# Properties

# X Speed, Y Speed, Z Speed

The target speed of the affected objects on the X, Y, and Z axes. (Tg)

When using the modulate blending mode, change the speed of an axis from positive to negative or vice versa to invert that axis.

# Strength

How forcefully the mover overrides physical forces that are acting on the affected objects, such as gravity and friction.

# Damp in X, Damp in Y, Damp in Z

How quickly the object slows down to the target speed. (Jj)

# Local Space

When on, the X, Y, and Z axes will be relative to the rotation of the gadget. When off, the axes will be absolute to the scene’s grid.

# Miscellaneous Outputs

# Affected Objects

This is an output that only connects to objects. Surface-snapping the gadget to an object automatically attaches a wire from this to the object.

# Properties

# X Axis Speed, Y Axis Speed, Z Axis Speed

The target rotational speed for a given axis.

# Rotation Strength

The amount of force that can be applied to bring an affected object’s rotation to the target rotational speeds.

# Damp in X, Damp in Y, Damp in Z

The gadget’s ability to slow the rotation of an affected object to the target rotational speeds.

# Local Space

When on, allows the gizmo to be rotated using a handle at the end of the X axis and Y axis stalks—setting the orientation of the axes to be used for rotations. The orientation of the gizmo will also be adjusted when the gadget is rotated.

When off, the gadget will use the scene’s default grid orientation.

# Miscellaneous Outputs

# Affected Object(s)

This gadget will affect all objects linked to this output.

# Important Properties & I/O (Input & Output)

# Angle Range to Detect

The angle of the core angle range to detect. (Jj)

# Angle Range Falloff

An angle measured from the edge of the core range. (Jj)

If the combined angles of the core and falloff exceed 360 degrees, the angle of the sensed object will not be able to get to 0—as the falloff’s edge cannot be reached.

# Angle Range Met

While the aim is within the core angle range, outputs an “on” signal.

While the aim is within the falloff, a signal will be sent based on how far through the aim is from the edge of the falloff to the core. (Jj)

While more than one object is used to sense from, the highest output will be sent.

# Relative to Object

The centre point will automatically adjust so that it maintains its orientation relative to the linked object. So if the linked object rotates, so does the target’s centre point.

# Miscellaneous

# Sense Angle

The objects whose angle will be sensed.

# Orientation

Sends the orientation of the object.

# Standard

# Operand A

The first value/operand.

# Standard Operation

The type of operation to perform using the values. (Jj)

# Operand B

The second value/operand.

# Result

Outputs the result of the calculation.

# Trigonometric

# Operand A, "B"Operand B, Result

# Trigonometric Function

Trigonometric functions describing the relationship between sides of a triangle and the angles of the corners of the triangle. (See Wikipedia for more information.)

Note, angle inputs should be in radians. Angle outputs are also in radians. 180 degrees = PI radians So to convert:

degrees x PI / 180 = radians.

radians x 180 / PI = degrees.

I envision these functions as describing the relationship between a 2D point’s position and its angles. This forms a right-angled triangle by drawing a line from (0,0) to the point, down to the X axis, and back to (0,0).

In terms of traditional trigonometry labelling, the angle would be between the x-axis round to the line to the point. The horizontal line at the bottom would be known as the “adjacent,” and its length is the same as the point’s X coordinate. The vertical line on the right would be known as the “opposite,” and its length is the same as the point’s Y coordinate. The line to the point would be known as the “hypotenuse,” and its length is the same as the point’s distance from (0,0). So then the SOH-CAH-TOA memorisation technique still holds.

I’ll use the idea of a 2D point as a way of describing what the functions output.

# Vectors

# Operand A, "B"Operand B, Result

# Vector Function

A function to apply to the incoming vector operands.

Any operands used by these functions should be vectors. Vectors are 2 Numbers, 3 Numbers, 4 Numbers, and 8 Numbers values. Commonly used for positions and directions.

The “origin” vector for any operation would be a vector of the same type, with all components set to 0. If this were a position, it would be the “origin” of the scene.

# Camera Settings

# Focus Distance

Things at the focus distance away from the camera will be in focus. The further away something is in the scene from this focal distance, the less it is in focus. Though how blurry things can get when not in focus depends on the aperture size. (Jj)

Affects who far away from the gadget the wireframe rectangle is.

# Aperture Size

The wider the aperture, the more blurry things become when not in focus. The narrower the aperture, the less blurry things become when not in focus. (Jj)

# Transition Type

When this camera is made active, dictates how the player’s view transitions from what it was before to this camera and settings. (Jj) Note, this does not affect the transition from this camera to a different camera. (Jj)

# Transition Time

How long it takes for the player’s camera to change to this camera after it’s made active. Note, this does not affect the transition from this camera to a different camera. (Jj)

# FOV Angle (Field of View)

The angle from the camera in which you can see the scene. So a narrower angle will zoom in and you’ll see less stuff. And a wider angle will zoom out and you’ll see more stuff. (Jj) (Tg) (Tg)

Affects the angle of the wireframe lines for the edge of the screen.

# Camera Active

Sends a pulse when the player’s view is at this camera.

# Black Bars

When on, displays black bars like some films. Useful for cut-scenes.

# Imp & Player Settings

# Imp Scale

The size of the imp relative to its normal size.

# Minimum Imp Distance, Maximum Imp Distance

The range of distance from the camera the imp can be within the scene. Within that range, the imp will slip over sculpt surfaces within the scene. Outside that range, it moves over an invisible wall at the maximum distance.

When changing min to greater than max, max will change to the min value. When changing max to less than min, min will change to the max value.

# Follow Imp

An angle the camera may move to follow the imp when the imp nears the edge of the camera’s view. (Jj)

# Disable Controller

When on, no controller input will be processed by the scene. (Jj)

# Hide Imps

When on, no imps will be visible or interact with the scene. (Jj)

# Pitch & Roll in VR

When off and using VR, only the camera gadget’s yaw (looking left/right) will be kept. Its pitch (tilting your head up and down as if nodding) and roll (tilting your head side to side like a cute dog) will be ignored, and the headset’s pitch and roll will be kept.

When on and using VR, the pitch and roll will be used as the base orientation of the player’s view.

This applies to scoping into the camera to move it, while editing in VR.

Another way to think about this is: When off, the headset pitch and roll will override the view. When on, the headset pitch and roll will be added to the camera’s pitch and roll.

# VR Scale

When using VR, the scale of the world in relation to the player’s view. The scale of the gadget itself has no effect.

# Properties & I/O (Input & Output)

# Activate Me

When sent a non-zero signal, the checkpoint becomes the active one. (Tg)

# Currently Active

Sends an “on” signal while the checkpoint is active. (Tg)

# Just Spawned

Sends an “on” pulse on the frame when something spawns at the checkpoint. (Tg)

# Delay Before Respawn, Delay Next Respawn

When a puppet spawns at this checkpoint, a countdown will begin from Delay Next Respawn. New puppets will only try to spawn here after the countdown is complete.

When a puppet tries to spawn at this checkpoint, it will not spawn until Delay Before Respawn has elapsed.

For example, players Blue and Red have a wire going from their controller sensor’s “is dead” output into its “Respawn” input so that when they die, they will immediately try to respawn.

A player activates a checkpoint with Delay Before Respawn = 10s and Delay Next Respawn = 5s.

If they die soon after each other, the following would happen:

If one player died later after the first player died, the following would happen:

If the players die long enough after each other, the following would happen:

If the checkpoint was set to Delay Before Respawn = 5s and Delay Next Respawn = 10s, here’s how the same situation would play out:

# Controller I/O Page 1

# L2 Button, R2 Button

Sends the amount the trigger is being pulled: 0 for not at all, 1 for when it is pulled all the way, 0.5 for pulled halfway.

# L1 Button, R1 Button, Triangle Button, Square Button, Circle Button, Cross Button

These are on/off buttons with input and output, corresponding to the named buttons on the controller.

# Controller Mapping View

The outputs on this tab map between dualshock controls and move controls in the following way:

# Controller I/O Page 2

# Left Stick, Right Stick

The X and Y values sent are relative to the current view’s angle, for example as through a camera, such that pushing “up” is always pointing away from the current view in scene-space and “left” is always pointing to the left of the current view in scene-space. (Tg)

A custom deadzone can be created using a timeline. (Tg)

# Directional Buttons

The X and Y (or A and B) values sent are relative to the current view, such as through a camera, such that pushing “up” is always pointing away from the current view in scene-space and “left” is always pointing to the left of the current view in scene-space.

# Motion Sensor

The controller’s axes of tilt in radians, relative to the current player view.

# Touchpad Button, L3 Button, R3 Button

Sends a signal while the corresponding button is held down.

# Controller Mapping View

The outputs on this tab map between dualshock controls and move controls in the following way:

# Controller I/O Page 3

# Left Stick Local, Right Stick Local

The X and Y values are taken directly from the sticks themselves, and are not relative to the current view.

# Up Button, Down Button, Left Button, Right Button

Sends 1 (“on”) while the corresponding button is held.

# Enter, Back

Sends 1 (“on”) while the corresponding customary button for such a function is held.

For example, in Japan Circle button is to enter and Cross button is to go back, whereas in most other places Cross button is to enter and Circle button is to go back.

# Controller Mapping View

The outputs on this tab map between dualshock controls and move controls in the following way:

# Camera Properties

The controller sensor has a camera built in and ready to use. It focuses on and revolves around the controller sensor gadget itself.

# Camera Height

The height relative to the controller sensor that the camera focuses on, multiplied by the current camera distance. (Tg)

# Camera Distance

The desired camera distance from the controller sensor.

If the camera would go inside an object that is visible, it will move closer to the focal point to avoid this.

# Camera Tilt

The tilt around the camera’s X axis (looking up/down) relative to the focal point. So when the value is high, it looks down on the sensor. When the value is a low negative, it looks up towards the sensor. Values go from -57 degrees to 57 degrees.

When the value is 0, the target angle is parallel to the “ground” or X-axisZ-axis plane. (Tg)

By default, this angle can be adjusted while playing using the right stick. As the controller sensor moves though, the camera will try to match the desired angle.

# Field of View

What angle of the view is seen on the screen. High values let you see more of the outer edge of the view as if zooming out. Low values cut out more of the outside edge of the view as if zooming in.

To get an orthographic view for an isometric game for example, use a camera that is very far away with a very low FOV. This will limit the effect perspective has as the camera moves.

# Aperture

Other objects in the scene will be different depths from the camera from any given view. The difference in depth from the camera is used to calculate how blurry they should be. The strength of this blurriness is defined by the aperture. A high aperture means more blur effect.

# VR Scale

# Platforming Shadow

Only takes effect when the sensor is surface-snapped to an object.

This darkens all objects to black directly below any visible part of the object the controller is attached to, regardless of a sculpt’s “cast shadows” option. This setting specifies the strength of this effect.

# Offscreen Indicator

When on and multiple players are possessing controller sensors, an indicator is shown at the edge of the screen when this controller sensor’s object is off-screen and the built-in camera is at minimum zoom and cannot let all player-possessed puppets stay on-screen at once. This indicator will flash if the “stay onscreen” setting is turned on.

# Stay Onscreen

When on and the controller sensor is offscreen (see offscreen indicator to see how this is defined), a countdown will be started as set in the global settings gadget. When the countdown is up, that controller sensor will “die.”

# Important Properties & I/O (Input and Output)

Player and imp settings.

# Possession Mode

Dictates how the player can interact with the controller sensor or the attached object.

# Player 1, Player 2, Player 3, Player 4

When on, a switch allows the corresponding player to interact with the controller sensor.

# ‘Follow Imp’ Behaviour

When using the “follow imp” setting, dictates how the attached object orients itself relative to the imp. (Tg)

# Allow Imp During Possession

When on, the imp will not move to the gizmo, but will move independently of it. Note that even when this setting is on, if the imp is hidden by global settings or the current camera’s settings, the imp will be invisible.

When off, when a controller sensor is possessed, the imp zooms into its gizmo location, makes a “zip” sound and causes whatever object it has possessed to glow momentarily.

# Force Possession

When on, the imp will immediately possess the controller sensor when it becomes powered and the player is not yet possessing a controller sensor. (Tg)

While on, the controller sensor cannot be depossessed.

# Depossess

When triggered, the controller sensor is possessed, and Force Possession is not active, the player depossesses this controller sensor even if the imp is hidden. (Tg)

# Possession Visual

How the imp will be displayed once the attached object is possessed.

Note, if a Hand/Imp Tracker is following the player, the imp will not be displayed by the controller sensor.

# Imp Docking Tag

When a Tag gadget’s Scene Space Transform output is wired directly into this, the imp will appear at that transform (including position, rotation, and scale). Tag’s white gizmo will also change into a preview of the imp when possessed.

Note that trying to wire anything apart from a tag’s Scene Space Transform output into this will not be allowed.

# Disable Controls

When sent an “on” signal, the controller sensor will send no outputs from the player that has possessed it.

# Miscellaneous I/O (Inputs & Outputs)

# Possessed

Sends a signal when the controller sensor is currently possessed.

# Player Ownership

Sends a “player info” fat wire regarding who is currently possessing this controller sensor.

