Supper Mario Broth: The Lost Levels, Issue 15

The fast-paced race to catch up with the missing Supper Mario Broth: The Lost Levels issues continues. As usual, the source of all images not explicitly marked with an attribution is myself, and all feedback is appreciated. Now, let's dive right back into the Deep Bloober Sea of obscure Mario information.

This is Supper Mario Broth: The Lost Levels.

Billboarding in Super Mario 64 Characters

As you most likely know, Super Mario 64 uses a variety of tricks to display objects that would be too taxing for the Nintendo 64 hardware to render normally. Many objects with rounded outlines such as trees, or complex shapes such as flames, are not 3D objects, but rather sprites that are drawn to always face the camera in a technique known as "billboarding". In this section, I will demonstrate the extent of billboarding in all characters in the game whose models use it, by utilizing emulator tools to move the camera in a way that bypasses the automatic adjustment of the sprites to always face towards it.

First off, the Bob-ombs (shown here is a Bob-omb Buddy, which uses the same model, but with a pink circle for its body rather than a black one). This is the first model used by an enemy that Mario encounters that relies heavily on billboarding due to its round shape. Note how everything except the body is properly rendered in 3D; this is a technique we will be seeing often in this segment. Despite the Bob-omb Battlefield painting showing fuses on top of the Bob-ombs' heads, they are not present in the actual models.

The Goomba model has very effective billboarding because the part that is a sprite - the body - is so subdued compared to the other design elements - the head and the feet. Billboarding in general works the best the fewer parts of the model rely on it. Unfortunately, not many enemies could get away with such a subtle use of it.

The rolling balls on the mountain are simple sprites with no polygonal component at all. This same sprite is reused, at different sizes, for many other objects in the game. Fire spitters, the black balls that appear from certain butterflies, the shots from Snufits, and the dots that moving platforms in the volcano in Lethal Lava Land follow are all the exact same sprite, and models such as Bob-ombs and King Bob-omb reuse it as part of a more intricate design.

Speaking of King Bob-omb, he contains 7 billboard elements, those being his body, his hands, and blue spheres used for arms and legs. Only his feet, crown and mustache are fully 3D, while the eyes are also flat, but not billboarded.

Courses 2 and 3 do not introduce new models with billboarding, but Course 4 contains Sprindrifts. Again, due to the sprite being merely one part of a more complex model consisting mostly of 3D elements, this is one of the more successful uses of the concept, although of course more noticeable than the Goomba.

The Mr. Blizzards, however, are mostly sprites. Strangely, although the glove is an object that is flat enough that having it be a 2D object would not be very noticeable, it is modeled fully in 3D.

The Scuttlebug is an example of a high amount of different techniques in one character. The feet and mandibles are completely 3D, the legs and irises are non-billboarded sprites, and the body and eyeballs are billboards. The irises of the Scuttlebugs have the specular highlight in different places; while this is not confirmed, a leading theory is that the right eye (the one with the highlight on the bottom) should have been mirrored horizontally from the left, but was mirrored vertically by mistake. 

Mr. I is just two sprites, one billboarded and the other not. Together with the fact that their projectiles are also sprites, they are a good example of how a relatively complex object can exist in 3D without using a single polygon.

Snufits, again due to the billboarded sprite - the body - being so subtle, are hard to pinpoint as using the technique to the untrained eye. Especially due to almost always looking toward the camera as they are locking onto Mario, it is hard to see their bodies to begin with, and the rest of their model is completely 3D. Also note that these are in fact called "Snufits" with a U instead of an I; they are different species from Snifits due to having no legs.

Swoopers also use sprites for their wings, which is rather obvious during gameplay, and a billboarded circle for their bodies, which is less obvious and due to the head being fully 3D, is nearly as effective as its usage on the Goomba model.

Bullies are essentially Bob-ombs with a different eye sprite, horns instead of the fuse cap, and for some reason, slightly differently-shaped shoes - which is nearly impossible to tell during normal gameplay.

