Lugaru HD — licença =================== O Lugaru HD ("Lugaru HD: The Rabbit's Foot") é software livre. Foi criado por David Rosen, da Wolfire Games (2003-2010), e mantido pelo projeto OSS Lugaru (a lista de autores está abaixo). O código é distribuído sob a GNU General Public License versão 2 ou posterior (texto da GPL-2.0 abaixo, o COPYING.txt do jogo). Os dados (modelos, texturas, animações, mapas, campanhas, sons e músicas, tudo o que está na pasta Data) são distribuídos sob a Creative Commons Atribuição-CompartilhaIgual (CC BY-SA): em geral a versão 3.0 Unported, de David Rosen / Wolfire Games (atribuição: Wolfire Games, http://www.wolfire.com), e a versão 4.0 Internacional para os arquivos listados no CONTENT-LICENSE.txt (texturas do OSS Lugaru, campanha Empire de Jendraz, campanha Seven Tasks de Philtron R.); a campanha Temple de Silb é CC BY-SA 3.0. O CONTENT-LICENSE.txt do jogo está abaixo sem mudanças, assim como os textos legais das duas versões da CC BY-SA. Os dados não foram alterados. O que este site serve: o Lugaru HD no commit 6a58b62 do repositório github.com/osslugaru/lugaru (versão 1.3-dev, de 2020), compilado para WebAssembly com o Emscripten 6.0.10: um lugaru.js, um lugaru.wasm e o lugaru.data (a pasta Data do jogo, sem mudanças), mais a página play.html que os hospeda. As opções, o perfil e o progresso ficam no IndexedDB do navegador. Os sons e a música tocam pelo OpenAL do Emscripten. Entram também no binário: o SDL2 2.32.10 (licença zlib); a libpng 1.6.58 (licença da libpng); a libjpeg 9f do Independent JPEG Group; a zlib 1.3.2 (licença zlib); a libogg 1.3.5 e a libvorbis 1.3.7 (licença BSD da Xiph.Org); o JsonCpp 1.9.6 (domínio público ou MIT); e a biblioteca C e o runtime em JavaScript do Emscripten (MIT / University of Illinois NCSA; musl, MIT; compiler-rt, Apache License 2.0 com a exceção do LLVM). As licenças estão abaixo. Versão modificada, com um patch publicado junto do código-fonte (lugaru-fredygames.patch; as mudanças só valem na build para o navegador, salvo a dos textos da tela, que vale em qualquer plataforma): - Graphic/lugaru-gl.h, um arquivo novo (GPL-2.0 ou posterior, como o jogo): completa a emulação de OpenGL 1.x do Emscripten (vértices com cor, textura e normal completos, glInterleavedArrays, texturas e mipmaps no formato que o WebGL aceita) e descarta chamadas sem equivalente no WebGL; - Text.cpp: sem listas de exibição de OpenGL, que o WebGL não tem; cada letra é desenhada na hora; - main.cpp: o laço do jogo vira uma função que o navegador chama a cada quadro; tela fixa de 1024x768, que a página escala, e sem lista de resoluções; no menu o movimento do mouse acompanha o tamanho da tela; - Menu.cpp: a troca das teclas deixa de usar uma thread; somem do menu os botões de sair, de resolução, de tela cheia e de configuração de estéreo; - Game.hpp: sem a espera de 16 ms entre quadros (o navegador marca o ritmo). Código-fonte, hospedado junto do jogo: lugaru-6a58b62.tar.gz (o arquivo do commit, sem mudanças), lugaru-fredygames.patch, build-lugaru.sh (o script que gera a build servida, byte a byte, a partir desses arquivos), jsoncpp-1.9.6.tar.gz, SDL2-2.32.10.zip, libpng-1.6.58.tar.gz, jpegsrc.v9f.tar.gz, zlib-1.3.2.tar.gz, libogg-1.3.5.zip, libvorbis-1.3.7.zip e emscripten-6.0.10.tar.gz (compilador, biblioteca C e runtime que entram no binário). O FredyGames não tem relação com a Wolfire Games nem com o projeto OSS Lugaru e não é endossado por eles. Projeto: https://osslugaru.gitlab.io Repositório: https://github.com/osslugaru/lugaru ------------------------------------------------------------------------------ Lugaru HD — AUTHORS ------------------------------------------------------------------------------ Original developer: David Rosen, Wolfire Games Contributors to the open source project, in alphabetical order: Alexander Monakov Côme Chilliet (MCMic) David Rosen Harley Laue Jendraz Neal Gompa Philtron R. Rémi Verschelde (akien) Ryan C. Gordon (icculus) sf17k Silb Vadim Trochinsky ------------------------------------------------------------------------------ Lugaru HD — README, seção Licensing ------------------------------------------------------------------------------ ## Licensing The source code is distributed under the GNU General Public License version 2 or (at your option) any later version (GPLv2+). The assets (campaigns, graphical and audio assets, etc.) in the `Data` folder are distributed under the Creative Commons Attribution - Share Alike license, some in version 3.0 Unported (CC-BY-SA 3.0) and others in version 4.0 International (CC-BY-SA 4.0) as described in the `CONTENT-LICENSE.txt` file. ------------------------------------------------------------------------------ Lugaru HD — CONTENT-LICENSE.txt (licença dos dados) ------------------------------------------------------------------------------ # Lugaru assets licenses ## Wolfire assets (CC-BY-SA 3.0 Unported) All assets from the original Lugaru game (including Lugaru HD assets) are distributed under the Creative Commons Attribution-Share Alike license in version 3.0 Unported (CC-BY-SA 3.0 Unported): http://creativecommons.org/licenses/by-sa/3.0/ Attribution to Wolfire Games: http://www.wolfire.com Those assets are all the files in the `Data` folder, except from the ones listed below with different licenses or credits. ## OSS Lugaru assets (CC-BY-SA 4.0 International) Data/Textures/ClFeng.png Data/Textures/ClHuo.png Data/Textures/ClShan.png Data/Textures/ClShui.png ## Slib assets (CC-BY-SA 3.0 Unported) https://web.archive.org/web/20161213062413/http://forums.wolfire.com/viewtopic.php?f=7&t=1066 These assets are from the Temple campaign by Slib under CC-BY-SA 3.0 Unported: Data/Campaign/temple.txt Data/Maps/sven* Data/Textures/DesertCl.png Data/Textures/GiTop.png Data/Textures/GiTeared.png Data/Textures/GiBottom.png Data/Textures/Mask.png Data/Textures/temple/World.png ## Jendraz assets (CC-BY-SA 4.0 International) https://web.archive.org/web/20161213062036/http://forums.wolfire.com/viewtopic.php?f=7&t=3797 These assets are from the Empire campaign by Jendraz, licensed under CC-BY-SA 4.0 International: Data/Campaigns/empire.txt Data/Maps/jendraz* ## Philtron R. assets (CC-BY-SA 4.0 International) https://web.archive.org/web/20161214063840/http://forums.wolfire.com/viewtopic.php?f=7&t=4633 These assets are from the Seven Tasks campaign by Philtron R., licensed under CC-BY-SA 4.0 International: Data/Campaign/seventasks.txt Data/Maps/task* ------------------------------------------------------------------------------ Lugaru HD — Docs/README.Temple.txt (campanha Temple, de Silb) ------------------------------------------------------------------------------ Lugaru: Temple ============== Welcome to "Lugaru: The Rabbit's Foot"'s unofficial expansion pack. Unofficial, but free. Like in "Christmas". Introducing... Lugaru: Temple (aka, The Rabbit's Other Foot) This includes 31 maps, 85 rabbits + 15 wolves on the receiving side, plus 4 different player characters. All this wraped up in a large campaign, complete with scenario and dialogue. Sven is Turner's twin brother (or maybe just a cousin, he was never very clear on this). He's