# Microphone

Sends the current volume (envelope) being picked up by the possessing player’s microphone.

# Respawn

When triggered, the possessed object is destroyed and recreated in a set position and orientation. (Tg) This position will be the last activated checkpoint if there is one. If there is no such checkpoint active, the original position the object started will be used instead.

# Die

When triggered, the controller sensor permanently stops sending output.

If there is another possessable controller sensor within the scene (such as in a puppet), the camera will move towards it.

# Is Dead

Sends “on” while the controller sensor is in the “dead” state.

# Offscreen Death

Sends a signal when the controller sensor dies as a result of being offscreen for too long.

# Delay Properties

# Volume

The volume of the delay audio. Also shows a meter of the output of the delay channel.

# Playback Speed

Multiplies various time settings of the gadget.

Is multiplied by the parent playback speed similar to the Timeline Playback Speed setting.

# Time, Feedback

Time is how long the audio is delayed before a new iteration begins. Multiplied by the Playback Speed setting. While hovering over the top half of the graph, the tooltip shows the time between iterations in milliseconds. It also shows the nearest musical notation for that speed, assuming 100% speed has 2 beats per second.

Feedback is how much of the original volume each iteration keeps. Iterations continue until no volume is left.

Visualises each iteration as a vertical black bar from the bottom of the graph.

Note that while these settings send a Spice & Randomisation wire value and spicy and random range settings can be added, these are ignored.

# Beat Sync Delay Time

When on, the Time will snap to the note timings. The timings will also be multiplied by a parent timeline of the delay gadget.

# Rate, Depth

Affects the pitch of the chorus output over time. A sine wave increases and decreases the pitch.

# Reverb

How much reverb to add to the delay iterations.

# Reverb Channel

# Delay Effects

# Distortion Amount

# Lo-Cut, Hi-Cut

Cuts frequencies of the delay output that are lower or higher than the settings.

Lo-Cut defaults to 10%, and Hi-Cut defaults to 90%.

# Stereo Ping-Pong

Each delay iteration will come out of a different stereo channel (left or right). The stereo image is wider (the sound is cut off from the opposite side more) the higher the setting.

The first iteration of a new sound always comes out of the left side first.

# Surround Ping-Ping

Similar to Stereo Ping-Pong but bounces between the centre and rear channels instead.

# Sound Channel

The delay volume and sound channel is independent from the audio source’s volume and channel.

# Prompts to Skip/Close

# Prompt to Skip

While not all the text is shown, this setting dictates which button can be used to skip the animation of this text.

# Prompt to Close

Once the text is fully shown, this dialogue can be closed. This setting dictates which button lets the player close the dialogue.

Note it will take a moment to actually hide the dialogue after the button has been pressed.

# Show Prompt in Text

When on, displays prompts next to the dialogue for skipping or closing when those controls are applicable.

# Dialogue Properties

# Imp Text Prompts

When on, the imp can be used to select a prompt.

# Circle Prompt, Cross Prompt, Square Prompt, Triangle Prompt, Up prompt, Down prompt, Left Prompt, Right Prompt

Options the player can choose from.

# Inputs & Outputs

# Start Text

If this is wired into, the gadget will not show anything on the screen.

While a positive signal is received, the gadget will start rendering and animating the text where necessary.

# Text Finished

Sends a pulse when the player uses the Close button. Often wired into the next dialogue gadget’s “Start Text” input to continue the conversation.

# Text Active

Text is considered “active” while the gadget is powered and either no wire is plugged into “Start Text” or that wire is sending a positive signal.

Sends a 1 while active.

# Text Animation Finished

Sends a signal while the text is active and the animation is complete.

# Text Animating

Sends a signal while the text is active and the animation is not yet complete.

# Text Animation Progress

Sends a percentage for how far through the animation the gadget currently is.

Can be set in the same way.

For example, sending 0.2 into this will show 20% of the characters.

# Properties & Output

# Doorway Type

Dictates the kind of doorway this is for the scene, and how it can be used. (Jj)

# Doorway Activated

Sends a pulse when the doorway was used to enter the scene, even if the gadget is powered off.

When playing a scene not from a dream, the entrance or two-way doorway created earliest will be considered to be the active one.

When editing a scene with an entrance or two-way doorway gadget, the one considered active will show this setting as sending a signal.

# Checkpoints

# Checkpoint Mode

When entering the scene through this doorway, the respawn point will be set to its gizmo. Checkpoint gadgets will take over as normal.

Note that this has no effect when entering from a different dream.

# Just Spawned

Pulses “on” when a player spawns from this doorway. (Jj)

# Options

# Colour

The colour of the gadget and its field.

# Inner Radius

The size of the inner radius of the field, where the effect applies most strongly to notes. Similar to the Core of a trigger zone.

Cannot be higher than the Outer Radius.

When Positional is on and using the Sphere zone shape, this is used as the core size of the zone.

# Outer Radius

The size of the outer radius of the field. While a note is further towards the outer edge, the effect will affect the audio less. While a note is further towards the inner edge, the effect will affect the audio more. Similar to the Falloff of a trigger zone.

When going below the Inner Radius, pushes the Inner Radius to the same value.

When Positional is on and using the Sphere zone shape, this is used as the falloff size of the zone.

# Upper Height in Timelines, Lower Height in Timelines

When in a timeline, how many rows above or below the effect field gadget will be affected by it.

# Positional

When on, the gadget affects sound gadgets within the scene, much like a trigger zone. (Mm) (Tg)

This includes the LFO wave.

# Zone Shape

Affects all sound sources within the zone.

You can animate gadgets moving in and out of the effect field, to perform such changes. (Mm)

Has the Sphere and Scene options. (Tg)

# Movement

The term “LFO” is now used in this tab, standing for Low Frequency Oscillator. This refers to a value changing over time like a wave, in this case how much the effect field is being applied.

# ADSR

Similar to the ADSR setting of a sound gadget, but affecting how much effect the gadget has on the note over time. (Tg)

Note, there is no Release in this setting.

# LFO Depth

How non-effective the field can get in the low parts. (Tg)

# LFO Rate

How fast the wave moves across the field. (Tg)

While LFO Beatsync is on, becomes an integer locked to musically useful tempos: 1, 2, 3, 4, 6, 8, 12, 16, 24, 32, and 64.

# Wave Shape

The shape of the wave moving across the field. (Tg)

# Beatsync LFO

When on, each wave cycle will be some whole fraction of the beat. Randomised wave shapes will be seeded, meaning the randomised “height” of the wave (how positive or negative the wave is) will be the same for any effect field and the same every time that effect field is played.

When in a timeline or sound performance window, the tempo of this beat will be inherited from the containing gadget.

# Bipolar LFO

The field’s settings will be added to the sound’s settings at the highest point of the wave.

When on, at the lowest point of the wave the field’s settings will be subtracted from the sound’s settings at the lowest point of the wave.

When off, at the lowest point of the wave the field’s settings will have no effect on the sound’s settings at the lowest point of the wave.

# Reverse LFO

When on, the high and low points of the wave are inverted.

# Properties

# Object to Emit

Click on it and then an object in the scene to link the object to the gadget. Press Triangle button to unattach the attached object. (Jj) (Tg)

The attached object will have its power turned off. When emitting, a copy of the current state of the object will be used and its original power state will be restored for the emitted copy. This means you could turn the power on for the reference object and allow it to change live. Then when it is emitted, the state it has at the moment the emit takes place will be used for the emitted copy. (Tg)

Note, as the reference object is powered off it will normally disappear from view. But it is still in the scene, still uses thermo, and importantly is still editable by turning off Preview Invisibility. (Tg)

Note that the centre of the object is found at the time it is linked, based on the bounds of all contained objects. The true centre could change after that, but the centre used to emit the object will not change. (Tg)

# Emit Speed

The initial speed of the object along the specified direction. (Jj) If this is non-zero, the emitted object will behave as if it was “movable” turned on. (Tg)

Note that this can be set to 0, and the object will still be able to move—for example by using a Mover or simply setting it to be movable. (Tg)

# Rotation

The initial rotation speed of the object. (Jj) If this is non-zero, the emitted object will behave as if it was “movable.” (Tg)

# Ignore Parent Speed

When on, the initial speed will be used absolutely. When off, the initial speed will be added to the speed of the gadget. (Jj) (Tg)

# Time Between Emits

When in continuous mode, specifies how long to wait before emitting a new object both after becoming powered and after each emitted object. (Jj) (Tg)

When at 0 seconds, a new object will be emitted each logic frame (30 frames per second).

# Emit Mode

Dictates when objects are emitted while powered.

# Local Space

When on, the orientation of the direction they are launched in or rotate around are relative to the orientation of the gadget and so will rotate when the gadget rotates. (Tg)

When off, the orientation is absolute to the scene and will not change if the emitter is rotated.

# Emitted Object Lifetime

When emitted, the new copy will be destroyed this amount of time later. (Jj) (Tg)

# Max Emitted at Once

The maximum number of objects emitted by this gadget that can exist at once time. (Tg)

While there are already the specified number of objects emitted from this gadget still existing within the scene, no more objects will be emitted unless Recycle Emitted Objects is on. (Jj)

# Max Emitted

The maximum number of objects that can be emitted by this emitter, regardless of any being destroyed. (Tg)

If there has already been the specified number of objects emitted during the entire lifetime of the scene, this gadget will not emit any more objects. (Jj)

# Recycle Emitted Objects

When on, instead of not emitting when the “Max Emitted at Once” number is reached, the oldest emitted object still existing will be destroyed and a new object will be emitted. (Jj) (Tg)

# Inputs & Outputs

# Object Emitted

Sends a pulse each time the emitter emits an object. (Tg)

Note that if Time Between Emits is 0 and a new copy is emitted every frame, the output of this setting will be the equivalent of a solid signal.

# Scene Space Direction

If the emitter sets an initial speed to the emitted object, it will give it that speed in this direction. (Tg) (Tg)

# Scene Space Transform

Sets the transform in the scene that the object will emitted at. This is great for putting a piece of logic at a position within the scene. (Tg) (Tg)

# Destroy Emitted Objects

When the input signal becomes positive, all objects the emitter has emitted are destroyed. (Tg)

This can be triggered even if the gadget is unpowered.

# Preserve Wires

When on, emitted objects will have wires added that were connected to the original object. (Tg)

# Properties

# Tint

The colour of the fog.

# Hue Shift

Shifts the hue of the colour of the fog.

# Density

How much light the fog absorbs and blocks from getting through the fog.

# Noise Strength

How much the noise reduces the density of the areas it affects.

# Noise Scale

How much the noise pattern is scaled up from the centre of the fog area.

# Noise Speed

How quickly the noise changes over time.

# Glow

How much the fog glows. If the fog looks a bit dingy because it is not catching enough light to appear the true colour you have set, increase the fog a little.

# Important Properties

# Follow Mode

Dictates how the gadget moves objects relative to the target position.

# Speed

The target speed of the object as it travels towards the target. If no target is found, the speed used is 0.

# Strength

The gadget’s ability to overcome other physical forces such as gravity and friction.

# Damping

The gadget’s ability to slow the object once it reaches the target.

# Tag Name

The name of the tag to use as the target. (Tg) Only the closest valid tag will be targeted. (Tg)

While a tag is targeted in this way it is considered detected.

# Scope

# Strength & Damping Specifics

# Min. Distance, Max. Distance

The tag’s position must be further away than the minimum distance and closer than the maximum distance to be considered a valid target. (Tg)

If min is changed to be greater than max, max will be set to the min value. If max is changed to be lower than min, min will be set to the max value.

When these values are set by received signals they will not adjust the other slider when out of range, but instead only be allowed to set the value within the set constraints.

# X, Y, and Z Strength

Affects the strength in particular axes. (Tg)

This can be used, for example, to keep a character on the same plane as a tag for a 2D platformer while not affecting movement in other directions. (Tg)

# X, Y, and Z Damping

Affects the damping in particular axes.

# Follower Direction Damping

Affects damping towards the target.

# Inputs & Outputs

# Affected Object(s)

The objects to move.

# Target Position

When set, the follower will try to move the affected objects such that the follower’s position is at the target position. (Tg) (Tg)

Can be used to put some object at the same position as the camera. (Tg)

# Found Target

Sends “on” while a target is being used.

# Important Properties

# Force Strength

The intensity of the force applied to objects.

# Force Speed

The speed of the force applied to sculptures. (Tg)

# Force Speed On Strokes

The speed of the force applied to paintings that have “physical” enabled.

# Force Mode

Whether the force will pull things towards the position or push things away from the position.

# Force Type

How the force vector will be calculated.

# Target Position

Sets the location of the source of the force independently to the centre of the zone where the force is applied.

# Force Applied

Sends “on” while a sculpt or painting is being affected by the force.

# Local Space

When on, direction will be relative to the gadget’s orientation. When off, direction will stay constant regardless of the gadget’s oritantion.

# Settings 1

# Adjust Gravity, Gravity Strength

When on, activates the gravity strength slider. This will adjust gravity across the entire scene.

Note that the puppet settings define how high the puppet can jump as opposed to the amount of force applied when jumping. The force applied when jumping is calculated using the current gravity setting, to ensure this jump height.

