.mp4
La Quinta Columna has shared a summary of the intra-body nano-network that forms after each inoculation the population receives. The author of this summary is Mik Andersen, owner of the research blog Corona2Inspect, who's a renowned scientist who has chosen to collaborate with La Quinta Columna and Dr. Pablo Campra's research under a pseudonym.
This nano-network described by Andersen is the one that would allow the neurostimulation of the population through a network designed for this purpose.
Many indications confirm that neuromodulation is the real purpose of the operation behind the global inoculation, ranging from the enactment of neuro-rights laws in some countries to the structuring of the same nano-network that is being deciphered, which would be a very advanced military technology.
We're going to see a brief overview of what intra-body networks are. Now we're going to talk about nanotechnology. Specifically, about what the elite is trying to do. It's the future or the purpose of this operation, where Elon Musk is an important piece. Has anyone ever wondered who has given Elon Musk permission so that he could launch thousands of satellites into space? He has a free hand. That's part of the objective. And also, part of the elite's plan.
Original Source: https://www.bitchute.com/video/VTBCaKtLbL4F/
Doctors Who Explain Clearly Why Vaxxines Aren't Safe or Effective
Close to $100 Billion in Pandemic Relief Funds Are Missing


text:
Q: Вариант tabs с привязыванем по id Подскажите вариант для tabs с привязкой контента для кнопки, по клику по которой он вызывается с персонализированным id.
Я использую в данный момент следующий скрипт:

        Вкладка 1
        Вкладка 2
        Вкладка 3

Содержимое 1

Содержимое 2

Содержимое 3

$(".tab_item").not(":first").hide();
$(".tabs_block .tab").click(function() {
    $(".tabs_block .tab").removeClass("active").eq($(this).index()).addClass("active");
    $(".tab_item").hide().eq($(this).index()).fadeIn()
}).eq(0).addClass("active");

А мне нужен код для данной структуры, что бы функционал  не зависило от структуры :

        Вкладка 1

          Вкладка 2
          Вкладка 3

Содержимое 1

Содержимое 2

Содержимое 3

Что бы к примеру по щелчку на id="tab_1" вылазил контент "tab_1_item" и цифра получается передавалась в скрипте через переменную или ещё каким более правильным способом.
Новая структура, по сути от старой отличается только количеством блоков.

        эстрадный вокал
        джазовый вокал
        академический вокал
        рок вокал
        постановка голоса
        сольфеджио
        экстрим вокал
        оперный вокал

выбрать другое

            Вариант 1
            Вариант 2
            Вариант 3
            Вариант 4
            Вариант 5

A: Думаю, это то что вам нужно:

function tabShow(selector) {
  $(".tabs span").removeClass("active");
  $("#tab_" + selector).addClass("active");

  $(".tab_content > div").hide();
  $("#tab_" + selector + `_item`).show();
}
$(function() {
  var tabButton = ".tabs span";
  var hash = location.hash;
  if (hash.match(/#tab/)) {
    var tabActive = hash.slice(-1);
    tabShow(tabActive);
  } else {
    tabShow("1");
  }
  $(tabButton).click(function() {
    var selector = $(this).attr("id").slice(-1);
    tabShow(selector);
  });
});
.active{font-weight:bold;}

  Вкладка 1

    Вкладка 2
    Вкладка 3

Содержимое 1

Содержимое 2

Содержимое 3

upd.

function tabShow(selector) {
  $(".tabs span").removeClass("active");
  $("#tab_" + selector).addClass("active");

  $(".tab_content > div").hide();
  $("#tab_" + selector + `_item`).show();
}
$(function() {
  var tabButton = ".tabs span";
  var hash = location.hash;
  if (hash.match(/#tab/)) {
    var tabActive = hash.slice(-1);
    tabShow(tabActive);
  } else {
    tabShow("1");
  }
  $(tabButton).click(function() {
    var selector = $(this).attr("id").slice(-1);
    tabShow(selector);
  });
});
.tab_content {border-top: 1px solid black; margin-top: 20px;}
.tabs span {display: block;}
.tb_head {text-decoration: underline; margin: 5px 0;}