been training in the desert (see my previous map pack) to become the new master of his Temple. He has just come back. The story starts right in the heat of things, and what's happening is only implied by the dialogues, not flat out explained. But you should figure out very quickly. The scenario is quite simple and just a frame for the levels. Be aware that said levels are more demanding than the regular campaign from both player and computer. I've ensured that every map yields at least 50 FPS on my 1.67 GHz G4 laptop. Slower camputers may need to lower detail settings to get consistent gameplay. As for the the player (you there), you should at least have completed the regular campaign. This one is aimed at people who already know the normal game well. Last thing, don't be too upset if there are small glitches. The level editor is unsupported and reliably crashes when you stare at it the wrong way. Enjoy! See you on the wolfire boards- Silb WARNING: PG-13 rating. About 100 violent deaths on screen. (Also, a relative of the main character used the word "bastard".) Troubleshooting --------------- A rare bug that may be specific to my campaign: Sometimes, the slow-motion effect which kicks in when you kill an enemy doesn't stop. You have to deactivate it manually by hitting 'b'. This usually means that you can't finish the map, even if you kill everyone. You have to restart the level. I've never encountered this bug with debug mode off, so it's not that much of a problem. If a level crashes, replace it with the map 'svenskip' in the Data/Maps folder- or, more elegant, in the campaign file (Data/Campaigns/temple.txt). Some useful info ---------------- - All levels where Sven wears his ninja outfit can be completed "One with the shadows!"-style, ie, you can kill every enemy from behind. This is particularly tricky in "General Mansion" (map 'svenninja') and "Old Fort" (map 'svenfort'). - The Last Level: Ice Cave It can be very difficult. If all else fails, read this: The wolves roll and flip about when you jump with a knife (to avoid being ninja bull's eye'd). Use this trick near the pits and poof! no wolf. - Most of the levels are best played for themselves once you know them, without the constraint of a linear compaign. You may need this: Table of correspondance between level names and map names (for combat maps only): "Giant Ruins": svenclimb "Ruins Top": svenheaven "West Pass": svensthwrong + svendefend "Old Fort": svenfort "Heading to Clearing": svenforest + svenearl "Snowy Fields" : svenredbw + svenredbw2 "Snowy Fields: Night" : svenredbw3 "Snowy Fields: Dawn" : svenredbw4 + svenredbw5 "Desert Beacons": svendawn "Canyon": svencanyon "Border": svenninjabefore "General Mansion": svenninja "Ruins": svenruins "Wolf Mountain": svenalpha "Border Wall": svendecoy "Castle Bridge": svenchasm "Throne Hall": sventhrone "Ice Cave": svenfireice ------------------------------------------------------------------------------ Lugaru HD — Docs/README.Empire.txt (campanha Empire, de Jendraz) ------------------------------------------------------------------------------ Lugaru: Empire ============== "Lugaru: Empire" is an unofficial expansion pack released for "Lugaru: The Rabbit's Foot". Lugaru: Empire includes: - 41 maps (including repeats and dialogues) - 104 rabbits and 22 wolves to defeat (including elite and "boss" enemies) - 2 different player characters Story ----- An unstoppable Assassin... A heroic freedom fighter... The island of Lugaru is embroiled in civil war. Led by the freedom fighter Lucius, the rebels have been fighting a losing battle to throw off the Imperial yoke. And now it seems the Emperor has unleashed a new weapon upon the rebel forces... one which may lead to the destruction of all who inhabit the island... Troubleshooting --------------- Frame rate warning: There are a few levels where the frame-rate gets down to the low 20s. This still works decently on my computer, but I'm guessing this won't be the case for everybody. There are 3 fighting levels with horrible frame rates. If this is a serious problem, the following changes might help a little. - Lower the "viewdistance". In the console, type "viewdistance .7" to reduce the distance you can see by 30 percent. - Turn off the sky box. In the console, type "skybox". Thanks ------ I would like to give a BIG thank you to Silb, for without his answering my constant questions I would never have been able to finish this campaign. I was only able to create it by looking at what he had pioneered. PM me on the Wolfire boards with any questions. Otherwise, enjoy! -Jendraz ------------------------------------------------------------------------------ Lugaru HD — Docs/README.SevenTasks.txt (campanha Seven Tasks, de Philtron R.) ------------------------------------------------------------------------------ The Seven Tasks =============== A mini-campaign made with Wolfire's "Lugaru." My thanks to Wolfire for making a cool game like Lugaru. I also thank the Wolfire fan community; although I didn't post much in the forums, I relied heavily on the posts of others to help me make these maps. About this read me: I have always been a fan of finding out how games, books, paintings, movies, etc. were made; what went into the creative process. Since I enjoy it I thought others might enjoy it as well and have written up a "Making of the Seven Tasks." If you're interested in what I was thinking or where I was going with the maps I designed read on. If not, that's okay, I hope you enjoy the mini-campaign anyway. The Design of the Seven Tasks ----------------------------- The Sleuthing ~~~~~~~~~~~~~ Because I wasn't making a lot of fighting levels I felt I should add something else to engage the player to make up for the short length. I came up with the idea that the main character was something akin to a hired assassin. The secondary goal for the player would be to figure out who hired the assassin and why they hired him. Clues would be provided through conversations with Sage and the design of each map. This was the birth of the relationship between the mendicants and the order of the Seneschals. But because of the struggles I had with the map editor I ended up giving up on much of this simply out of frustration. I also had wanted to place a shapeshifting Secret Rabbit somewhere in each of the dialogue levels. If the player wanted they could hunt for and find this rabbit in its various forms (very tiny, very large, invisible, as a wolf) and then listen to it tell a joke or something. This idea was scratched completely because I just wanted to finish the campaign and I was tired of dealing with the bugginess of the map editor. For those still interested in sleuthing here are the areas where you can still solve the mystery. They are organized from easiest to hardest to solve (in my opinion, anyway): Desert Village Mountain City Monastery Theatre (maybe) Desert sandstorm (probably not but maybe. hint: it's not the obvious answer) For those interesting in solving those mysteries, don't read what I've written about those individual levels because of spoilers. Elegance through simplicity ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Many modern games, in an attempt to be visually realistic or to make use of modern graphics capabilities, have excessive and hyper detailed visuals that just result in a cluttered visual space and game space. One of the things I liked about Lugaru was that the simplicity of the design created an uncluttered environment to play in. Looking at Turner's village, the raider base, or Jack's camp we see very simple blocks. This, in my mind, makes sense since we don't actually need a functioning village or camp to let us know that we are in those locations. The simple blocks, while not an actual village, represent a village; they are symbolic of a village; they form an abstract village. However, looking at the Wolfire blog entries "The ruins of Lugaru" and "Designing Cultures" it seems the intent of these simple blocks was different from my interpretation, nevertheless my interpretation is what shaped my creative process in the Seven Tasks. The general idea I had was that if there were many buildings, such as in a village or city, each individual structure was not very important and thus didn't need a lot of detail; it was the village or city as a general whole that needed detail by having many structures; it only needed to be a silhouette of a city. If, however, the level consisted of only one structure, such as a smithy or a monastery, then because of its individuality that building was that much more important and needed that much more detail. A Living World is an Interesting One ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I have always felt that the most interesting games to play are ones that seem to take place in a real world, where characters move with some purpose and do things that make sense to some degree. There wasn't much room for that in a mod of Lugaru but this idea did shape what clothes rabbits wore or where they patrolled. It also shaped the placement of some of the structures in some of the maps. The Kinds of Levels ~~~~~~~~~~~~~~~~~~~ In the beginning I was having trouble brainstorming ideas for what the maps should be. I came up with a general process I used early on, of placing each map in some sphere of rabbit/human life. This helped me brainstorm a lot of the early map ideas. For example, the maps would take place in the sphere of family life (village), professional life (smithy), religious life (monastery), social life (city), artistic life (theatre), etc. I also considered that the reason the mendicants ask for aid in each tasks is because they lost something we all fear to lose in that sphere of life (e.g.: we fear losing our families in family life, we fear losing our business in professional life, we fear losing our status in artistic life). This idea was scrapped early on though and didn't really affect the plot. The Design of the Maps ~~~~~~~~~~~~~~~~~~~~~~ Bonus Zombie Level ^^^^^^^^^^^^^^^^^^ This was originally going to be one of the seven tasks wherein Yew has to save the graveyard's groundskeeper from the undead who is hiding in his hut in the center of the graveyard. They were going to be ghosts at first but I didn't know how to get the ghostly tutorial level rabbit so I just changed it to zombies. As such, they had to be slow and so to counter this I made them strong and powerful. I made this a bonus level because it was one of the first levels I made but I couldn't think of a satisfactory "who" and "why". I thought of young rabbits meddling with necromancy to resurrect one of their fabled heroes, but I decided it just wasn't good enough. I really had fun with this level and I'm happy with the way it turned out. The first moments of the map, when the zombies swarm onto the box, really bring up imagery for me of zombie movie heroes trapped on top of a truck fending off the monsters. Also, when you get surrounded by eight rabbit zombies and are able to fend off all of them, that is a tremendously powerful feeling. The Last Castle ^^^^^^^^^^^^^^^ Originally this was going to be the monastery but I felt that it would be more appropriate if this map was the headquarters of the Seneschals. I deleted some of the platforms and the belfry, added the apprentice huts, the Seneschal homes, and the sparring rink. The original idea for this map came from looking at the lookout ruins in Turner's village in Lugaru, and trying to imagine what the original structure might have looked like. The wall closest to the sparring rink is still the original intact wall from the Turner's village map. The player spends little time in this map but I still felt I should flesh out the world of the Seneschals as best I could. I wanted to make sure the player would see the uniform of the Seneschals in training, since this was a clue for solving the mystery in the Mountain City, and I wanted to make sure the player knew that Sage was not the only master in the Last Castle. So, we see another master giving a lecture on sparring to some apprentices. We see several masters with Sage, discussing what to do about the murder of an apprentice. During sunset we see some apprentices resting among their huts, while a couple spar in the rink, and one wanders in the hills. We see some masters and apprentices meditating inside the Castle. All of this is meant to help give the player a sense of what kind of life is lived here, if the player cares to look. This is a place of training; a place of self improvement; but it is not a cruel place either. The Desert Village ^^^^^^^^^^^^^^^^^^ I spent so much time on those chimneys. I spent an arduous time positioning fires in the air and then chimneys around them so that all you could see was the smoke. But, then on reloads the fires or chimneys had repositioned themselves. The reason I had done it in the first place was because it was a clue in the mystery. There are five huts but only four of them have active chimneys which means one of the families is missing. This, combined with the clue of the two sacrifices in front of three spikes, was meant to lead the player to realize that one of the families was sacrificed but one of the parents escaped and she or her was the mendicant, begging for revenge. The villagers who are out hunting are hunting this escaped victim, a plot point which allowed me to create a village larger than the eight rabbit limit, by splitting the village populace into two maps. But if this village believes in rabbit sacrifices, how have they done this for any length of time without killing off their population? To answer this I created, nearby, the ruins of another village, implying that this village's sacrificial rituals originally extended to their neighbors but now they have begun to turn on themselves. During the day we see something of village life. A mother walks among the huts, as her daughter trails after her. Some children play in the orchard as their friend watches. A mother tends to the cabbage (or something) patch. During the evening we see the rest of the adults shadow the behavior of the day. One rabbit patrols, spending a long time in the cabbage patch looking for signs of his wife who was working there. A