# Adjust Fall Height, Max fall Height

When on, activates the Max Fall Height slider.

If a possessed puppet has nothing beneath it within the set distance, Puppet Interface gadgets inside it will send a signal from “fell out of scene,” and the default camera will no longer follow it on the Y axis (up and down).

# Adjust Camera Zoom, Multiplayer Max Camera Zoom

When on, activates the Multiplayer Max Camera Zoom slider. This dictates the maximum distance away from all players the camera can go.

# Adjust Offscreen Timeout, Multiplayer Offscreen Timeout

When on, activates the Multiplayer Offscreen Timeout slider. This dictates how long a player can be offscreen before their puppet dies.

# Camera Boundary

When on, activates the Camera Boundary Distance slider. This dictates how far outside of the bounds of the scene the player can go before the camera will stop following them.

# Settings 2

# Allow Imps

When off, hides the imp regardless of other settings. If no camera or possessable controller sensor is in the scene, the imp can still be used to “grabcam” around the scene even though the imp is hidden.

# Max Players

Dictates the maximum number of players that can be active in the scene at once. Controllers for players beyond this number can still pause the game with the Options button.

If this is set to 0, no players can have any control within the scene.

# Number of Players

Sends the number of players currently connected to the PlayStation.

# Camera Transform

Sends the current view’s transformation details, regardless of transitions, which camera gadget is being used, if no specific camera is being used, etc. (Tg) (Tg)

# Reset Scene

When it receives an “on” signal, resets the scene including logic, position of objects, etc. as if it were freshly loaded. Anything that was emitted will be removed. The values of any persistent variables will not be saved, but will be reset to whatever values were stored before the scene was initially loaded.

The player’s view will fade into a view of the reset scene.

# Is In VR?

# Light & Colour

# Brightness

Increases or decreases the overall brightness. (Jj)

# Contrast

Increases or decreases the contrast between light and dark colours. High contrast means dark colours become darker and light colours become lighter. Low contrast means dark colours become lighter and light colours become darker, heading towards a 50% grey. (Jj)

# Saturation

Increases or decreases the saturation of the colours. Low saturation means colours become more grey. High saturation means the colours become more intense. (Jj)

# Hue Cycle

Cycles all colours through the “colour wheel.” For example, increasing this slider pushes reds to yellow, then green, then blue, then purple, and back to red.

# Colour Tinting

Adds a colour tint to parts of the view depending on their brightness. (Jj)

# Shadows, Mid-Tones, Highlights

Darker shades will be more affected by the shadows tint. Mid-tone shades will be more affected by the mid-tones tint. Brighter shades will be more affected by the shadows tint.

These colours are set to 50% grey, which does not affect the colours at all. Any given colour will be adjusted the same amount as the setting is. The further a setting is from 50% grey the more intense the tint grade will become.

Wire a value into colour tint with the “modulate” wire-blend mode to control the brightness of the colour beyond the normal range.

# Screen Effects

Has options for a vignette and other effects.

A vignette is like a shadow around the edges of your screen—though using the settings, this “shadow” can be any colour.

# Vignette Colour

Dictates the colour of the vignette effect when visible. (Jj)

# Vignette Strength

The opacity of the vignette. (Jj)

# Bloom

Light will “bleed” out of bright objects within the screen, making halos appear around these objects. (Jj)

# Lens Flare

Similar to bloom, but produces a line of light as if refracting through physical lenses in a camera. (Jj)

# Grain Effect

Adds a randomised, ever-changing noise to the view, making pixels slightly brighter or darker than they normally are—as if filmed on an old camera, or one that does not work so well in low light. (Jj)

# Sharpen/Blur

Sharpen makes pixels have more contrast near boundaries where colours change. Blur makes each pixel the average of nearby colours. (Jj)

# Motion Blur

When objects move within the view, they will blur in that direction—like watching things go by quickly in a car. (Jj)

# Camera Movement Blur

Blurs the entire view depending on the speed of the camera movement. (Jj)

# Pincushion

Warped the view from the centre of the screen. Increasing bulges out the middle and the corners are pulled inward, leaving black corners—similar to a fish-eye camera. Decreasing pinches the middle and the corners are pulled outward. (Jj)

# Hue Selectivity

# Hue Selectivity

How narrow the range of colours is that are affected by the settings on the first two tabs. At 0%, all colours are affected equally. At 100% only a narrow range of hues are affected.

Note that less selective grade gadgets will be overridden by more selective grades for the colours they select for. Using this, you can easily make all colours desaturated apart from one. (Tg)

# Hue Affected

The hue around which a band of colours are affected.

# Pixelation & Glitch Effects

# Resolution

Has 2 inputs and 2 outputs for X and Y pixelation.

The left-right axis dictates the x-resolution of the view from high (unaffected) on the left to high on the right. The down-up axis dictates the y-resolution of the view from high (unaffected) at the bottom to low at the top. (Jj)

# Scan Lines

Dictates the opacity of darker horizontal lines across the view. These lines are affected by the pincushion setting. (Jj)

# Posterise

Reduces the number of colours shown in the view. Colours are rounded to the nearest allowed colour. (Jj)

# Chromatic Aberration

Pushes the red green and blue colours outward relative to the centre of the view. Gives an old-school dodgy TV vibe. (Jj)

# Glitch

Has 2 inputs and 2 outputs for glitch X and glitch Y.

Adds VHS-style glitchiness to the view. The X axis adds more X-oriented glitch the further right you go, and the Y-axis adds more Y-oriented glitch the further up you go. (Jj)

Y-glitch adds lighter horizontal flecks to the view and warping at the top and bottom, as well as moving the entire view vertically from time to time.

X-glitch adds horizontal ghosting to the view, as well as subtle lighter and darker horizontal bars moving up over the image.

# Properties

# Speed

The target rotation speed to move towards the desired rotation.

# Align All Axes

When on, all axes will try to align themselves with the scene’s axes instead of just the Y axis.

# Strength

The gadget’s ability to overcome forces such as inertia, gravity, collisions, etc.

# Overall Damping

The gadget’s ability to reduce rotation to the desired speed.

# Outputs

# Affected Object(s)

Any objects connected to this output will be affected by the gyro.

# General

# Visible

# Movable When Not Following

# Hide Imp

When on, the imp will not be shown while this tracker is tracking it.

# Gizmo Type

The gizmo will now not adjust based on if the tracker will work for moves-only. Instead, the kind of gizmo required can be selected by the creator.

# Controller Assignment

Which controller will be followed for a player.

# Flip For Left-Handed

When following the player’s move controller in their left hand (primary move when left-handed setting is enabled, secondary move if right-handed setting is enabled) the group (and all it contains) will be flipped horizontally (along the X axis of the gadget).

# Follow Player’s Imp

# Using Motion Controllers

Sends a signal while the player is using the moves.

# Imp Settings

# ‘Follow Imp’ Behaviour

Allows “Follow Imp,” and “Gun Style” settings.

# Distance from Camera

How far from the camera the tracker will be moved to in the direction of the imp.

# Follow Grabbed Item

When on, the tracker will move to the point of a grabbable sculpt when grabbed by the imp, and back after the imp lets go.

# Consider Players

When on, Grabbed, Hovering Grabbable, and Hovering Possessable outputs will send the player that owns the target object.

# Grabbed

Sends a signal while something is grabbed by the controller this tracker is following.

# Hovering Grabbable

Sends a signal while this tracker is hovering over something that is grabbable.

# Hovering Possessable

Sends a signal while this tracker is hovering over something that is possessable.

# Laser Settings

Note that the hand laser does nothing unless in VR mode.

# Override Laser Colour

When on, the laser will use the colour set by this tracker.

When off, the laser will use the colour of the imp it is tracking.

# Laser Colour

The colour used for the laser.

Setting this will turn on Override Laser Colour.

# Override Laser Properties

Overrides the laser properties with the settings below.

# Laser Length

The distance that the laser reaches as well as grabbing and possessing.

# Beam Power

Adjust the visuals of the beam, making it appear more big and powerful and cool at the high end, and thinner at the low end.

# Show Beam

When on, the beam is visible.

# Show Reticule

When on, a circular animated graphic is shown where the laser hits an object.

# Consider Players, Hit?, Hit Position, Hit Surface Orientation

# General

# Visible

# Movable When Not Following

While not following the player’s view, the group will become movable.

# Follow Head in VR

When on, the tracker will follow the “headset view.”

When off, the tracker will follow the “game view.”

# Multiply Scale

Scales the contents of the group relative to the centre of the group.

Objects in the group are normal objects within the world, so when you get up-close to something they can collide with walls etc. Using this setting, you can make everything in the group very small and close to the camera and so will reduce the likelihood of the objects colliding.

# Follow Player’s Head

If no input is wired, the first player’s view will be followed.

When an input is wired, that signal will be used to follow or stop following the player’s view. When sent a positive signal, the tracker will follow. When sent a non-positive signal <= 0, the tracker will not follow.

If the input is a Player Info fat wire type, the tracker will follow the lowest-number player’s view that has a positive value in the corresponding position of the fat wire; otherwise the first player’s view will be followed.

If no player has a positive value in the fat wire, the tracker will not follow any player.

Will always output a Player Info signal. If a non-Player Info input is wired, the values of the output will all be the default.

# Look Cursor Settings

# Enable Look Cursor

When on, the look cursor and the rest of the settings in this tab will be enabled.

# Show Look Cursor

Displays a white dot at the centre of the view, indicating where the cursor is hitting.

When using VR, the depth of the cursor will match whatever it is hitting.

# Cursor Range, Falloff, Consider Players, Hit?, Hit Position, Hit Surface Orientation, Hit Distance

# Outputs

# Head Position

The position, orientation, and scale of the current view.

# X Direction, Y Direction, Z Direction

# Is In VR?

Sends a signal while the player is wearing the headset.

# Is VR Comfort Mode On?

Sends a signal while the player has “Comfort Mode” enabled.

# Properties

# Max Health

The maximum health allowed.

# Current Health

The current health the linked object has. Note this cannot be set to a value higher than the maximum health setting.

# Cooldown Time

After taking damage, how many seconds to wait before damage can be taken again.

# Damage Multiplier

All incoming health modifications—positive or negative—will be multiplied by this amount. If set at 0%, no modification can happen.

# Consider Players

When on, affects the Currently Gaining Health and Currently Losing Health outputs.

# Inputs & Outputs

# Affected Object(s)

Links to objects that will be used to receive health modifications. Objects connected by joints to the linked object will also receive modifications.

# Remaining Health (%) Percentage

The percentage of current health relative to the maximum health. Output = current health / maximum health

This can be used to drive a health bar or the colour of a health indicator. (Tg)

# Currently Gaining Health

Sends a signal with how much health has been gained on this logic frame.

If “consider players” is on, the corresponding player components of the output will carry the amount gained from modifiers inside of objects possessed by players.

For example, player 1 has a health manager set to “consider players.” A health modifier is in player 2’s puppet that adds 5. While player 1’s puppet is affected by player 2’s health modifier, this output’s fat wire would give 0 for players other than player 2. But the player 2 component would give 5 because player 2 has a modifier adding 5.

# Currently Losing Health

Similar to Currently Gaining Health but for when health is subtracted.

# No Health

Sends a signal while “Current Health” is at 0.

# Reset Health

When triggered, sets “Current Health” to the “Max Health” value.

# Properties

# Health Change

How much health is subtracted or added when a health manager is affected by this modifier. See Modifier Mode for details on how this value is used.

# Modifier Mode

When health will be modified while powered.

# Modifier Type

What will trigger the modification to happen.

# Consider Players

Affects the output of Currently Modifying.

# Scope

Note that to determine what modifiers are “Here,” the seeking gadget is the Health Manager, not the Health Modifier that has this setting.

# Inputs & Outputs

# Currently Modifying

When “consider players” is off, outputs a 1 for all players.

When “consider players” is on, outputs a 1 only for players whose health managers are being affected by this modifier.

# Affected Object(s)

Links to objects that will be used to trigger a modification. Objects connected by joints to the linked object will also trigger a modification.

# Properties & I/O (Inputs & Outputs)

# Sense Impacts

The object to sense impacts for. (Jj)

# Sensitivity

All impact force outputs are multiplied by this setting. (Jj) The actual force values are pretty huge.

Does not affect the Touching output.

# Touching

Outputs a collision signal while the object is touching another object. The strength of the output is 1 while touching (not affected by Sensitivity). (Jj) (Tg)

# Bumps

Outputs a collision signal when the object first collides with another object. The strength of the output is the force of the collision. (Jj)

# Rolls

Outputs a collision signal while the object is rolling on the surface of another object. The strength of the output is the speed the object is rolling. (Jj)

# Scrapes

Outputs a collision signal while the object is scraping (or sliding) across the surface of another object. The strength of the output is how much downward force is being applied toward the object being slid across. (Jj)

# Important Properties

# Range

The length of the ray that is cast. (Jj)

# Falloff

The fall off is the distance beyond the length of the ray that will produce a lower signal depending on how close the hit is from the end of the falloff and towards the core length. (Jj) (Similar to Trigger Zones.)

# Point at Tags

When on, will detect tags with the specified name. (Jj)

# Look for Tag Name

The name for the tag to look for. (Jj)

Use the adjustment controls to cycle through the names of all tags in the scene, and all tag names that are looked for by other gadgets.