  эстрадный вокал
  джазовый вокал
  академический вокал
  рок вокал
  постановка голоса
  сольфеджио
  экстрим вокал
  оперный вокал

Выбрать другое

    Вариант 1
    Вариант 2
    Вариант 3
    Вариант 4
    Вариант 5

Результат: эстрадный вокал

Результат: джазовый вокал

Результат: академический вокал

Результат: рок вокал

Результат: постановка голоса

Результат: сольфеджио

Результат: экстрим вокал

Результат: оперный вокал

Результат: Вариант 1

Результат: Вариант 2

Результат: Вариант 3

Результат: Вариант 4

Результат: Вариант 5

A: если я правильно понял
$('.tab').on('click',function(){ //по клику на элемент с class='tab'
    let tabContentId='#'+this.id+'_item'; //формируем переменную из id обрабатываемого элемента
    $('.tab_item').hide(); //сначала скрываем все страницы вкладок
    $(tabContentId).show(); //затем показываем с нужным id
});


Hob Covers, Aga Hob covers & Aga Towels | Inchyra Home – Tagged "tag"
Here at Inchyra Home, we know Agas and range cookers well and that shines through our product collection, specifically designed to make your life easier. Our innovative Aga hob covers are the only ones on the market that have magnetic fixings, so they don't fall off when you lift the hot plate. Our entire collection of hob covers for range or Aga cookers comes with a one-year guarantee, just in case the magnets fail during that time. Whether you like our Blue Check Magnetic Aga Lid Covers or prefer the Natural Check Range Top Covers or perhaps something more floral you will find ones that are perfectly suited to your kitchen decor. All our Aga goods are of the best quality, designed by us and produced in the UK. We've become known for the fantastic quality of our Aga Towels. They are top quality, made with towelling woven and dyed especially for us in Turkey or Pakistan, homes of the best towelling. Outstanding quality is key for us here at Inchyra Home. Our innovative velcro fastening design allows you to turn the towel around on your Aga or range oven so you can use both sides. Whether you like your Black Range Towels with gingham edging, bright red or a dark navy blue, there will be a towel to suit your Aga.


Three changes for Brazil, with that man Bernard stepping up to replace Neymar. Germany unchanged. Thoughts on those line-ups?
After playing on the defense all day, the USMNT made that quite a match in the second half of extra time. Always exciting, this group, down to the last second. Thanks for being with us today, we'll do this again soon.
What can you say. What a match that was. Belgium were pushed to the end. A brave performance from the USA.
USA's crossing is too deep at the moment. Lot of tired legs out there.
Chance Belgium! Vertonghen picks it up, it was 3 v 2 and he takes too long to hit it. Massive chance for Belgium. USA very exposed at the back now. Looking tired.
You sensed it was coming. Lukaku showing his strength and now it's all uphill for the US. De Bruyne has looked dangerous all match.
GOAL BELGIUM! It's Kevin De Bruyne. Lukaku picks it up on the right and cuts it back for De Bruyne. Tight angle on the right, great composure to put it in the bottom left corner.
HUGE MISS: Worst offside decision of the world cup. But Wondolowski will be happy as he has just missed from two yards out. And on the replay, he was well onside.
What happens if it's 0-0 in final time. OT - right?
CHANCE BELGIUM: De Bruyne crosses it from the left to Kompany who just needs to get a clean strike on it and it's game over. But he scuffs it. Belgium now with their 16th corner.
Hazard misses from close range. Left side of the area, he hits it with from a tight angle into the side netting. Not even forcing a save from Howard. Two minutes of normal time to go.
Fellaini's still on the field why exactly?
85 mins: Origi slams it from outside the area, straight into Howard. One more save for Tim. Probably his 600th of the tournament. Or something obscene like that.
What a block from Gonzalez. He's having a great game. Van Buyten with the shot and he is stopped from a few yards out by Gonzalez. The USA side are giving it their all here but they look shattered. It's been all about late goals in this tournament. Are we going to see one now?