couple searches the orchard for their child. Another rabbit searches the hut for his wife. One rabbit pauses as he wanders in a large aimless circle, numb from the shock. I changed the children rabbits' power and strength and armor and protection, so I don't know why they can take such punishment before dying. The Smithy ^^^^^^^^^^ I spent a good amount of time creating a chimney through which the player could jump down and surprise the smith. It doesn't work that well in practice. Oh well. Here again the patrol paths are representative of the behavior of the rabbits. One apprentice gathers wood for the fire (although I'm not sure wood fires can get hot enough for a smithy), one apprentice gathers water at the well and brings it to the smith's water bucket, and another gathers ore in the cave (not really how things are done, but I liked the idea). The smith, more thoughtful than his apprentices, pauses at each station. He goes to the fire to heat the metal, then to the anvil (box) to shape it, and then to the water bucket to cool the metal. The idea I had for the mystery in this level was that the smith worked far from the city in order to be near a magical cave which gave him ore for his superior weapons. The mendicant was going to be a spirit that lived in the cave, angry over the theft of its property. There was going to be a clue in the cave near the smithy, where Yew would hear the spirit speak, but I couldn't get the hotspot to work right, even with hex edit. Theatre ^^^^^^^ What does an artist fear most? There can be many answers to this, but the answer I was thinking of was, "Being forgotten." Thus, the mystery in this task was that the aging thespian Commedus never wants to be forgotten, and so he is the mendicant asking for his own death. For his last performance he wants to be mysteriously killed on stage so everyone will talk about it for years. But it can't look like he let someone kill him, because that would make him seem a hack, so he has to fight back to make the death look like a murder. His rival thespians, two prima donnas and a starving artist, don't know the specifics of his plan but don't want to be outstaged either. I added them not only to add extra fighting but also to provide the clue that the answer to the mystery of "who is the mendicant" wasn't one of Commedus' rivals. I wondered about the behavior of rabbits in Lugaru to run for help if injured and then run with their help back towards you. Should I make two maps, one for the rivals and one for the thespian? I decided to justify the behavior this way: after seeing he or she is being beaten, a rival races to kill Commedus, but upon arriving either Commedus terrifies them and chases them back (if he's behind), or he dodges them and runs to you to finish what he wants you to do (if he's in front). Artists strive for originality and uniqueness, as a general thing. So I made every character unique. Commedus is a tiny bit fatter due to his age and he wears somber colors in anticipation of his death. One prima donna is shorter than the others and wears darker colors to complement her dark fur. The male rival is taller and slightly thinner, and he wears drab pants, since he is a poor, starving artist. The Green and yellow prima donna I increased the size of her legs and lowered the size of her torso to give her a more curvy appearance, to represent her obsession with physical looks. I also made the dialogue boxes very bright and had the rivals speak in a theatrical manner. Originally I planned on having a large indoor theatre, modeled off of the Globe Theatre in which Shakespeare performed, with benches and balconies. But, I instead decided this would be too cluttered and went with the current, simpler design, based off of the ancient Greek amphitheatres. The placard at the start of the map was supposed to have a hotspot advertising the final performance but I just couldn't get a hotspot to place. Desert Sandstorm ^^^^^^^^^^^^^^^^ This level was the fusion of two ideas. One was an idea of having a giant rabbit that grants wishes. The other one was of the player having to hunt down some bandits in the middle of a sandstorm. So, I just put them together and decided that the reason Yew is chasing this group of rabbits is because they want to sacrifice someone to the giant, but the giant is tired of being bothered so he asks the Seneshcals to take care of it for him. I had a lot of fun making this level. I had to keep trying to think of different things that could exist along this desert path: ruined villages, ancient statues, crumbling oasis, a canyon. I also had to pay attention to make sure that if the player followed a sign at a slightly wrong angle, they would still find what they were looking for. So, I'd have to go back and increase the circumference of ruins or increase the width of the front of the canyon, so the player could bump into something rather than running forever through the desert, having not noticed the next location. Originally, I wanted it to be that the player would find some area and then have to search in a circle for the next area, but I realized this was too sadistic and resorted to using mainly road signs. I also decided to use dead bodies, rabbits who questioned their leader's decision, to let the player know they were on the right track. I also wanted to give the sense of history in the desert, as though these things had been around for a while. Aside from the typical cubes that form ruins I also added roads buried in sand, walls and pillars being knocked over by growing trees, and the old statue was one of my favorite touches, giving the idea that something truly epic had once been built in this desert. The Mountain City ^^^^^^^^^^^^^^^^^ I wanted a city level where the player could wander through, either avoiding guards through stealth, fighting them in alleys, or urban running past the opposition. I had a lot of fun making both parts of the city inside the walls and out. The placement of buildings also came naturally, by following the natural shape of the terrain. Although if you really think about it, it doesn't really look like a city, I think it succeeds as the silhouette of a city; a symbolic city. But I also wanted to give a sense of the city having just been sacked by an opposing army. I thought of having buildings knocked over or lopsided but couldn't, at first, think of a good reason for this, so I settled on having fires interspersed among the buildings (from the pillaging). Once I worked on the city inside the walls I needed some way for the player to get back in if they fell over the wall. I decided to use a natural bit of scenery, a siege tower, and once that idea was in place, the idea of a catapult which launched stones to knock over buildings followed instantly. I also wanted to make a distinction between the inner city and the outer city. You can see that outside the walls the buildings are spaced further apart, while inside the walls they are packed closely together. Within the walls there is greater distinction between the poor houses (at the bottom of the hill) and the wealthier ones (top of the hill, nearer