Pokeys are another enemy that consists entirely of billboarded sprites. There is a slight visual effect of the sprites moving back and forth towards and away from the camera to enhance the illusion.

Skeeters may have the most separate parts of any character that are not 3D. The only modeled parts of the Skeeter are its feet; anything else - the legs, body, eyes etc. - are either normal or billboarded sprites. Skeeters may be the game's most harmless enemies - if they are encountered on water, they can not hurt Mario as due to the health-regenerating property of the water surface, he immediately automatically heals all damage they deal to him.

Amps use a billboarded sprite as their body, but more interestingly, there is a larger invisible sphere around the main body that textures of electricity move around (while being distorted in 3D, meaning that they are not sprites). This is a much more involved visual effect than most others in the game.

The Chill Bully is just the normal Bully model with a different horn and a blue sprite for the body.

Just like King Bob-omb, the Chuckya model uses a number of billboarded spheres. The only 3D segments here are the small pyramid it glides on, the diamond-shaped "grab area" in the back, and for some reason, the short connection between the main body and the red orb on top of it.

The Fwoosh on Tall, Tall Mountain is another combination of billboarded sprites with no polygons, using back and forth motion to enhance the visual effect.

Interestingly, the Fwoosh is really just Lakitu's cloud with an extra face sprite. The two are identical in visual behavior otherwise. All enemy Lakitus in this game spawn without their clouds upon entering the level - looking at them from afar shows them waiting in mid-air without the cloud. However, upon entering their activation radius once, the cloud will appear and instead of displaying the Lakitu's body, the game will instead show only the cloud if Mario moves far enough away.

This concludes the showcase of all characters that use this technique. Many inanimate characters use it as well, but that is a topic for another article.

Get Those Birds Easily

Super Mario Odyssey contains some moons that a number of players may find aggravating, as they are based on stealth. These moons usually involve sneaking up on a bird, or bird-like wildlife, and throwing Cappy at it from a precise distance. If Mario is too far, Cappy will not reach the bird and scare it off; if Mario is too close, the bird will fly away before he can throw Cappy. Finding the correct position can be tricky, and getting there while only pushing the analog stick softly enough to not startle the bird can be even trickier.

Luckily, a glitch exists that allows every single one of these moons to be collected without any effort whatsoever. Take a look at this footage:

If Mario scares off the bird - or in case of the Lost Kingdom here, the butterfly - all you have to do is stand on the place where it rested and enter first-person view by pressing down on the right analog stick and look in the direction it flew away. After a few seconds, the moon-carrying wildlife will respawn at Mario's position and the moon will be awarded to Mario immediately due to him touching it. This works with all of these kinds of Power Moons. 

Glitchy Yold Town Adventures

Super Paper Mario's main mechanic of turning the normally 2D game world into 3D usually works well with corner cases such as Mario being on the very edge of the 3D area, placing him into a logically plausible location once the screen is turned back into 2D. However, there are a few places where due to an unfortunate distribution of objects, completing a certain sequence of actions can have unintended results. We are going to take a look at one of such glitches, which can be found in Chapter 1-2.

Towards the end of the chapter, Mario reaches Yold Town, a small settlement on top of the mountain that is flanked by two bridges. Reaching this for the first time in a playthrough does not yet provide the player the tools to perform this glitch; you need to return here after completing Chapter 5 and obtaining the Pixl Dottie to be able to proceed with the instructions.

Before the first bridge in the area, there is a pipe that leads into the background that is used to access the bridge guard's house. It is positioned very close to the background in the 3D version of the area, which makes the space between it and the far wall inaccessible without Dottie. Use Dottie to shrink Mario in 3D, walk into the space between the pipe and the wall, then turn back to 2D. Now, unshrink Mario and turn back into 3D, then back and forth between 2D and 3D until eventually the camera will assume an unusual extremely zoomed-out position:

Depending on random factors, the area can be displayed either in the usual perspective-corrected view or in an orthographic view shown here:

Regardless of the camera, the view will be zoomed out much more than usual. What happens next can be seen here:

If you look closely at the bottom of the screen, you can see Mario falling down into the abyss. After Mario touches the death barrier, he will lose 1 HP and be deposited into the exact same spot, whereupon pressing A again will make him fall down again.