# Scope

# Hit Something

Sends “on” (1) when the laser scope hits an object as defined by the settings. (Jj)

# Local Space

When on, the angle of the laser scope changes with the rotation of the gadget itself. When off, the angle of the laser scope doesn’t change, but the location will follow the group. (Jj)

# Consider Players

While on, outputs will consider players. The Player Info outputs will send a value through the corresponding player’s component when hitting an object that is owned by that player.

# Hit Detail Outputs

# Hit Position

When detected, sends the hit position within the scene.

# Hit Angle

When detected, sends the 3D “normal” angle of the surface hit by the laser scope.

# Hit Distance

When detected, sends the distance from the laser scope source to the point hit.

# Properties

# Rotation Speed

Sets the rotation speed. (Jj)

# Stay Upright

When on, only rotates around the Y axis and around the “forward” axis as indicated by the gizmo. Effectively, it prevents the gadget from “rolling” the affected object. (Jj) (Tg)

# Rotation Strength

How much force is used to bring the rotation of the object to the specified rotation speed. (Jj)

# Overall Damping

How quickly the object’s rotation will slow down to face the target. (Jj)

# Look for Tag

The name of the tag to “look at.” (Jj) If there are multiple within range, uses the closest tag.

# Scope

# Strength & Distance

# Minimum Distance

The location marker must be at least this far away from the tag for the gadget to start “looking at” it. (Similar to a Follower’s Range.)

# Maximum Distance

The location marker must be within this range of the tag for the gadget to start “looking at” it. (Similar to a Follower’s Range.)

# X, Y, Z Rotation Strength

The percentage of the strength used in each axis.

# Inputs & Outputs

# Affected Objects(s)

The objects that will be affected by this gadget.

# Target Position

(Similar to the Follower’s Target Position Input.)

When no wire is plugged in, uses the tag settings.

When a wire is plugged in, uses the received signal as the target position. This overrides a signal received by the Scene Space Direction input.

# Found Target

Sends a signal while a target position is being used.

Note if only a direction is being used, this does not send a signal.

# Scene Space Direction

A direction to look in, relative to the object itself. All linked objects will look in the same direction when using this. (Tg)

While there is no tag found, this will output the direction of the “forward” arrow itself. So this can be used to create an easily customisable direction. (Tg)

# General

# Microchip Colour

The colour of the microchip. Note that this will also colour the background of the microchip’s window. It can be useful to adjust this to make it easier to see certain wires.

# Custom Icon

The icon of the microchip. When the icon is not the default Microchip, a smaller microchip icon will also be shown in the bottom-right corner.

The options are as follows: Wireless controller, Biped, Imp, Skull, Rocket, Rock, Lightning flash, Flag, Camera, Sound effect, Music, Move, Settings, Filmstrip, Clock, Light on, Trash can, Script, Environment, Cloud, Score counter, and Wind.

# Affected Object

Gadgets within the microchip will also affect and sense using the microchip’s attached objects.

# Important Properties & I/O (Input and Output)

# Sense Movement

The objects to sense movement of.

# Velocity (Overall)

The velocity of the fastest-moving linked object. You cannot have a negative speed, so this is always a positive number.

# Velocity (X Axis), Velocity (Y Axis), Velocity (Z Axis)

The velocity in the corresponding axis. Where there are multiple linked objects, this is OR’d and the value furthest from 0 is used.

Signed, meaning it will be positive when moving in one direction and negative when moving in the opposite direction.

# Local Space

When on, will use its own axis orientation rather than the scenes’s orientation. Also allows the gizmo’s orientation to be adjusted.

# Relative to Object

As long as the attached object is moving, speeds will be judged relative to the linked object.

# X Direction, Y Direction, Z Direction

Directions relative to the centre of mass of the object describing the orientation of the object. (Tg) (Tg)

When multiple objects are linked, these directions are blended.

This outputs even if the linked object is unpowered.

# Acceleration Outputs

# Acceleration (Overall)

Sends the overall acceleration of the attached object(s).

Unsigned, meaning it’s always a positive number.

# Acceleration (X Axis), Acceleration (Y Axis), Acceleration (Z Axis)

Sends the acceleration in the corresponding axis.

Signed, meaning it will be positive when accelerating in one direction and negative when accelerating in the opposite direction.

# Properties

# Forward Speed

The speed the object will move at.

# Movement Strength

How much effort the mover will put into getting the object up to the desired speed. A high strength means things like mass, friction, and collision with other objects will have less impact on the velocity of the object while being moved in the specified direction. (Jj)

# Overall Damping

How much effort the mover will put into slowing the object down to the desired speed. A low damping means the gadget will never slow the object down. Whereas 100% damping means the object will never go faster than the specified speed. (Jj)

# Local Space

When on, the direction the object will move will be affected by the orientation of the mover gadget.

# Damping Specifics

# Damp in X, Y, Z

Affects the damping in specific axes. The overall damping strength is multiplied by these settings when applied in those axes.

# Mover Direction Damping

Affects the damping in the mover’s direction.

# Miscellaneous I/O (Inputs & Outputs)

# Affected Object(s)

This is a link to one or more objects. If the gadget is stamped while snapping the surface of an object, that object will automatically hook up to this setting. (Jj)

The affected objects will be moved by the gadget.

# Direction of Movement

When a wire is connected and Local Space is off, the input will set the direction of the mover. (Tg)

Note, when wiring a direction into this setting, be sure to set it to the Overwrite blend mode so that it sets the value rather than modulating the existing direction. (Tg)

Also, if Local Space is on then the direction will be relative to the object itself. So most likely, if you are setting this with a scene-space direction you’ll want to turn off Local Space. (Tg)

Output will send the mover’s direction.

# Text Properties

# Number/Range

The value to display.

# Display Format

How the value will be formatted for display.

# Decimal Places

The number of decimal places to display.

# Show Milliseconds

When on, will display milliseconds as a decimal.

# Text Colour, Text Brightness, Text Opacity, Font

# Inputs & Outputs

# Number Active

Outputs a signal while the gadget is powered. (Similar to the Dialogue’s I/O output.)

# Overall Movement

# Walk Speed

The speed the puppet will move while walking at full strength.

# Run Speed

The speed the puppet will move while running at full strength. (Tg)

# Turn Speed

How fast the puppet turns whenever it needs to turn.

# 2D Movement

When on, normal puppet controls can only move the character left and right on the scene’s X axis.

Works very similarly to a setup using a follower, which can be used for any object. (Tg)

# Face Camera While Idle

When on, the puppet will turn towards the camera while possessed and idle.

# Face Camera Direction

When on, the puppet will turn away from the camera while possessed.

# Acceleration

How quickly the puppet increases its speed.

# Deceleration

How quickly the puppet reduces its speed.

# Jump Height

The height of a full jump.

A jump is triggered by a signal being sent into the “Jump” input of a puppet interface inside the puppet’s group.

Note that if gravity is set to 0%, the puppet will be unable to jump.

The jump and double-jump could be made completely custom by implementing it using a mover, and the animations will work just as normal. (Tg)

# Min Jump Height

The minimum height relative to the Jump Height setting. As the jump signal continues, the puppet will keep getting higher to a maximum of Jump Height.

For example, Cross button is wired to tell the puppet to jump using a puppet interface. If the player taps Cross button for as short a time as they can, the puppet will reach the “minimum jump height.” If the player holds Cross button until the puppet reaches the top of their jump, the puppet will reach “jump height.”

# Double Jump Height

How high the puppet will jump when told to jump while it is in the air. The puppet can only use this feature once while in the air until it stands on the ground again.

If set to 0 or Jump Height is set to 0, double-jump will not activate.

Note that if gravity is set to 0%, the puppet will be unable to double-jump.

# Gravity

How much effect the global gravity of the scene will have on the puppet.

# Air Control

How much the puppet’s direction can be controlled while in the air through a puppet interface’s “Walk” input. to slow it down or speed it up to the target speed. For example, if set to 0%, while the puppet is in the air any input by the player will not affect the puppet’s trajectory.

If the player tries to steer the puppet and it is moving faster than its run speed, it will slow down. If that is undesired, you can turn up the run speed while it’s meant to be moving faster, turn down the deceleration setting, or block the input going into the puppet interface’s “Walk” so that it has no effect.

# Walkable Slope

The puppet will slide off of any slopes that are steeper than this value.

# Sliding Friction

When the puppet is sliding down a slope it cannot walk up, dictates how fast the puppet will slide down it, or how “slippery” the slope appears to be.

# Camera Follow When Sliding

When on, the camera will follow the puppet as it slides down an incline. It will also not be considered to have fallen out of the scene, while sliding.

When off, the camera will not follow the puppet vertically when sliding.

# Lower Body Movement

# Slideyness

While accelerating, the legs’ procedural animation will act as though it is moving at some percentage of full speed. So if it takes a while to get going and the puppet has high slideyness, it will appear as though it is running on the spot.

# Skateyness

Reduces the effect of the legs’ procedural animation.

# Match Floor Angle

While supported by a sculpt, how much will the puppet’s pelvis tilt (and therefore the rest of the puppet in most circumstances) to match the angle of the sculpt’s surface. High means the puppet will appear perfectly perpendicular to the surface. Low means the puppet will attempt to stay upright.

# Lean Into Strength

How much the puppet will lean into a turn. Low means it will stay upright. High means it will lean hard into any turns.

# Feet Separation

How far apart the feet will be when walking or running. Low means the puppet will walk one foot directly in front of the other.

# Bicycle Feet

How much the feet move in a circular motion while walking, as if pedalling a bicycle.

# Stompyness

How high the knees get during the animation.

# T-Rex Tread

When on, at the back of the stride the leg will immediately pull forward, with the front of the stride rounding out. This means when a foot moves to the ground it is moving more vertically.

When off, at the front of the stride the leg will round out before moving forward and then comes closer to the ground. This means when a foot moves to the ground it is already close to the ground.

# Strideyness

How large each stride is. Low strideyness means the puppet will take tiny steps.

# Min. Stride Time

The minimum time each stride takes. Ensures the steps don’t get too short and quick for a larger, heavier, slower character.

Also useful to ensure the puppet doesn’t step too quickly while strafing left or right.

# Centre of Gravity

Moves the pelvis’s at-rest position up or down.

# Bounciness

How much the pelvis is moved up when a foot hits the ground. Negative will move the pelvis down when the foot hits the ground.

# Upper Body

# Motion Sensor Movement

How much the lean input of the puppet interface affects the lean of the puppet.

# Lean Lag

How delayed the lean of the character is when moving. For example, with higher lag, from a standing start the character will take longer to lean into the direction they are accelerating in.

Note, this lean is different to the one normally controlled by the motion sensor.

# Sassyness

How much the shoulders and hips rotate in opposite directions to each other.

# Sway

How much the puppet leans side to side from the hips as steps are taken.

Better with higher foot separation or a wider pose for the feet.

# Lumberingness

How much the shoulders lean side to side as steps are taken.

# Stiffness

How much the spine (specifically, joint between the belly and chest) ignores the breathyness setting.

# Arm Vigour

How much the arms rotate forward from the hands while walking.

# Arm Flail

How much the arms rotate at the shoulders while walking.

# Springiness

How floppy the joints are. Similar to joint springiness but does not affect the joint settings themselves.

# Breathyness

How much the puppet is affected by the breathing rhythm of approximately 3.8 seconds (from starting to breathe in, to breathing out completely and starting a new cycle).

# Behaviour

# Auto Jump

When on and moving across the ground towards a hole that the puppet can jump over at its current speed and jump height setting, it will jump.

# Auto Look

When Procedural Animation is on, allows the Look At settings to work.

If there is no tag target found for the Look At setting, the head will look towards the imp while the imp is close enough and in front of the head.

# Follow

When on, the puppet will move towards the closest powered tag with the correct name within range until it is within the minimum distance. (Tg)

The tag is not considered “detected” while being targeted by this setting.

To make a puppet flee from a tag instead of follow it, Follower and Rocket Rotator gadgets can be used instead. (Tg)

# Inner Radius (follow)

The minimum distance from the target tag to reach.

# Outer Radius (follow)

The maximum distance a tag can be to be targeted.

# Turn Towards

When on, the puppet will turn to face the closest powered tag with the correct name within range. The “front” of the puppet is denoted by the point of the purple base within the puppet group.

Overrides the received Turn to Face direction.

# Outer Radius (turn towards)

The maximum distance a tag can be from the puppet to be targeted.

# Look At

When on and Auto Look is on, the puppet’s head will turn to look at the closest powered tag with the correct name within range.

# Outer Radius (look at)

The maximum distance a tag can be from the puppet to be targeted.

# Procedural Animation

When on, Auto Look, Procedural Walk, and Procedural Jump can work.

# Procedural Walk

When on and Procedural Animation is on, walking and running will be animated automatically, and Procedural Jump can work.

# Procedural Jump

When on and Procedural Walk and Animation are on, jumping will be animated automatically.

# Physical Properties

A puppet has a special “pill” shape for the collision of a puppet used not for colliding with the ground but with other objects. To preview this shape, hover over any of the collision shape settings.