the royal house). The soldiers outside the walls are more poorly armed and some of them are even tired and resting. This is because they are the dregs of General Vine's army and were used to take on the brunt of the defense. The more elite soldiers are inside, being the most trusted by the General and the Major to search for the missing Queen Dowager. You can see the suspicions of the General as to where the Queen Dowager may be hiding by noticing that the majority of the elite soldiers are searching the wealthy houses, while only one is searching among the poor houses. I thought a lot about what the mystery could be in this one. I wondered perhaps whether the Queen could be the mendicant and whether the sewer exit from which she escaped (outside the walls) could play some role, but I decided this was too easy. I finally came up with the idea that the General/Warlord would be a former Seneschal who ran from his duties to gain glory. You can tell from Sage's "mission briefing" that there is no mendicant, necessarily. Sage normally says things like "you WILL do this" but this time he says "I WANT you to do this". Also you can see that the Warlord is wearing the uniform of a Seneschal in training. It is no accident that he is as strong as he is either. Alternate answers to "what's the difference between a general and a warlord": a scary hat; three flagons of ale; a superego. Forest of Anshan ^^^^^^^^^^^^^^^^ Tree houses are cool. Tree house villages are even cooler. I am also a big fan of the Epic of Gilgamesh (wikipedia it if you don't know what it is) so when I decided I wanted to do a forest level I began to think of the Forest of Anshan where Gilgamesh and Enkidu have to face the monstrous Humbaba. At first Humbaba was going to be a clan of wolves but then I came up with a different idea. What if the wolves were hunting the monster Humbaba, and IT was the mendicant asking for help because it was cunning enough not to face the wolves by itself (because of this the wolves generally patrol the entrances to the tree houses hoping to see Humbaba emerge). Thus the reason for Sage's cryptic comment "What is scarier, a monster or a monster... the monster that survives." I was going to have a dialogue map, after victory, in which we see Yew being watched from the trees by a lizard, but I couldn't get the lizard texture to appear on every load, so I scrapped the idea. As for the tree houses, aside from my above reasons, it just seemed right to put them in. I made the trees very big to give a sense of grandeur to the forest, and once I saw what it looked like, I immediately thought I should attach platforms and boxes to the trunks. It was meant as a network of platforms and tunnels by which the player could follow the wolves and then leap down. In practice this doesn't work that well, at least for me, but I'm still fond of it. I thought of having a battle on one of the tree platforms, but I felt this would be a fiasco; the player and/or opponent would most likely end up falling down to the ground anyway. The wolves patrol paths often intersect or even go alongside each other. I did this to encourage the use of the tree houses as means of escape and espionage, as opposed to purely ground based tactics. The totem at the start was supposed to have a hotspot that warned of the monster Humbaba, but the hotspot wouldn't work. This was one of the levels that for some reason the enemies became super strong. All the wolves are as strong as the Alpha wolf from Lugaru, so I gave the wolves weapons. Although, if I had been really nice I would have just given the player a weapon. Monastery ^^^^^^^^^ The plot is that this Monastery is a rival order to that of the Seneschals and your mission is revenge for the murder of one of your own. When it came to designing the map I wanted to try something different. Rather than designing the monastery based on aesthetic appeal (like the forest), or based on plot (like the desert village), or to create a sense of bygone history (the sandstorm), I wanted to try symbolism. I decided that there would be rising levels, and as the player climbed higher he would encounter stronger and stronger opponents, representing their increasing rank. The ground, because it is snow, is white and therefore white represents the earthly. The sky is black and therefore represents the heavenly. So the main character is traveling from the earthly to the heavenly; it is symbolic of his rising skill and wisdom throughout his training. The sky light is tinted slightly red to represent the blood the character has spilt in order to rise from the earthly to the heavenly. The enemies also show this symbolic shift in enlightenment. The enemies at the lowest level wear white as the enemies that are located higher and higher wear increasingly dark clothes, symbolic of how close they have come to the heavenly. Along with this, enemies at the lowest ranks wear heavy armor and unbreakable weapons. As enemies get higher they rely on impermanent weapons and less and less armor and clothes. This was to be symbolic of their leaving the earthly; their decreasing reliance on earthly objects as they rely more on their inner strength which grows due to their increasing enlightenment. This symbolism also is meant to explain why Yew never carries a weapon from mission to mission and only uses what he finds. In the end this didn't work out that well because this was another level where the enemies were all equally super-strong. I was also having terrible problems with entire platforms and boxes shifting positions on loads. So, I gave up on the full scale symbolism of this map, but much of the initial intention can still be seen. I was also going to have a second map where the player fought the High Templar in a duplicate of the room Neo and Morpheus fought in the movie "the Matrix". By this time though I was exhausted from wrestling with the map editor and scrapped the idea. Some ideas that didn't make it ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ In between levels: I had thought of doing some levels where the player actually travels the distance from the Last Castle to his next mission, encountering story elements on the way. One idea was of bumping into the Queen Dowager and her guard, as she flees the city, who briefly reveal some of the plot. Another was that the woman who escaped the desert village was captured by bandits and you run into them and save her. Ultimately though I felt this was really unnecessary and simply increased the number of levels without necessarily increasing the amount of fighting. One good thing was that the desert sandstorm idea came out of brainstorming for these inbetween levels. The Vault of Voices: The Seneschals obviously get requests from mendicants across vast distances. My answer to how this was possible was the Vault of Voices. It was meant to be a series of rocks floating in a black expanse. As the player traveled forward he saw in the distance people on platforms, floating. These were to be the mendicants. One platform would have a lizard among some trees, another a woman, another would be empty (since the