There is one interesting shot seen very briefly during Mario being put back:

This is actually the normal 3D view of the camera displayed flattened in the manner that the 2D view is usually displayed. You can see the Star Block that is normally very far to the right, beyond the second bridge, and the rock wall behind it as though they were very close to the camera even through they are far away. In other words, the world is "flattened" not on the usual axis, but on an axis perpendicular to it. Unfortunately, this lasts only a few frames.

Finally, if after Mario is put back after falling, you press 2 instead of A, Mario will jump onto the portion of the background that is normally only accessible by entering the pipe. However, the pipe also makes Mario smaller to show that he is in the distant background, a perspective trick that was also used in Paper Mario: The Thousand-Year Door. Being able to walk on that portion of the background without being shrunk by the pipe makes Mario appear giant compared to the bridge guard's house.

It is curious how a single oversight - the positioning of the pipe and the ensuing ability to enter the small space with Dottie - can cause such a wide assortment of glitches to cascade as a result of that decision.

"Color Layering"

The 1992 Nintendo Power guide for the SNES contained a section where it touted the new technology of the console, explaining what different effects were achievable with the hardware that were not possible on the NES. One of the techniques described is "color layering", with an example from Super Mario World:

However, there is one problem with this example: it is completely wrong. If we take what is described in the left column as "color layering" (I am using quotation marks because it is doubtful that this is the true name of the feature, as nothing except this guide uses this name), then the water effect in Super Mario World is not an example of it. Instead, it is an example of dithering, a much more primitive technique of simulating transparency that would have even been possible on a smaller scale on the NES. Let's take a closer look.

The guide gives us a picture from Final Fantasy II which is sadly too small to see, but fortunately also a hint on where else to find this effect: the Lost Woods from The Legend of Zelda: A Link to the Past. Here is what that area looks like:

As you can see, the fog in the foreground causes the colors of whatever is underneath to change. Light portions of the fog make the background and sprites lighter, dark portions darker. This is similar, but not identical, to the now widespread "alpha transparency" that can be seen in all modern games and, outside of games, in transparent PNG files. Funnily enough, Super Mario World does indeed use "color layering" in some instances, so the example did not have to be incorrect - but for some unknown reason, the writers decided to use the one example of transparency in the game that did not use that technique. Here is "color layering" used in Super Mario World's foregrounds:

As you can see, the fog colors the background in the same way it did in A Link to the Past. There are also examples of it being used for moving objects instead of foregrounds:

The Big Bubble obstacles found in the Vanilla Ghost House also use it. Note how due to lightening the background, more detail is actually visible through the Big Bubble than in the areas it is not obscuring. 

Now, let's take a look at the effect actually used for the water, dithering. This is what the water looks like normally:

If you look closely, you can see that a) you can see that the water is "grid-like", and b) the Cheep-Cheeps, instead of being uniformly colored blue, are instead obscured by the grid. Let's remove the background and leave only the water and the Cheep-Cheeps.

And here are just the Cheep-Cheeps themselves:

Now, compare the two. It is clear that the Cheep-Cheeps are not being colored, instead they are being covered with a layer that is simply checkerboarded with 1-pixel tiles of opaque blue and 1-pixel tiles of full transparency. At no point is anything "translucent", i.e. a transparency ratio anywhere between opaque and invisible. This is what dithering is; covering an object in a tiny checkerboard grid of opaque and transparent tiles to - especially from further away - create the illusion of translucency despite not using any more complex effects like "color layering". 

This allows dithering to also be used on pretty much any hardware that allows sprites to overlap without needing any support for translucency, and would even be theoretically possible on the NES, although in practice it was not used due to the console's low sprite limit that already ran into problems with small amounts of overlays like Mario's white eyeballs in Super Mario Bros. 2 becoming black briefly when entering a door. 