# Visible, Movable, Collidable

# Collision Shape: Vertical Position

How far up from the ground (purple base) the pill shape begins.

# Collision Shape: Height

How tall the pill shape is from end to end. As the width is a radius measured from the centre, the pill has a minimum height relative to the set width.

# Collision Shape: Width

The radius of the collision pill shape.

# Density

# Inputs

# Walk

Tells the puppet to move in a direction on the X-Z plane (not up and down), as well as how fast.

The speed the puppet will actually move is dictated by its walk and run settings. (Tg)

# Turn to Face

Tells the puppet to face a particular direction (not a position to look towards). (Tg) Good for quickly making twin-stick controls. (Tg)

# Lean

Tells the puppet to rotate its head to a certain angle.

# Go Forwards

Tells the puppet to move in the direction it is facing. The speed the puppet will actually move is dictated by its walk and run settings.

# Go Backwards

Tells the puppet to move away from the direction it is facing without turning away. The speed the puppet will actually move is dictated by its walk and run settings.

# Jump

Tells the puppet to jump.

If the puppet is currently in the air, has a non-zero double-jump height, and has not double-jumped since leaving the ground, the puppet will perform a double-jump.

# Outputs Page 1

# Jumped

Sends a pulse when the puppet jumps from on the ground because of an input into a puppet interface’s “jump”. The fat wire represents a collision with the surface the puppet left when jumping.

# Double Jumped

Sends a pulse when the puppet jumps again after jumping from the ground, if the settings allow a double-jump.

# Landing Impact

Sends a pulse when the puppet’s feet land onto a collidable surface.

Using this, fall damage can easily be implemented. (Tg)

# Predicted Landing Impact

The force the puppet is predicted to land with. Useful for triggering effects if the landing could be harmful.

# Fell Out of Scene

Sends a signal if the puppet has nothing below it within the scene’s maximum fall height that it can collide with.

# Distance from Ground

Sends the distance of the nearest object the puppet can collide with below the puppet.

# Idle Strength

The puppet is considered “idle” while not running, walking, or in the air.

Transitions to 1 while idle over roughly half a second. Transitions to 0 while not idle.

# Walking Strength

Sends the percentage of the puppet’s walking speed the puppet is moving at, minus the running strength.

This means as you go faster you’ll approach 1 as the speed nears the walking speed. But if the puppet has a running speed greater than the walking speed, it will go back down to zero as it approaches the running speed.

Only sends a signal while “procedural walk” is active.

# Running Strength

Sends the percentage of the puppet’s running speed the puppet is moving at.

Only sends a signal if at least one heel is correctly set up.

# On Ground

Sends 1 if the puppet is standing on a collidable object. Sends 0 if the puppet’s feet are in the air. Sends something in between while walking.

# Left Heel Strike

Sends a signal for how close the puppet’s left heel is to a surface the puppet can collide with.

# Right Heel Strike

Sends a signal for how close the puppet’s right heel is to a surface the puppet can collide with.

# Foot Impact

Sends a pulse when either foot’s heel steps on a surface the puppet can collide with.

# Outputs Page 2

# Velocity

The speed the puppet is moving.

# Acceleration

The acceleration of the puppet.

# Deceleration

The deceleration of the puppet.

# Lean Speed

The velocity of the puppet’s lean.

# Upper Body Movement

The velocity of the puppet’s upper body movement.

# Lower Body Movement

The velocity of the puppet’s lower body movement.

# Foot Scrape Amount

When the puppet has skateyness, sends a signal representing how much the feet are sliding across the surface.

# Jump Ascent

Sends a value while the puppet is not on the ground and is rising. While it has velocity upward, sends 1. As the upward velocity decreases, sends a lower value.

# Jump Peak

Sends a value while the puppet is not on the ground and has close to zero upward velocity. The closer upward acceleration is to 0, the closer the sent value is to 1.

# Jump Descent

Sends a value while the puppet is not on the ground and is falling. While it has velocity downward, sends 1. As the downward velocity decreases, sends a lower value.

# Sliding

Sends an “on” signal while the puppet is losing grip on a slope that is steeper than it can walk on.

# Reverb Properties

# Reverb Preset

A number of impulse response settings that make the audio sound like it’s being played inside different settings. A visualisation of the impulse response is represented as a wave form. The name of the chosen impulse response will be shown as the name of the gadget.

Drag a slice from a sound gadget’s slice mapper into this setting to set it as the impulse response and save it to the -1 position.

The built-in reverb impulses have the following names:

# Volume

The volume of the reverb effect’s output.

# Reverb Pre-Delay

How much time the reverb is delayed after the input sound.

At 0%, there is no delay. At 100%, there is a delay of 165 milliseconds (0.165 seconds). (As explained by Ed Hargrave.)

# Pitch Shift

Shifts the pitch of the input audio.

# Shorten

The higher the setting, the sooner the impulse is cut off.

# Infinite Reverb

The volume of the signal kept as it goes through the reverb process. The higher the setting, the longer the input signal will carry. At 100%, the input signal will never die.

# Reverb Effects

# Distortion Amount

Applies distortion to the impulse.

# Reverb Chaining

The amount of this reverb’s output to pass on to another reverb later in the processing chain. For this reason, B can only be sent to C or D, C can only be sent to D, and D cannot be chained at all.

# Next Reverb Channel

The channel to send to.

# Dynamics Compressor

Compresses the reverb output.

# EQ Filter, Low Cut Frequency, High Cut Frequency

Affects the equalisation of the reverb output.

# Properties

# Rotation Speed

The target rotation speed when moving to the desired angle.

# Stay Upright

When on, will also try to not let the object “roll” but only “look” left, right, up, and down.

# Rotation Strength

The gadget’s ability to rotate the affected object(s) against other forces such as inertia, gravity and collisions.

# Overall Damping

The gadget’s ability to reduce undesired rotation.

# Strength Specifics

# Strength in X, Strength in Y, Strength in Z

Affects the strength differently for each axis of rotation.

# Outputs

# Affected Object(s)

The objects to affect the rotation of.

# Important Properties & I/O (Input and Output)

# Angular Velocity (Overall)

The positive angular velocity in radians of the fastest-rotating linked object. (Tg)

Unsigned, meaning it’s always a positive number.

# Angular Velocity (X Axis), Angular Velocity (Y Axis), Angular Velocity (Z Axis)

The angular velocity in radians for the corresponding axis. Where there are multiple linked objects, this is OR#’d and the value furthest from 0 is used.

Signed, meaning it will be positive when rotating in one direction and negative when rotating in the opposite direction.

# Local Space

While on, the gadget will use its own axis orientation instead of the scene’s axes for judging rotational speed.

# Relative to Object

Rotation will be judged relative to the linked object.

For example, while the sensed object is rotating at 45 degrees/second and the reference object is rotating at 45 degrees/second, 0 will be output. If the reference object were rotating at 30 degrees/second, 0.261799 (-15 degrees) will be output.

# Outputs

# Angular Acceleration (Overall)

Sends the magnitude of all rotational acceleration (change in velocity).

# Angular Acceleration (X Axis), Angular Acceleration (Y Axis), Angular Acceleration (Z Axis)

Sends the rotational acceleration of the corresponding axis.

# Miscellaneous I/O (Input and Output)

# Sense Rotation

The object or objects to sense the rotation of.

# Orientation

Sends the object’s current orientation.

# Properties

# Rotation Speed

The target speed of the rotation. (Jj)

# Rotation Strength

The gadget’s ability to overcome physics while increasing its rotation to the target speed, such as the object’s inertia due to mass, gravity, friction, etc. (Jj)

# Overall Damping

The gadget’s ability to slow the rotation of the object when it is rotating too fast. (Jj)

# Local Space

When on, the rotation axis changes orientation with the gadget. When off, the rotation axis stays the same relative to the overall scene.

# Damping

The gadget’s ability to slow rotation to the target speed.

# Damp in X, Damp in Y, Damp in Z

Overall damping is multiplied for each axis.

# Rotator Direction Damping

A percentage of overall damping is used on the rotational axis of the gadget.

# Inputs & Outputs

# Affected Object(s)

All linked objects will be affected by this gadget.

# Direction of Rotation

The direction vector around which linked objects will rotate.

Does not work while Local Space is on.

# Sound Tab

# Volume

The volume of each note played. (Tg)

# ADSR (Attack, Decay, Sustain, Release)

This controls the fade in or fade out of each playthrough. (Mm) The acronym stands for: Attack, how long it takes to get to full volume; Decay, how long it takes to get from full volume to the sustain volume; Sustain, the volume level the slice will play at until released; Release, how long it takes for the slice to fade out. (Tg)

# Speed/Tempo

The speed the recorded notes will play at. Doesn’t affect how the slices sound, only how quickly it will play through the notes. (Tg)

# Start Time Offset

Where playback will begin, a percentage through each slice. (Tg) (Mm)

Note, this only affects this type of animation, not frame by frame animation.

# Clip Playback Mode

How the clip’s playback will react to being powered. (Tg)

Note, this has no “ping-pong” mode.

# Slice Playback Mode

Slice playback mode affects how the slice moves through the sample while playing. (Tg)

Once and Sustain modes limit the maximum duration in a timeline to the length of the clip. Loop and Sustain modes will allow you to drag the clip beyond the clip’s normal duration. Loop mode will extend extra loops out, showing faded repeats of the clip. Sustain mode will expand the length of the clip, or add a trim to the end when dragging it to a smaller duration.

Note that the fade-out handle will not work while in “Once” mode.

# Sound Type

When in sound effect mode, a slice begins when the gadget is powered, and ends when the gadget is unpowered. When in instrument mode, a slice begins when a note starts, and ends when that note ends. Note that multiple slices may play at once from the same gadget, depending on the settings.

# Pitch Tab

Adjusts the speed of the note played, resulting in a higher or lower pitch. (Tg)

Note this does not affect which slice is selected. For example, a slice is marked as C4 and another marked as C#4. When a C4 note is played, the C4 slice will be used. If the instrument has a coarse pitch shift of +1 semitone, the C4 slice is still used but played the equivalent of one semitone higher.

# Coarse Pitch Shift

Adjusts the speed that clips are played by full semitones. (Tg)

When a random range is added, any non-integer value can be used for a given note, not just whole semitones.

# Transpose

Works similarly to the Coarse Pitch Shift, but notes will be shifted before playback begins. This means that the closest sample to the transposed note will be played; not the one it would have played for the original piano-roll note. (Ml)

# Fine Pitch Shift (Cents)

Tunes the notes played by a percentage of 1 semitone. (Tg)

# Home Octave

Dictates which octave is default in performance mode. (Tg)

# Glide

For notes that pitch bend, decides how long it takes to adjust to the new note—“smoothing” this change. This applies to notes performed with Legato, pitch bending with the touchpad, and effect or logic-controlled changes to pitch. (Tg) Also applies to the new auto-legato setting.

# Random Note Drop

Each time a note would be played, it has this chance of not playing. (Tg)

# Legato

Using the legato performance setting, notes can be performed and recorded that switch to different notes mid-way through playback as a single note in the piano roll. These settings allow separate notes in the piano roll to be played as if they are merged into one note in the same way. (Ml)

# Panning

# Speaker Name

The name of a Speaker gadget in the scene that will be used to output the audio from this gadget. If empty, any speaker gadget without a name will be used. (Tg) (Tg)

If there is more than one matching speaker gadget, the priority is based on: the speaker in the same chip, the speaker in a chip within the same chip as the source audio, the speaker created first.

If there is an applicable speaker, the other “Panning” tab settings are disabled.

# Surround Pan

A circular graph representing the direction the audio will seem to play from. (Tg)

Displays dots on the outside of the circle representing the audio output channels, showing them larger when more audio will be sent through them and smaller when less audio will be sent through them.

Within the graph are 3 movable dots. The central black dot represents the centre of the stereo “image,” and there is a dot either side representing the left channel output of the sound gadget, and the right channel output.

# Stereo Balance

Adjusts the ratio of volume given to the left and right channels. When moved all the way to the left, for example, the left channel will become twice as loud and the right channel will go to 0% volume. (Tg)

# Stereo Width

Dictates how far from the central dot the left and right channels are. If the width is large, the audio will seem to come from all around you. If the width is narrow, the audio will seem to come from a very specific location. (Tg)

# Rear Speakers Volume

How loud the audio will play over the “rear” channel output from the PS4. (Tg) When listening without a rear channel, this is used to say how loud a “3D Panned” sound will be when it is behind the camera.

# Pan Style

Decides which audio output channels will be sent the audio from this gadget. (Tg)

# 3D Panning

Places the sound at a position in the scene. The audio coming from this gadget will be affected based on the position and angle of the camera relative to this position. (Tg)

While the camera view is inside the inner bubble, the volume of the audio will be full. As it leaves the bubble and moves towards the outer radius the volume falls off.

Because this is based on the camera’s position and orientation, if the camera is far away from the object in the scene the 3D panning bubble may be too far away to be heard. To get around this and still have proximity affect the volume of a sound, a Trigger Zone may be used instead. (Tg) (Tg)

The audio also comes from the direction relative to the view. For example, if the sound’s centre is on the left of the current view it will be louder from the left channels.