old thespian was dead), and so on. The final platform would be a new mendicant and there was to be a conversation between her and Yew, where he takes on a task personally, rather than through Sage, to show that Yew is no longer an apprentice. This idea didn't seem crucial however and so it didn't seem like it was worth the time. A miniature level: The first time I changed my size to 0.1 and ran around I burst into laughter. I thought of having a map where the world gets "shrunk." There would be one map where everything is normal sized, and then through magic or something Yew would get shrunken, and there would be a second map duplicated in a smaller size. Although cool, it isn't easy to fight when that small, and the objects don't shrink as much as the player can. The idea was then scrapped. Valley of the giants: The idea for a giant originally came when I thought of a stealth level where the player has to sneak through a valley of sleeping giants. If a giant wakes up he would kill Yew instantly with his immense power. I dropped this idea though because although it sounds cool, it seemed that in execution it would probably be really boring. ------------------------------------------------------------------------------ GNU General Public License versão 2 — COPYING.txt do jogo (código) ------------------------------------------------------------------------------ GNU GENERAL PUBLIC LICENSE Version 2, June 1991 Copyright (C) 1989, 1991 Free Software Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301 USA Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed. Preamble The licenses for most software are designed to take away your freedom to share and change it. By contrast, the GNU General Public License is intended to guarantee your freedom to share and change free software--to make sure the software is free for all its users. This General Public License applies to most of the Free Software Foundation's software and to any other program whose authors commit to using it. (Some other Free Software Foundation software is covered by the GNU Lesser General Public License instead.) You can apply it to your programs, too. When we speak of free software, we are referring to freedom, not price. Our General Public Licenses are designed to make sure that you have the freedom to distribute copies of free software (and charge for this service if you wish), that you receive source code or can get it if you want it, that you can change the software or use pieces of it in new free programs; and that you know you can do these things. To protect your rights, we need to make restrictions that forbid anyone to deny you these rights or to ask you to surrender the rights. These restrictions translate to certain responsibilities for you if you distribute copies of the software, or if you modify it. For example, if you distribute copies of such a program, whether gratis or for a fee, you must give the recipients all the rights that you have. You must make sure that they, too, receive or can get the source code. And you must show them these terms so they know their rights. We protect your rights with two steps: (1) copyright the software, and (2) offer you this license which gives you legal permission to copy, distribute and/or modify the software. Also, for each author's protection and ours, we want to make certain that everyone understands that there is no warranty for this free software. If the software is modified by someone else and passed on, we want its recipients to know that what they have is not the original, so that any problems introduced by others will not reflect on the original authors' reputations. Finally, any free program is threatened constantly by software patents. We wish to avoid the danger that redistributors of a free program will individually obtain patent licenses, in effect making the program proprietary. To prevent this, we have made it clear that any patent must be licensed for everyone's free use or not licensed at all. The precise terms and conditions for copying, distribution and modification follow. GNU GENERAL PUBLIC LICENSE TERMS AND CONDITIONS FOR COPYING, DISTRIBUTION AND MODIFICATION 0. This License applies to any program or other work which contains a notice placed by the copyright holder saying it may be distributed under the terms of this General Public License. The "Program", below, refers to any such program or work, and a "work based on the Program" means either the Program or any derivative work under copyright law: that is to say, a work containing the Program or a portion of it, either verbatim or with modifications and/or translated into another language. (Hereinafter, translation is included without limitation in the term "modification".) Each licensee is addressed as "you". Activities other than copying, distribution and modification are not covered by this License; they are outside its scope. The act of running the Program is not restricted, and the output from the Program is covered only if its contents constitute a work based on the Program (independent of having been made by running the Program). Whether that is true depends on what the Program does. 1. You may copy and distribute verbatim copies of the Program's source code as you receive it, in any medium, provided that you conspicuously and appropriately publish on each copy an appropriate copyright notice and disclaimer of warranty; keep intact all the notices that refer to this License and to the absence of any warranty; and give any other recipients of the Program a copy of this License along with the Program. You may charge a fee for the physical act of transferring a copy, and you may at your option offer warranty protection in exchange for a fee. 2. You may modify your copy or copies of the Program or any portion of it, thus forming a work based on the Program, and copy and distribute such modifications or work under the terms of Section 1 above, provided that you also meet all of these conditions: a) You must cause the modified files to carry prominent notices stating that you changed the files and the date of any change. b) You must cause any work that you distribute or publish, that in whole or in part contains or is derived from the Program or any part thereof, to be licensed as a whole at no charge to all third parties under the terms of this License. c) If the modified program normally reads commands interactively when run, you must cause it, when started running for such interactive use in the most ordinary way, to print or display an announcement including an appropriate copyright notice and a notice that there is no warranty (or else, saying that you provide a warranty) and that users may redistribute the program under these conditions, and telling the user how to view a copy of this License. (Exception: if the Program itself is interactive but does not normally print such an announcement, your work based on the Program is not required to print an announcement.) These requirements apply to the modified work as a whole. If identifiable sections of that work are not derived from the Program, and can be reasonably considered independent and separate works in themselves, then this License, and its terms, do not apply to those sections when you distribute them as separate works. But when you distribute the same sections as part of a whole which is a work based on the Program, the distribution of the whole must be on the terms of this License, whose permissions for other licensees extend to the entire whole, and thus to each and every part regardless of who wrote it. Thus, it is not the intent of this section to claim rights or contest your rights to work written entirely by you; rather, the intent is to exercise the right to control the distribution of derivative or collective works based on the Program. In addition, mere aggregation of another work not based on the Program with the Program (or with a work based on the Program) on a volume of a storage or distribution medium does not bring the other work under the scope of this License. 