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text:
Samsung Galaxy S20 es una línea de teléfonos inteligentes Android de gama alta fabricados por Samsung. Revelados durante un evento el 11 de febrero de 2020, comprados en preventa, los dispositivos fueron eviados a partir del 6 de marzo de 2020.

Los Galaxy S20, S20+ y S20 Ultra tienen un precio de $999, $1199 y $1399 respectivamente, contando los últimos dos con tecnología 5G. Este terminal se ha revelado igualmente junto con el Samsung Galaxy Z Flip.

Samsung ha bloqueado las actualizaciones manuales en el S20 por lo que pasado el tiempo de soporte el usuario no podrá actualizar el teléfono con otras actualizaciones.

Problemas conocidos
 La cámara tiene problemas con el enfoque y el alisado de la piel. Samsung supuestamente está trabajando en arreglar este problema.
 El modelo con chip Snapdragon tiene problemas con el GPS.
 Los usuarios están reportando que el vidrio de la cámara se rompe espontáneamente.

Véase también

 Samsung Galaxy Z Flip
 Samsung Galaxy (gama)
 Samsung Galaxy S (gama)

Referencias

Enlaces externos
 Sitio web oficial

Dispositivos Android
Teléfonos móviles táctiles
Teléfonos móviles Samsung
Teléfonos inteligentes
Samsung Galaxy
Teléfonos móviles introducidos en 2020

redpajama_set_name: RedPajamaWikipedia


text:
Radio Shack, why call yourself Radio Shack and how are you still in business?
Dec 07, 2016 @ 1:35 AM ET By Ben Alonzo
I used to be a loyal customer, especially when Radio Shack was actually an exciting place to visit. In 2015, the chain went through a bankruptcy. It was a sign of the times and most likely the last chance this retailer had to stay relevant. It's amazing that these stores are still around, but will ….read more
Let's stop accrediting for-profit degree mills like ITT and Everest University
Sep 07, 2016 @ 9:59 AM ET By Ben Alonzo
The for-profit ITT Technical Institute has been effectively shut down by the US government. Thousands of students are angry, but they may be getting their educational loan debt forgiven, given the circumstances. This is an example of government doing something right, acting in the interest of education and financial risk. It's also a reminder of ….read more
The Key to Ending Terrorism is Fully Embracing Objective Science, Instead of Ancient Subjective Thinking
Jun 13, 2016 @ 10:39 AM ET By Ben Alonzo
We can more effectively end terrorism by fully embracing objective science, especially as a way of thinking and making decisions. The subjective thinking that comes from religion and tradition leaves people divided, constantly fighting, and unable to decide on actual problems. The recent June 12, 2016 Orlando, Florida Islamic terrorist attack has once again divided ….read more
Is storm chasing out of control? Let's talk about it.
Jun 01, 2016 @ 6:56 AM ET By Ben Alonzo
It's severe weather season in various parts of the country, which means lots of storm chasers and spotters will be out observing severe weather. Each year, there is also talk about the importance of safety, respect for others, respect for nature, and issues between storm spotters and chasers. I thought would discuss some current storm ….read more
Media Hype on Tornado Outbreaks Causes Public to Distrust Scientists
Apr 28, 2016 @ 12:11 PM ET By Ben Alonzo
Recent overhyped severe weather coverage has caused concern about public trust in meteorologists. April 26, 2016 was another example of severe weather communication issues. There were very misleading graphics from some media meteorologists that suggested a 100% chance of killer tornadoes, which prompted many people to panic. To complicate matters, it wasn't a great tornado ….read more
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Did you know? Your desktop or laptop computer should regularly be cleaned. The heat exhaust system often gets clogged with dust, pet hair, and other particles, which could cause your system to behave abnormally. Eventually, a clogged cooling system can cause your computer to stop working. Save yourself time and money by using canned air to clean your system fans. Available @ Walmart.