To have the audio volume etc. be affected by some other position such as the puppet to allow you to freely move the camera, the volume of a sound gadget can be controlled using a trigger zone to get a similar effect.

Note, the settings on this tab will be overridden when being output through a Speaker gadget.

# Auto 3D Panning

Turns on the 3D Panning settings.

# Fade Zone: Inner Radius

The radius of the inner bubble.

# Fade Zone: Outer Radius Multiplier

Dictates the radius of the outer falloff relative to the inner bubble.

# Extra Reverb Radius

The further towards the edge of the fall off the view is, the more reverb the audio has—multiplied by this setting.

For example, at 0% no extra reverb will be added at the outer edge of the fall off. At 50%, half the reverb will be added.

# Distance Muffle

This adjusts the allowed frequency range as the view becomes further out towards the edge of the falloff.

Includes a frequency setting (left/right) which sets the centre of the frequencies left intact, and a muffle amount setting (up/down) which decides how thin the allowed band of frequencies is.

# Sound FX

Sound effects built into every sound.

# Delay

How loud the delay is that plays after the audio. (Tg)

# Delay Channel

Which delay channel will be used for this sound. These delay channels sound different by default, and can be further customised using a delay channel gadget.

# Reverb

Up to 100% will add reverb based on the sound (turns up the “wet” effect). Above that up to 200% removed the original sound and just keeps the reverb (turns down the “dry” original audio). (Tg)

# Reverb Channel

Which reverb channel will be used for this sound. These reverb channels sound different by default and can be further customised using reverb channel gadgets.

# Spiciness

If a performance captured the use of spiciness, the slider value is blended with the recording, allowing you to adjust the overall spiciness of the same recording. As this is a tweak menu setting, you can set it with logic. (Mm) (Tg)

Affects how the instrument sounds in whatever ways are set.

# Freeform Offset

A rectangular graph representing the performance window.

Offsets all notes played, within the performance window. This can cause them to trigger different effect fields or embedded instruments. (Tg)

Notes that would be pushed beyond the edge of the performance window will stick to the edge instead.

Embedded effect fields are shown as bright circles, with the inner radius shown less brightly, and the outer radius shown less brightly still. Embedded instruments are shown similarly but as rectangles instead.

# Granular Synthesis

Granular synthesis means that instead of playing an entire slice of audio, that slice is played a tiny bit at a time. These mini-slices are called “grains.” Each grain has a shape to it, meaning its volume increases and then decreases over time, and they overlap to make up the difference in volume. (Tg)

When the settings are at the defaults, things sound exactly the same as if the normal slice is played. But messing with these settings can give you all sorts of interesting effects.

When turned on, the sound is played as “grains”—tiny slices of the sample. This lets you mess with the audio at a much finer level and get all sorts of interesting effects. (Mm)

The overlap of the grains affects how they merge together into one sound. If you lessen the overlap, you will hear longer gaps in the audio. If you increase the overlap, you will hear fewer gaps in the audio.

Grain shape affects how the volume of the grain changes over time. If you give it a left slant, each grain will come in at 100% volume and go down to 0%.

The interval setting affects how long the next grain waits before being played. So at 0%, it is played when it would be in real time. Whereas -10% will play it 90% through the previous grain. (Mm)

# Granular Synthesis

Turns on all settings on this tab.

# Start Time Offset

A shortcut to manipulate the normal Start Time Offset setting.

# Time Stretch

How much farther through the slice a grain will be relative to what was used by the previous grain. When negative, the grain will be further back through the slice instead. (Tg)

Using this, you can make the slice play in reverse perfectly.

# Shape

The shape of the grains can be previewed and manipulated here, using nodes on the central grain shape. (Tg)

# Interval

How long before the next grain will play. Negatives will give strange effects. (Tg)

# Beat Sync Grain Interval

When on and the gadget is on a timeline, the Interval will snap to powers of the timeline’s tempo. (Tg)

# Pitch Affects Interval Length

When on, the note being played will automatically adjust the interval. (Tg)

# Granular Randomisation

Randomises (“jitters”) certain aspects of a grain each time a new grain is played.

# Granular Randomisation

Turns on the settings on this tab.

# Start Time Jitter

Adjusts the start time of the part of the slice the grain will play. (Tg)

# Grain Reverse

The chance of the grain being played in reverse. (Tg)

# Pan Jitter

How different the panning can be adjusted for that grain. (Tg)

# Pitch Jitter

How much the speed of the grains can be changed. (Tg)

# Octave Jitter

Increases the octave of each grain by a random amount, up to 4 octaves. As the slider increases, the likelihood a grain will jump an octave increases, as well as how high it can jump. (Ml)

# Shape

A shortcut to the grain shape graph.

# Shape Jitter

How much the shape of the grain can be adjusted. (Tg)

# Interval Jitter

How much the interval can be adjusted—effectively how late or early grains can play. (Tg)

# Length Jitter

How much the length (or “overlap”) of each grain can be adjusted. (Tg)

# Volume Jitter

How much quieter a grain can be played at.

# Grain Drop

The chance of the grain not being played. (Tg)

# Oscillator

Plays a waveform based on the pitch of the note being played, and combines it with the audio in different ways.

# Oscillator

Turns on the settings of this tab.

# Oscillator Mode

How the oscillator’s waveform will affect and be affected by the slice being played.

# Mix

How much of the slice audio and the oscillator audio is output. At -100% only the slice audio is output. At 100% only the oscillator’s audio is output. At 0%, both are heard at full volume. (Tg)

# Wave Shape

The shape of the waveform that is generated. This can really change how the oscillator sounds. The negative numbers have variants on a sine wave. The positive numbers have more jagged abrasive-sounding waveforms. (Tg)

# Pitch (Coarse)

The pitch in semitones relative to the currently played note. (Tg)

# Fine Pitch

A finer adjustment to the pitch of the oscillator, in the percentage of a semitone. (Tg)

# Oscillator Envelope

How the volume of the oscillator changes over time. (Tg) Similar to the ADSR setting, but the oscillator output is capped by the ADSR setting itself.

# Filter

# Filter

Turns on the settings on this tab.

# Resonant Filter

Resonant filtering is a different kind of EQ effect. The graph shows how the frequencies are affected by the filter. Move the node left and right on the graph to adjust the point at which higher frequencies will be cut off. Move the node up and down on the graph to adjust the volume boost given to the frequencies just below the cut-off point. (Mm) (Tg)

You can hold shift and expand the node in the graph, also. (At)

# ADSR Envelope

Affects how the depth setting is applied over time, rather than the volume of the filter’s output. (Tg)

Each part has a similar effect as the sound’s ADSR setting.

# Pitch Envelope Depth

How much of the original frequencies are outputted. So a lower value will cause the frequencies to the right of the filter line to be more muffled. Also affects how pronounced the resonance tone will be. 100% will leave the slice audio untouched. (Tg)

# Pitch Affects Cutoff

When on, higher pitches will be affected by the filter less, as if the filter setting was moved to the right. (Tg)

# Distortion

Move the node on the graph to adjust the amount and type of distortion applied to the sound.

Soft clipper (Mm)

# Distortion

Turns on the settings on this tab.

# Distortion Amount, Wave Shape

A graphical representation of the type and intensity of the distortion.

Moving the node left to right will make the distortion have more effect. Moving the node bottom to top will blend between different types of distortion. (Tg)

The distortion types are, from top to bottom:

• Scream
• Wave folder
• Soft Clipper
• Asymmetric Clipper
• Bit Crusher

# Downsampler

Downsamples the gadget’s audio data playback to a lower bit rate to make it sound more lo-fi and crunchy like 8-bit sound effects and music. Similar to “bitcrushing.” (Ml)

# Chorus & Delay

Chorus repeats the exact same audio output (Mm) at slightly different pitches.

(Tg)

# Chorus & Delay

Turns the settings in this tab on.

# Chorus & Delay Amount

The mix of the original audio and the delay volume. 0% means the delay will be muted. 100% means the original audio will be muted but the delay will be at full volume. And 50% means the original audio and delay audio will both be at full volume. (Tg) (Tg) (Mm)

Note that the volume of the delay is capped by the gadget’s ADSR.

# Delay

Moving the node left to right will increase the time between delays. At the top, each delay will be at full volume. Moving towards the middle will make each successive repeat be quieter than the last. In the middle the repeats will have no volume. Going below the middle makes the delay bounce between left and right stereo channels. (Tg)

# Chorus LFO (Low Frequency Oscillator)

A graphical representation of the sine wave used to adjust the delay time.

Moving the node from bottom to top adjusts the amplitude of the wave, and so affects how much the delay time is adjusted. Moving the node from left to right adjusts the frequency of the wave, and so affects how quickly the delay time is changed. (Tg)

# Beat Sync Delay Time

When on, the delay time will snap to powers of the BPM the clip is being played at. (Tg)

# EQ

The graph shows a black line representing how the frequencies are affected by the equaliser settings. There is a grey line showing the neutral state that would not affect the frequency output of the sound gadget. Any part where the black line is above the grey line is boosting those frequencies. Any part where the black line is below the grey line, it is attenuating (turning down) those frequencies.

You can drag the black nodes on the graph itself with Cross button to adjust the EQ. (Mm) There are 4 bands with nodes. You can adjust the width of these bands (how broadly the black line is affected by the node) by holding shift and dragging from the node left or right. (Mm) (Tg)

# EQ

Turns on the settings in this tab.

# EQ Filter

A graphical representation of how different frequencies are affected. Where the line is above the default, those frequencies will be boosted. Where the line is below the default, those frequencies will be dampened. (Tg)

When adjusting a node in the graph, hold shift to adjust its bandwidth—the range of frequencies that node affects. For a “shelf” type node, this will also affect the steepness of the gradient it applies to the frequencies.

When dragging from the left or right edge, the node to be affected is the one whose input and output tabs are along that row of the graph.

# Low Cut Frequency

Cuts frequencies below the designated limit. (Tg) (Mm)

# High Cut Frequency

Cuts frequencies above the designated limit. (Tg) (Mm)

# Dynamics Compressor

Affects the volume of the output as it is played. (Tg)

# Dynamics Compressor

Turns on the settings in this tab.

# Compression

Compressing the dynamics of audio makes the loud parts quieter and the quiet parts louder so everything evens out.

Move the node left to right to increase the amount the audio will be compressed. Move the node bottom to top to increase the “dirtiness,” or how quickly the compression kicks in. (Tg)

# Sidechain Channel

Which sidechain channel will be used by the sidechain setting.

# Sidechain Amount

How the sound will interact with the sidechain channel. (Tg)

In the middle, the sound will not be affected and will not affect the channel. To the right, the sound sends its output into the channel—even if the volume of the gadget is set to 0. (Tg) To the left, the sound will become quieter proportional to how much audio is being sent into the channel (known as “ducking”).

The effect of the “ducking” fades in and out over a small amount of time.

On the right side of the slider, a visual representation of how much audio is in the channel is shown. And to the left, how much the receiving sounds will be ducked by the channel.

The icon on the slider is a duck while in the middle, a greater-than sign while to the right, and a less-than sign while to the left.

# Outputs

# Is Playing

Sends a signal while a note is being played. (Tg)

# Per Beat Trigger

Sends a pulse each time a beat starts. (Tg)

# Per Bar Trigger

Sends a pulse each time a bar starts. (Tg)

# On End Trigger

Sends a pulse each time the end of the clip is reached, including loops. (Tg)

# Note On, Note Off

Sends a pulse each time a note starts, and ends respectively. (Tg)

# Composite Note Data

All data regarding the note currently being played. (Tg)

This output always locks to the latest note that started and was created last (if multiple notes start at the same moment). When that locked-on note ends, the output stops and zeroes out even if other notes continue to play.

# Envelope

The current volume of the output of this gadget. (Tg)

While any note is playing, outputs the volume of the longest slice as if it began playing at the start of the note until the end of the note.

# Options

# Gadget Colour

Dictates the hue of the gadget.

From 1% to 99%, goes from red to green to blue to red. At 0% and 100%, the colour becomes grey/white. (Tg)

# Polyphonic Limit

How many “voices” (eg. notes) can be played at the same time. (Tg)

This always locks to the latest note that started, or for a tie the last note that was created. Older notes are cancelled with a hard cutoff regardless of the release settings they have. When a note ends the output stops and zeroes out.

# Vari-Speed

How slices are manipulated to play different notes with the same slice. (Tg)

# Row Mapping

In instrument mode, when on, each row of the slice mapper is associated with a different button. Pressing that button will play a slice from that row. When there are no slices in the corresponding row, the first row (for the Cross button button) will be used instead. (Tg)

When on and the sound is in Sound Effect mode, each row maps to an audio surface type. When powered with a Collision wire, the sound will use the audio surface type from the collision to decide which row to select a slice from.

When off, any slice from the slice mapper will be played.

# Multi-language

When on, each slice will have a language setting, used to play a suitable language slice for the player. (Tg)

If only one language is used by the slices this setting is ignored by the gadget so that something plays.

# Slice Keytracking

When on, each slice will have a note setting, used to select a suitable slice depending on which note needs to be played. (Tg)

# Sound Channel

Which sound channel to use to output audio. (Tg)

This source audio is then affected by the volume of that channel. (See Master Mixer.)