3. You may copy and distribute the Program (or a work based on it, under Section 2) in object code or executable form under the terms of Sections 1 and 2 above provided that you also do one of the following: a) Accompany it with the complete corresponding machine-readable source code, which must be distributed under the terms of Sections 1 and 2 above on a medium customarily used for software interchange; or, b) Accompany it with a written offer, valid for at least three years, to give any third party, for a charge no more than your cost of physically performing source distribution, a complete machine-readable copy of the corresponding source code, to be distributed under the terms of Sections 1 and 2 above on a medium customarily used for software interchange; or, c) Accompany it with the information you received as to the offer to distribute corresponding source code. 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These actions are prohibited by law if you do not accept this License. Therefore, by modifying or distributing the Program (or any work based on the Program), you indicate your acceptance of this License to do so, and all its terms and conditions for copying, distributing or modifying the Program or works based on it. 6. Each time you redistribute the Program (or any work based on the Program), the recipient automatically receives a license from the original licensor to copy, distribute or modify the Program subject to these terms and conditions. You may not impose any further restrictions on the recipients' exercise of the rights granted herein. You are not responsible for enforcing compliance by third parties to this License. 7. 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If the distribution and/or use of the Program is restricted in certain countries either by patents or by copyrighted interfaces, the original copyright holder who places the Program under this License may add an explicit geographical distribution limitation excluding those countries, so that distribution is permitted only in or among countries not thus excluded. In such case, this License incorporates the limitation as if written in the body of this License. 9. The Free Software Foundation may publish revised and/or new versions of the General Public License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns. Each version is given a distinguishing version number. If the Program specifies a version number of this License which applies to it and "any later version", you have the option of following the terms and conditions either of that version or of any later version published by the Free Software Foundation. If the Program does not specify a version number of this License, you may choose any version ever published by the Free Software Foundation. 10. If you wish to incorporate parts of the Program into other free programs whose distribution conditions are different, write to the author to ask for permission. For software which is copyrighted by the Free Software Foundation, write to the Free Software Foundation; we sometimes make exceptions for this. Our decision will be guided by the two goals of preserving the free status of all derivatives of our free software and of promoting the sharing and reuse of software generally. NO WARRANTY 11. BECAUSE THE PROGRAM IS LICENSED FREE OF CHARGE, THERE IS NO WARRANTY FOR THE PROGRAM, TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION. 12. IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MAY MODIFY AND/OR REDISTRIBUTE THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. END OF TERMS AND CONDITIONS How to Apply These Terms to Your New Programs If you develop a new program, and you want it to be of the greatest possible use to the public, the best way to achieve this is to make it free software which everyone can redistribute and change under these terms. To do so, attach the following notices to the program. It is safest to attach them to the start of each source file to most effectively convey the exclusion of warranty; and each file should have at least the "copyright" line and a pointer to where the full notice is found. Copyright (C) This program is free software; you can redistribute it and/or modify it under the terms of the GNU General Public License as published by the Free Software Foundation; either version 2 of the License, or (at your option) any later version. This program is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details. You should have received a copy of the GNU General Public License along with this program; if not, write to the Free Software Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301 USA. Also add information on how to contact you by electronic and paper mail. If the program is interactive, make it output a short notice like this when it starts in an interactive mode: Gnomovision version 69, Copyright (C) year name of author Gnomovision comes with ABSOLUTELY NO WARRANTY; for details type `show w'. This is free software, and you are welcome to redistribute it under certain conditions; type `show c' for details. The hypothetical commands `show w' and `show c' should show the appropriate parts of the General Public License. Of course, the commands you use may be called something other than `show w' and `show c'; they could even be mouse-clicks or menu items--whatever suits your program. You should also get your employer (if you work as a programmer) or your school, if any, to sign a "copyright disclaimer" for the program, if necessary. Here is a sample; alter the names: Yoyodyne, Inc., hereby disclaims all copyright interest in the program `Gnomovision' (which makes passes at compilers) written by James Hacker. , 1 April 1989 Ty Coon, President of Vice This General Public License does not permit incorporating your program into proprietary programs. If your program is a subroutine library, you may consider it more useful to permit linking proprietary applications with the library. If this is what you want to do, use the GNU Lesser General Public License instead of this License. ------------------------------------------------------------------------------ Creative Commons Attribution-ShareAlike 3.0 Unported — texto legal (dados do jogo) ------------------------------------------------------------------------------ Creative Commons Legal Code Attribution-ShareAlike 3.0 Unported CREATIVE COMMONS CORPORATION IS NOT A LAW FIRM AND DOES NOT PROVIDE LEGAL SERVICES. 