This former Italian deli turned cozy restaurant opens early for a good value lunch of pasta or salad.
Pasta is on the evening menu as well, which also features elk, a local specialty, and a good selection of wines, beers and sweet Swedish ciders. Complimentary bread and green salads add to the value.


text:
Moynihan in top-10 after day one at Vierumäki Finnish Challenge
1st August 2019
Gavin Moynihan (Photo by Warren Little/Getty Images)
The scoring on the Challenge Tour just keeps getting tougher and Gavin Moynihan finds himself in a tie for 10th place after day one at the Vierumäki Finnish Challenge having despite carding a superb opening round 68.
Moynihan leads the Irish charge, one stoke ahead of Stuart Grehan (69) and two ahead of both Robin Dawson (70) & Cormac Sharvin (70) but he is five strokes off the hot pace being set by Darius van Driel who notched an opening round of 63, nine under par, to open up a three-shot lead at the head of proceedings.
The Dutchman, who is going in search of his second European Challenge Tour title after his maiden triumph at the 2018 Euram Bank Open, made the perfect start to the week with a spectacular first round performance at Vierumäki Resort, which included nine birdies and an eagle.
His birdie blitz on day one smashed the previous course record at the Finnish venue and means that the 30-year-old will begin day two at the top of the leaderboard for the second time in less than a month, having led the way after 18 holes at the D+D REAL Slovakia Challenge.
He sits three shots ahead of South African Bryce Easton, Spain's Ivan Cantero Gutierrez and Rikard Karlberg of Sweden, who all recorded six under par rounds of 66.
Despite conditions being considerably colder than the players have faced in recent weeks, van Driel had little problem adjusting on a course where he finished in a tie for second in 2016.
''I was on holiday last week and didn't touch my clubs at all and then came out here and didn't have time to play a practice round,'' he said. ''On the range this morning it felt like I would have been happy with a 72 and then I bogeyed the first hole as well, which perhaps wasn't too surprising.
''It felt really cold out there, especially considering the conditions we've had in Europe over the last month or so, but I was able to putt well, and made an eagle on the first hole, my tenth, which always helps.''
Easton, playing in the first group of the day, made quick work of his opening round, firing six birdies in his first ten holes as he goes in search of his first Challenge Tour title. Cantero Gutierrez closed with two birdies to ensure he was bogey-free for the round, while Karlberg also finished with a flourish, recording a birdie and an eagle on his final two holes
Mikael Salminen finished the day as the best-placed Finnish player after an opening round of 68, four under par, a year after Kim Koivu become the first home player to triumph at the tournament.
A group of five players, including German Dominic Foos, Norway's Eirik Tage Johansen, Swede Christofer Blomstrand and French duo Clément Berardo and Edouard Dubois, sit on five under par, four shots off the lead.
FULL SCORING HERE