When inside a parent that has a set channel, this gadget will use that channel for audio output.

When no parent gadget has a set channel, this gadget’s channel will be used for audio output. If this gadget’s channel is unset, it will use the General channel.

The used channel (unless defaulting to the General channel) will be lit in colour. If this is different to the channel set in the sound gadget, the setting will be lit white.

# Metre Numerator, Metre Denominator

When in a timeline, this is overridden by the timeline’s setting. (Tg)

Note, Metre Denominator does not have a “No Time Signature” option.

# Properties

# Volume

The volume of the speaker.

Note, the final output volume is multiplied by channel settings.

# Delay

Adds a delay effect to all audio passing through this gadget.

# Reverb

Adds a reverb effect to all audio passing through this gadget.

# No. of Sounds

The number of linked sound gadgets that can play notes. Older sound gadgets take priority.

# Panning

# Envelope

Sends the highest envelope value out of all sounds playing through this speaker.

# Surround Pan, Stereo Width, Rear Speakers Volume, Pan Style

# Text Properties Tabs

(See Text Displayer > Text Properties.)

# Custom Subtitles

When on, the text properties will affect the appearance of the text. When off, the player’s PS4 subtitle settings will be used for the appearance of the text.

# Inputs & Outputs

# Start Text, Text Active

# Sun Properties

# Sun Colour

Sets the colour of the sun and of the light the sun emits across the scene. (Tg)

Wire a value into the sun’s colour with “modulate” wire-blend mode to control the brightness of the light used to light the scene beyond the normal range.

# Sun Brightness

The intensity of the light emitted by the sun across the scene.

# Sun Size

The size of the sun in the sky, in degrees of the view taken up by it. (Tg)

# Sun Visible

When on, the sun is visible in the sky.

When off, the sun is not visible in the sky. Note, however, that the sun’s light is unaffected.

# Cast Shadows

When on, any objects that cast shadows will create shadows when hit by the sun’s light.

# Sun Shadow Scale vs Detail

When Cast Shadows is on, a “shadow map” is generated for an area around the player’s view. This map is always the same size but can be scaled to cover a different distance around the view. This setting scales the area that will be shadow mapped around the player’s view.

This means if the view is far from the objects being looked at, those objects may not cast shadows correctly or at all—even if zoomed in to those objects such that they fill the screen. Adjusting this setting can aid with this, or adding invisible blocks to create larger shadows. (Tg)

When the shadow map is scaled down, it’s covering a smaller area and so can give finer detail to the shadows produced in the scene. When the shadow map is scaled up, it’s covering a larger area so the shadows will appear softer and less defined.

Note at very high settings, the shadows are so diffuse that you can’t see them.

# Sun Position

Sets and sends the position of the sun in the sky. The magnitude of the sent value is set when the sun gizmo is dragged.

Overriden by Set Time.

# Sky Properties

# Sky Image

When set to 0, a default sky image is used with a smooth blue gradient from one side of the globe to another.

When set to a particular sky image, that image will be used as a guide for the colours across the sky—though these colours are affected by the other settings below. (Tg)

# Sky Fleck Type

The fleck used to render the sky.

# Sky Brightness

Affects the intensity of the sky light within the scene.

Also affects the brightness of the sky image itself. For example, a lower brightness will make the sky image darker.

# Sky Saturation

Affects the saturation of the sky image. Lower means the colours of the sky image itself move towards grey.

# Sky Hue Cycle

Adjusts the colours of the sky image as a whole. (Tg)

# Sky Tint Colour

Sets the tint colour to be applied to the sky image. (Tg)

# Sky Tint Intensity

How strongly the tint is applied. Equivalent to a sculpt’s tint amount. (Tg)

# Horizon Definition

How dark the lower half of the sky appears. Lower values affect the rendered sky less. (Tg)

# Fleck Shade Randomness

When a fleck is added to the sky, its shade is randomised by this amount.

# Fog Range

The distance from the camera that “fog” begins to appear, relative to the player’s view.

Beyond this distance, objects are not rendered, saving rendering time. Objects close enough to the distance will show the sky through them, imitating atmospheric distance fog.

The fully-visible distance and distance the sky begins to show through objects are pushed back further when this value is increased. (Tg)

Through testing, I have found the following rough guides:

• At 1000m distance fog: ~50m fully visible. ~500m barely visible.
• At 10,000m distance fog: ~120 fully visible. ~5000m barely visible.
• At 50,000m distance fog: ~450m fully visible. (Could not find the “barely visible distance,” as objects cannot be put far away enough away.)

It also can be lit up by Light gadgets and Glow, just as the fog from a Fog Gadget would be. Higher ranges of fog lessens how dense the fog is nearer the player. (Tg)

# Time Properties

Set the position of the sun based on a time.

# Set Time

Uses the time from the input to set the sun’s position. Takes precedence over Sun Position. (Ml)

# Sun Pitch

How high in the sky the sun gets.

# Sun Yaw

Rotates the the sun’s path left or right around the sky.

# Text Properties

# Text

The text to display. Click on it to bring up the text input interface. When in big gadget mode, the text is shown on the gadget itself. (Jj)

Note that the text to be displayed cannot be changed in-game. Also, the text gadget will not render if this field has not been set, even if it is set to empty. (Tg)

There is limit of 1024 characters in a single text gadget field. Icons are stored as their full text, for example Target is stored as <uitarget>, counting 10 characters towards the limit. This happens even when using the unicode glyph to insert the icon.

Dreams icons can be used in text gadgets by typing icon names between <angle-brackets>. You can see a guide of all available icons at TAPgiles.com/icons with searchable keywords and cross-references, or InDreams for a list with names.

Emoji can be used in text gadgets by typing Emoji One short codes between colons like this: :emoji_name:. You can see a list of all available emoji on emojipedia.org. So find the short code for a given emoji, click on the emoji and scroll down to Shortcodes.

The contents of this setting can be edited through indreams.me, while signed in to PSN both on the console and on the website. First, go to Indreams. Click your imp in the top-right of the page and choose “Tools” from the dropdown menu. The “Live” tab will be selected by default. Now begin editing text in the game, and that tab will update with a text box, allowing you to type as normal.

Note that the game may lag behind what you are typing. Also some syncing issues may occur when changing text quickly through indreams, for example deleting text and typing to correct a mistake. The cursor at times jumps to a new position which may be unexpected and mess up your typing.

Because of this, if you are planning on inputting a large amount of text, it is advised that you type it up elsewhere (eg. a notepad app, or word document) do any editing needed there, and then and then paste it in in one go.

# Text Colour

The colour of the text. (Jj) The gadget uses this colour also.

# Text Brightness

Higher values also cause the text itself to glow. Note that if the text is set to be too bright, it can become hard to read.

# Text Opacity

The opacity of the text. Lower is more transparent. The lowest will make the text disappear completely. (Jj) Note that this opacity does not affect the box or border.

This can be used to create transparent objects such as windows or the surface of water. (Tg)

# Font

The font of the text. (Jj) Shows the number of the font used.

# Text Box Properties

# Show Text Box

When on, the background text box will be shown. When off, it will be hidden. (Jj)

# Text Box Colour

The colour of the box. (Jj)

# Tail Shape

Chooses from a number of tail styles as if the box were a speech bubble. The tail comes from the bottom centre of the box. (Jj) The first option is “none,” which will not show a tail.

If there is a tail and the gadget is selected or its tweak menu is open, a location marker will appear below the text box representing the position the tail is pointing towards.

Note that the appearance of the tail (eg. colour) will be the same as the box itself. Also, the border wraps around the tail if there is one.

The tails are as follows:

# Text Box Brightness

The brightness of the box. (Jj) Higher values make the box glow.

# Text Box Opacity

How opaque (solid) the box is. Lower values make it more transparent.

# Text Box Curviness

How rounded the corners of the box are. (Jj)

The percentage value is used relative to the width and height of the box.

For example, if a box is wider than it is tall, the corner curves will be wider than they are tall.

# Circular Curviness

How circular the curviness is that is applied.

# Taper

The larger the value, the more the right side is rendered larger than the left side.

The smaller the value, the more the left side is rendered larger than the right side.

# Wonkiness

The wonkiness effect warps the text box and border, making it appear “wonky.” This sets how much that effect affects the rendering.

When a gadget is created the wonkiness effect is randomly seeded.

# Padding

How far beyond the normal edge the text box will be rendered.

# Autofit

When on, the box will automatically resize to fit the size of the text. The width set by the gizmo handles is for word-wrapping only.

When off, the box size can be changed independently of its contents with nodes along the sides of the box. (Jj)

# Texture Properties

Applies texture to the box and border in a number of ways. While not in None mode, also applies a fade to the edges of the box, and separately to the edges of the border.

# Texture Mode

The method of adding texture to the box and border.

# Texture

When in Standard mode, selects from a number of textured backgrounds based on the fleck types. (Jj)

When in Painterly mode, selects from a number of flecks to use for rendering the box and border.

# Texture Strength

How much the texture affects the box colour.

When in Standard mode, affects how apparent the texture is within the fade.

When in Painterly mode, affects how much detail you can see in each fleck making them more transparent. A lower strength makes the result less “textured” and more solid.

# Texture Scale

How large the texture is or flecks are.

# Fade Amount

How far in from the outer edge the box and border starts to fade out.

# Painterly Fade

How far beyond the left and right edges of the original box flecks will be randomly added.

# Border Properties

# Show Border

When on, the border is shown. When off, the border is not shown.

# Border Colour

Dictates the colour of the border.

# Border Brightness

How bright the border is. Higher brightness causes the border to seem to glow.

# Border Opacity

How opaque the border is. Lower values make the border more transparent.

# Border Width

How thick the border is.

# Shadow Properties

A shadow shown behind whatever is rendered by the text, box, tail, and border.

# Show Shadow

When on, a shadow of the border is shown behind the box. It also enables further settings.

# Shadow Softness

Softness is a fall-off gradient making the shadow more and more transparent at the edges. The softness dictates how far from the edge that fall-off reaches.

# Shadow Opacity

How opaque the shadow is.

# Shadow Angle

The shadow is shown a certain distance away from the centre of the box, along the specified angle.

For example, 90° would make the shadow peek out to the right of the box, and 0° would make the shadow peek out to the top of the box.

# Alignment

# Horizontal Alignment

The horizontal alignment of the text within the box, and the horizontal position within the box that will be used as its base position.

# Vertical Alignment

The vertical alignment of the text within the box, and the vertical position within the box that will be used as its base position.

Good for animating the size of a box from one side. For example, to make a progress bar. (Tg)

# Horizontal Alignment (Screen)

Dictates the position on the screen the entire box will be displayed at. (Jj) Non-custom settings leave a margin at the edge of the screen.

# Vertical Alignment (Screen)

Dictates the position on the screen the entire box will be displayed at. (Jj) Non-custom settings leave a margin at the edge of the screen.

# Settings

# In Scene

When on, the text will be displayed at some 3D position and rotation within the scene. (Jj) (Mm)

When off, the text will be displayed directly to the screen, on top of anything within the scene.

# Minimum In Scene Size

The minimum size on-screen the text will be rendered at. When far away and the text would be rendered smaller than this, will be rendered at the minimum size. Otherwise will be rendered as normal.

# VR Text Distance

The depth of the plane this text will be displayed on. (See Text in VR.)

# Big Gadget

When on, the gadget will display larger than normal in edit mode, and show the text on the gadget’s face.

# Face Camera

When on, the text will always be displayed straight-on to the camera, even when changing the angle the camera is looking at the text from. Effectively, this means the text will only have scale and rotation, but no 3D perspective. (Jj)

# Always On Top

When on, the text will not be obscured by anything else within the scene, apart from other always-on-top text objects. When off, the text can be covered by objects within the scene. (Jj)

# Layer Order

All text objects on a higher layer number will be displayed above all text objects on higher layer numbers.

Note that text objects on the same layer will be displayed in the order they were created or.

# Allow Rotation

When off, text will always display upright. If in-scene, “upright” relative to the gadget.

When on, text may be rotated. When Face Camera is on, the text will always display flat to the screen, but will use the Z axis rotation as if it were rotated in 2D.

# Animation Speed

How many characters are typed per second when the gadget receives power.

While typing, text is wrapped at the point that the next character would push the word beyond the size of the containing box.

# Inputs & Outputs

# Start Text, Text Active, Text Animation Finished, Text Animating, Text Animation Progress

# Playback Properties

# Timeline Colour

The colour of the gadget.

# Playback Speed

How fast the timeline plays. Shows a beats per minute display in a tooltip as you edit the setting.

At 100% playback speed, there are 2 beats per second.

When nested inside a parent timeline, the resulting speed of playback will be multiplied by its parent’s speed. By stretching inside a timeline up to 1600% playback speed can be set.

# Playback Mode

Defaults to Sustain mode.

Does not have Ping-Pong mode.

Using Loop mode allows you to have a perfectly looping timeline even when using the trim handles to chop up the animation in any way. Such a timeline can be offset relative to the trim handles to make timing similar loops together very easy. (Tg)

# Restart Timeline

When sent a signal, the playhead will move to the start of the timeline. This will trigger even if the timeline is unpowered.