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Creative Commons may be contacted at creativecommons.org. ------------------------------------------------------------------------------ SDL2 2.32.10 — LICENSE.txt ------------------------------------------------------------------------------ Copyright (C) 1997-2025 Sam Lantinga This software is provided 'as-is', without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software. Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions: 1. The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required. 2. Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software. 3. This notice may not be removed or altered from any source distribution. ------------------------------------------------------------------------------ libpng 1.6.58 — LICENSE ------------------------------------------------------------------------------ COPYRIGHT NOTICE, DISCLAIMER, and LICENSE ========================================= PNG Reference Library License version 2 --------------------------------------- * Copyright (c) 1995-2026 The PNG Reference Library Authors. * Copyright (c) 2018-2026 Cosmin Truta. * Copyright (c) 2000-2002, 2004, 2006-2018 Glenn Randers-Pehrson. * Copyright (c) 1996-1997 Andreas Dilger. * Copyright (c) 1995-1996 Guy Eric Schalnat, Group 42, Inc. 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The Unix configuration script "configure" was produced with GNU Autoconf. It is copyright by the Free Software Foundation but is freely distributable. The same holds for its supporting scripts (config.guess, config.sub, ltmain.sh). Another support script, install-sh, is copyright by X Consortium but is also freely distributable. ------------------------------------------------------------------------------ zlib 1.3.2 — LICENSE ------------------------------------------------------------------------------ Copyright notice: (C) 1995-2026 Jean-loup Gailly and Mark Adler This software is provided 'as-is', without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software. Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions: 1. 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IN NO EVENT SHALL THE FOUNDATION OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. ------------------------------------------------------------------------------ JsonCpp 1.9.6 — LICENSE ------------------------------------------------------------------------------ The JsonCpp library's source code, including accompanying documentation, tests and demonstration applications, are licensed under the following conditions... Baptiste Lepilleur and The JsonCpp Authors explicitly disclaim copyright in all jurisdictions which recognize such a disclaimer. In such jurisdictions, this software is released into the Public Domain. In jurisdictions which do not recognize Public Domain property (e.g. Germany as of 2010), this software is Copyright (c) 2007-2010 by Baptiste Lepilleur and The JsonCpp Authors, and is released under the terms of the MIT License (see below). In jurisdictions which recognize Public Domain property, the user of this software may choose to accept it either as 1) Public Domain, 2) under the conditions of the MIT License (see below), or 3) under the terms of dual Public Domain/MIT License conditions described here, as they choose. The MIT License is about as close to Public Domain as a license can get, and is described in clear, concise terms at: http://en.wikipedia.org/wiki/MIT_License The full text of the MIT License follows: ======================================================================== Copyright (c) 2007-2010 Baptiste Lepilleur and The JsonCpp Authors Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions: The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software. THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE. ======================================================================== (END LICENSE TEXT) The MIT license is compatible with both the GPL and commercial software, affording one all of the rights of Public Domain with the minor nuisance of being required to keep the above copyright notice and license text in the source code. Note also that by accepting the Public Domain "license" you can re-license your copy using whatever license you like. ------------------------------------------------------------------------------ Emscripten 6.0.10 — LICENSE ------------------------------------------------------------------------------ Emscripten is available under 2 licenses, the MIT license and the University of Illinois/NCSA Open Source License. Both are permissive open source licenses, with little if any practical difference between them. The reason for offering both is that (1) the MIT license is well-known, while (2) the University of Illinois/NCSA Open Source License allows Emscripten's code to be integrated upstream into LLVM, which uses that license, should the opportunity arise. The full text of both licenses follows. ============================================================================== Copyright (c) 2010-2014 Emscripten authors, see AUTHORS file. Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions: The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software. THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE. ============================================================================== Copyright (c) 2010-2014 Emscripten authors, see AUTHORS file. All rights reserved. Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal with the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions: Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimers. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimers in the documentation and/or other materials provided with the distribution. Neither the names of Mozilla, nor the names of its contributors may be used to endorse or promote products derived from this Software without specific prior written permission. THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE CONTRIBUTORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS WITH THE SOFTWARE. ============================================================================== This program uses portions of Node.js source code located in src/library_path.js, in accordance with the terms of the MIT license. Node's license follows: """ Copyright Joyent, Inc. and other Node contributors. All rights reserved. Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions: The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software. THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE. """ The musl libc project is bundled in this repo, and it has the MIT license, see system/lib/libc/musl/COPYRIGHT The third_party/ subdirectory contains code with other licenses. None of it is used by default, but certain options use it (e.g., the optional closure compiler flag will run closure compiler from third_party/).