The Burlton Inn is fast becoming a popular eaterie again, having surfaced with new ownership from the wastelands of culinary mediocrity where it had been stuck for the past few years.
The 18th century building sits right on the edge of the rather twisty road between Shrewsbury and Ellesmere and has been a hostelry since the reign of King George lll, retaining many of its period features.
I was joined for my evenings dining by Stephen Winwood and first impressions were of a somewhat beige interior, although the beamed ceiling and eclectic mix of tables and chairs give several different, spacious and comfortable seating areas.
I did like the area set aside for pre-dinner drinks with two comfy chestnut brown leather sofas placed either side of a rustic fireplace and although I would have liked to see some jugs of fresh flowers, the table lamps added a welcome warm glow.
Certainly the welcome was very warm and friendly from charming Harriet behind the bar, who knew how to pour a decent white wine spritzer and looked after our drinks throughout the evening.
Our waiter for the evening was the very engaging James, who was extremely knowledgeable about the menu. What an asset it is to have bright young staff who are articulate and interact with the clients. James deftly produced a big basket of artisan breads and a dish of virgin olive oil with balsamic vinegar, in case we were peckish.
The Burlton offers two very differing menus, either Gastro Pub Favourites at very favourable prices, or the Contemporary Fine Dining Experience which has a selection of la carte specialities prepared by chef patron Paul Devaney. Paul has an illustrious background of haute cuisine, having trained in Austria, Germany and France where he learnt classic French cooking, especially working on the Cote dAzur and time spent in New Zealand and Australia, where he accumulated many gold medal awards for his innovative dishes through the Salon Culinaire. There can be few chefs in Shropshire with the international culinary expertise of this young man. Paul believes in the classic French ideal of staying true to the ingredients, with harmonious flavours and seasonal produce.
I wanted to be totally fair in my assessment of the dishes on offer and selected from both the pub food menu and also the fine dining. I began with marinated trout with a palm-sugar and lime dressing, served in the Asian style with beignets of wasabi, aioli and a radish salad, presented as piece of contemporary art on a narrow black dish.
James the waiter told me this was one of Pauls most recent creations and it had all the sublime flavours and scents of the East and was really delicious. Stephen began with a bundle of intensely green English asparagus served with buffalo mozzarella salad, slow-cooked tomatoes, hazelnuts and a light lemony mayonnaise. He said it was fresh and summery and the combination of ingredients worked well.
For my main course I moved to the Pub Favourites menu and decided on the Burlton Burger. I can honestly say my palate has never been sullied by mass-produced branded burgers, and never will be. I was assured by James that this would be an altogether different burger, so I went for it.
Its arrival was eagerly anticipated and what a whopper: 200 grams of totally unadulterated Hereford beef, served in a traditional floured bap, with slow-cooked tomatoes and Gruyre cheese, a spicy side relish and sublime chunky chips, the only thing missing, I felt, were slices of onion.
Stephen chose the Fine Dining menus bavette of Hereford beef. Very few British diners would know this cut of beef; it is probably the least appreciated of the beef-cuts. Served with shallots it can be found in just about every Parisian bistro and it is also popular in Cantonese cooking. Bavette is the French flank and needs to be matured for about 28 days and should be cut across the grain and then seared in a very hot frying-pan. The chef served this simply with a medley of vegetables and pureed potatoes. Stephen said it was beautifully tender and most flavoursome. His empty plate rather reinforced those sentiments!
Puddings were rich and varied, and Stephen selected honey panna cotta served with raspberries, almonds and caramel sauce. Small medallions were artistically arranged with the other components into a mosaic design on the plate. My Toblerone cheesecake took on the shape of pieces of that chocolate and was served with the most eye-wateringly intense reduction of sloe gin, which was an excellent balance to the very sweet cheesecake. We then enjoyed super-strong coffee served with citrus and passion fruit marshmallows to complete our meal.
The highlight of our evening was Paul coming from the kitchen and having the confidence to meet his dining public. Paul is a very accomplished and utterly modest chef who caters for a broad range of tastes; is an inspirational chef who really understands food and its presentation and is prepared to showcase the abundance of wonderful local meats and produce we produce in the County of Shropshire. Paul told me he needs to know the provenance of the ingredients he uses and is especially pleased to have found Gloucester Old Spot Pork from Moor Farm just four miles away from Burlton. On the evening we dined at the Burlton fellow guests included a group of prominent Shropshire farmers and they confirmed that their steaks were extremely good, and that they would be returning.
I should like to see Paul Devaney do well at The Burlton Inn, he has a very good team around him. The ambience and decor still need further attention but he is aware of that. You will be made very welcome and can be assured of a delicious meal whatever you select. There are also reasonably priced en suite guest rooms if you fancy a night away from home and, the following morning, the best full English cooked breakfast to send you on your way.