# On End Trigger

Sends a pulse when the end of the timeline is reached. (Tg)

# Playhead Position

Sends the percentage of progress through the playable area (including trim) that the playhead currently is at.

To set the playhead’s position by wire, open the timeline and wire the value into the bottom of the playhead line. A received 0 will set the playhead to the start, a 1 will set the playhead to the end. (Tg) (Tg) (Tg) This can be used to sync one timeline’s playhead to another timeline’s playhead. (Tg)

This can be used to have fine control over the mapping from a percentage value into some new value. (Tg) Or give different potential results with weighted probabilities. (Tg) Even to produce results when two coordinates are within particular ranges. (Tg) Or anything in which things happening in order when triggered would be needed. (Tg)

Note that at the start of the scene, the playhead will be at 0% through the timeline for at least 1 frame before the incoming wire input is used. If there is logic at the start of the timeline you do not want to activate at this time, use a second timeline to leave that logic off for 1 frame until the playhead adjusts correctly. (Tg)

# Ignore Frame Rate

When on, if the framerate drops for processing the timeline, the timeline will adjust the playback speed in real time to compensate. For example, if used on a music track’s timeline, the music track won’t get slower and slowe as the scene’s framerate slows.

# Beat & Sidebar

# Metre Numerator

How many beats (as defined by the meter denominator) are in a bar. (Tg)

# Metre Denominator

Assuming a four-beat bar, the fraction of a beat each beat column lasts. (Tg)

# Show Sidebar

When on, the sidebar is shown. (Tg) This has two buttons for each row of the timeline:

Use Triangle button on a mute button to unmute all rows. Or on a solo button to unsolo all rows.

# Volume & Channel

# Volume

Adjusts the volume of audio output from sources within this gadget. (Tg)

Audio sources within this gadget have their audio output multiplied by the parent volume. Top-level gadgets have their output volume multiplied by the volume of the channel they are using.

The setting is added to 100% for calculations. So +10% would give a final volume for that gadget of 110% of normal.

The output volume from the parent gadget is shown at the bottom of the tab, rounded.

For example: we have a Timeline A, containing Timeline B, containing Sound Gadget C. A is set to 30% giving 130% volume. B is set to -40% giving 60% volume, but this is multiplied by the 110% of the parent timeline, giving a final value of 78%. C is set to 80%, which is multiplied by the 78% giving a final value of 62%.

# Sound Channel

# Important Properties

# Things to Detect

Defines what kind of object the gadget tries to detect. Note that if an object is within the trigger zone but powered off, it will not be detected.

# Name to Detect

Used to name the tag, scene element, or labelled element being looked for. (Cc) Can use the adjustment controls to cycle through the names of existing scene elements and tags, and names other gadgets within the scene are looking for.

If a name is specified in the “Name to Detect” setting, only objects with that name are detected. Because of this, you can use this mode and allow all labels, and just use the name feature to look for any sculpt or group with that name.

When defined, this affects what objects may be detected by certain detection modes.

# Detection Scope

Dictates where the target must be located in the grouping heirarchy as it relates to the trigger zone gadget’s location in the heirarchy. (For the definition of what “Here” means for this setting, see Scoped Targeting.) (Cc)

# Number to Detect

The minimum number of targets required to be considered “detected.” More targets may be present. (Cc)

Also dictates the maximum number that will be sent by the “number detected” output.

Turning the slider down beyond 1 will change this setting to “all.” With this, all possible targets existing within the level must be within range to be considered “detected.” (Cc)

# Number Detected

Outputs the number of detected targets, to a maximum of the “number to detect.” (Cc) (Tg)

# Dreamiverse Element to Detect

This is an attachment input to link to an element within the scene. Only available when looking for an “element.”

Lets you search for a specific element locally or in the Dreamiverse. The trigger zone will look for that element. (Cc)

# Scene Element to Detect

Links to any number of specific sculpts or groups within the scene to be detected by the trigger zone.

# Detected

Sends a 0 - 1 signal based on the target’s position within the defined zone. (See Zone Size.)

# Consider Players

When on, the Detected output will send detection signals for each player or non-player separately depending on which player owns the object being detected. If the trigger zone gadget is inside an object owned by a player, detected objects will output separate detection signals depending on which players own trigger zones that are detecting it.

This setting is forced on or off when searching for certain types of objects, as explained in Things to Detect.

# Zone Size

You can use things like fall off to make it seem like the sound is at a certain position within the scene relative to a particular point. (Tg)

The shape of the zone within the scene that the gadget can detect targets within (Jj), including the entire scene.

# Zone Shape

The shape of the zone. Stretchable by hovering over the shape and dragging with R2, just as in sculpt mode.

# Zone Size

The dimensions of the core of the zone. Signals pertaining to something within the core will be full signals. (Tg)

# Zone Falloff

The dimensions of the falloff of the zone. Signals pertaining to something within the falloff will be attenuated. The signals are multiplied by a percentage based on how far from the outer edge of the falloff towards the core the signal is coming from.

For example, while a tag is closer to the edge of the falloff, the detected signal will be closer to 0%. Halfway between the outer edge and the core, the detected signal will be at 50%. As it gets closer to the core and further from the outer edge of the falloff, it will be closer to 100%. (Tg)

# Labels

Defines settings relating to how labels are detected by the trigger zone. (Cc) Also contains settings for the target object’s visibility and collision. Note that groups can also have labels associated with them.

# Detection Mode: Visibility

The visibility of an object required if it is to be detected. (Cc)

# Detection Mode: Collision

Whether an object must have collision turned on or not for it to be detected.

# Detect Labels: Match Mode

Only affects behaviour while in Labels mode.

# Labels

There are 9 input switches, one for each label. (Cc)

“Unlabelled” will match any object that has no labels at all.

# Wireless Receiver Properties & I/O

# Channel

Dictates which transmitters can communicate with the receiver. (Jj)

# Signal from Transmitter

The values from all transmitters in communication with this gadget are combined and then output.

Whether a transmitter can communicate with a receiver depends on its “Scope” setting, as follows:

• Scope is set to “Everywhere.”
• Scope is set to “Here” and is within this Receiver’s targeting scope.
• Scope is set to “Not Here” and is not within this Receiver’s targeting scope.

If Channel is not set, transmitters of any name can communicate. If Channel is set, the transmitter’s name must be identical to the channel (this is case-sensitive).

Each transmitter’s value is multiplied by the falloff value, depending on how close to the core the transmitter gadget is.

Thin wire values (Boolean, Number, Signal) are OR’d together, using the value furthest from 0.

Fat wire values are blended, averaging all values.

The thin wire result and the fat wire result are then multiplied together and output.

# Signal to Transmitter

Broadcasts any signal it receives to transmitters within the specified zone. (Jj)

# Outer Properties

Settings for the overall look of the sculpt, including the flecks.

# Tint

The colour of the tint applied blended with the spraypainted colour of the sculpt itself.

When the Tint Amount is at 0% and then the colour is set, the Tint Amount will be set at 50%. Note that this doesn’t happen when recording with a keyframe.

# Tint Amount

How much the tint colour affects the final colour of the sculpt.

0% doesn’t apply the tint at all. Closer to 100%, the tint will affect colours less saturated and closer to middle-grey. Reaching 200%, the tint will override the colours completely.

# Original Colour Saturation

The colour saturation of the sculpt itself.

Applied before tinting.

# Hue Cycle

Hues can be thought of as on a wheel—hence the “degrees” unit for this setting. Around the circle we move from red to blue to green to yellow and back to red. (Tg)

Adjusting the hue cycle rotates all the sculpt’s colours around that wheel.

For example, say there is a spraypainted patch of red, and a patch of blue. Now add a Hue Cycle of 90 degrees. The red will shift around to blue, and the blue will shift around to green.

This makes adding customisation to change the colour of a character very easy. (Tg)

Applied before tinting.

# Shinyness/Roughness

Shiny shows a circular specular highlight of spotlights, the sun according to its size, and glowing objects and diffuse lights have a more hazy highlight. The more shinyness, the tighter the highlight is. The less shinyness the wider and less defined the highlight is.

Rough hides the specular highlight. The more roughness, the less opacity the specular highlight has. The less roughness, the more opacity the specular has.

So the shinyness/roughness slider can be thought of as: 0% defined specular, 50% diffuse specular, 100% no-opacity specular.

# Waxyness/Metalness

Waxy allows light to be absorbed through the sculpt and seen on other surfaces of the same sculpt. So using this you can make an effect like a sheet with an image projected on it. Though if the sculpt casts a shadow, it will still cast a fully opaque shadow. The more waxyness, the further a given light can travel through the sculpt. The less waxyness, the shorter a given light can travel through the sculpt.

Note this does not affect the casting of shadows.

Metal causes the colours to reflect less of the sculpt’s colour and the colour of the light that hits its surfaces, and instead reflects the sky image. When at full shinyness, the sky image can be clearly reflected. When the finish is more rough, the colours of the sky affect the sculpt’s appearance. From around 15% shinyness up, it instead uses the diffuse light as normal.

# Glow

How intensely the colours on the sculpt’s surface (after tinting) glow. (Tg) This affects lens flare and bloom.

# Emit Light from Glow

Dictates when the glow will emit light to the surroundings. (Pk)

When looking at a glowing sculpt that can emit light, this “light” will soak into the surrounding area over time from the centre-of-mass of the sculpt. The light from an object that has a higher glow setting will soak further away from the object. It is this light that is picked up by the distance fog in the scene.

When a glowing object is obscured by a sculpt or is not on-screen, the amount of light it emits is dependent on how close the view is to the object.

For example, if you look away from a light-emitting sculpt you may be able to see the edge of a platform. But as you move away from the light source towards the edge it becomes darker and darker until you’re far enough away from the source and it is emitting no light—making it impossible to see the edge of the platform.

# Cast Shadows

Dictates when shadows will be cast by this sculpt. (Pk)

# Luma Noise

When on, adds subtle random variation to the colour of the surface of the sculpt. (Ml)

# Fleck Properties

(See Painting > Fleck Properties.)

The same settings as a painting has, without the Stretch setting.

# Fleck Perspective

The parts of the sculpt that are further away from the player’s view appear looser, depending on how high this setting is.

Good for making fluffy things stay looking fluffy even at a distance.

# Physical

# Movable

When on, the sculpt will react as a physical object within the scene. (Pk) Because of this, objects that are movable can fall away from each other, even when they’re inside a group. (Mm)

When being moved by a keyframe, the sculpt appears to lose friction until it reaches the true position the keyframe is moving it to. (Tg)

Note that an object affected by a mover/follower/rotator of some kind will be pseudo-movable. It will not respond to collisions or forces unless it is actually movable. But it will move independently of any group it is contained by. (Tg)

# Visible

This is a switch. When on, the sculpt will be visible in the scene. When off, the sculpt will not be visible in the scene.

Note that something can be invisible and still be collidable or cast shadows. This switch only affects the visibility of the sculpt and nothing else.

# Collidable

When off, no collisions involving this sculpt will happen.

When on, other collidable sculpts that can be collided with or that can collide with this sculpt will cause collisions if either of the sculpts are movable.

Note that collidability only takes effect when in play mode. While editing and moving things around, you can place collidable objects so that they overlap each other without a problem. (Pk)

# Friction

Only works when movable is turned on. Affects how the sculpt reacts when it would scrape against an object that it collides with. (Pk)

# Bounciness

When the sculpture collides with the surface of another sculpture, its direction will reflect off the surface, and its speed will be preserved by the amount dictated by the bounciness setting.

For example, a ball is heading for the ground at 10 m/s, and its bounciness is set to 60%. When it hits the ground it will start moving in the opposite direction at 6 m/s.

# Squashyness

How deformed the physics spheres can become from their original positions. At a non-zero value, the sculpt is rendered based on the positions of the physics spheres.

The rendering of the sculpt will stretch along one axis that best fits the physics spheres’ current form.

# Density

How dense the sculpt is. The weight/mass used for physics simulations is the volume of the sculpt multiplied by its density.

Note that this does not affect physics gadgets (eg. Follower); only physically simulated collisions will be affected.

# Ignore Gravity

When off, the scene’s global gravity will affect the physics simulation of this sculpt if it is movable or a containing group is movable.

When on, global gravity will not affect this object’s physics simulation.

With “ignore gravity” on, custom and controllable gravity can be added using a simple Mover. (Tg)

# Imp Interaction

Dictates how the imp will interact with the sculpt.

# Physics Cost

Collidable sculpts that are movable or part of a movable group have physics spheres generated within them to be used as part of the physics simulation. The more physics spheres are used, the more performance is required to run the physics for that object.

Changing this setting on an applicable sculpt shows these spheres within the sculpt for 2 seconds. To see these spheres permanently, and colour coded for the performance cost of the sculpt, use the Test Mode’s Physics heatmap.

# Collides With

Dictates which labels are required on a sculpt to collide with this one.

# Collides with

# Camera Blocking Mode

How the built-in camera reacts to this sculpt, while following a possessable controller sensor. (Ml)

# Labels & Ownership

# Labels

Has no “Unlabelled” switch. For an object to be considered unlabelled, it must have no labels switched on.

# Detected

Sends a signal while detected by a Trigger Zone. (Tg)