And this is what the guide's own example looks like in-game. Now, I concede that in motion, the effect looks much smoother than in still images, and coupled with the natural smoothing of CRT screens used at the time, perhaps the writers were unable to distinguish this from "color layering". Still, an official Nintendo publication has a reasonable expectation of actually knowing precisely what techniques are used due to being able to directly contact the developers for clarification, at least in my opinion.

Strict Power-Up Hierarchy

In newer Mario platformers - anything after New Super Mario Bros. - it is always clear exactly what will happen if Mario, or any other playable character, touches a power-up. If it is a Super Mushroom and the character is small, they will become their Super version (otherwise the Super Mushroom has no effect on the character's state, and can be stored in some item retrieval system depending on the game). If the character is in any form and touches any other power-up except the Super Mushroom, they will turn into the form associated with that power-up, any the current power-up will either disappear or be stored somewhere, again depending on the game. This is the main point here - regardless of form, touching a Fire Flower is expected to turn a character into their Fire form, for example.

As anyone who has played older Mario platformers knows, however, this was not always the case. Super Mario Bros. famously only turns Mario into Super Mario whenever he touches a Fire Flower as Small Mario, not into Fire Mario. In effect, the game imposes a hierarchy of powering-up that can not be skipped steps in, even by touching the proper power-up. Small Mario always powers up into Super Mario, no matter what he is touching.

I have compiled all examples of this restriction happening in Mario platformers - which was a surprisingly small amount, as well as one example of this retroactively being changed.

Here is the Super Mario Bros. example mentioned above. I apologize for Mario disappearing, this is due to limitations of my recording software that was only able to record the frames where Mario is not displayed during his post-damage blinking state. Interestingly, although the game had two major remakes in Super Mario All-Stars and Super Mario Bros. Deluxe, this behavior was retained in both despite at least by the time of the latter, the then-current status quo (set by Super Mario Land 2) being that Mario should always assume the state represented by the power-up, as in modern games.

Super Mario Bros. 3 also had the power-up hierarchy, which is odd considering that the same game also introduced items usable in the overworld. It is not logical that a Super Leaf obtained from a Toad House can turn Small Mario immediately into Raccoon Mario, but the same Super Leaf collected as Small Mario within a stage only turns him into Super Mario.

This was actually changed in the game's second remake. The first one, in Super Mario All-Stars, left this intact, but in Super Mario Advance 4, the behavior was brought in line with modern titles:

Finally, the last game to use this restriction is Super Mario Land, published in 1989, which means that after 1989, all games still using it were remakes. The next original Mario platformer after this, Super Mario World, already had the modern power-up philosophy.

Interestingly, footage of this happening in Super Mario Land is useless due to Super Mario and Superball Mario (this game's version of Fire Mario) looking identical, but I still recorded it and I hope you can take my word for it that when I pressed B after collecting the Flower (which is the official name of the power-up in this game), Mario did not shoot any Superballs, making it clear that he was still just Super Mario.

In the end, I believe that while this restriction could be argued to have made the games more challenging, the modern way of handling power-ups is much more logical and less frustrating. Imagine hunting down a rare Blue Shell power-up in New Super Mario Bros. and then only turning into Super Mario due to being Small Mario beforehand. Although, an optional mode reactivating the old system á la the Hero Mode in modern Zelda games to give an additional challenge to experienced players may be a good idea to try in the future.

Luigi's Baby Mansion

The backgrounds of all Mario Kart 8/Mario Kart 8 Deluxe tracks are full of detail, and the scenery around the Baby Park track is no different. While there were interesting details in the track's first appearance in Mario Kart: Double Dash, the remake goes above and beyond.

On the left, we can see an attraction styled after Luigi's Mansion. As it is impossible to drive any closer to it, it is hard to appreciate its detail. Fortunately, by extracting the models from the game, we can get as close to it as we want. (This section uses pictures taken of models uploaded here and here.)

This is what the mansion looks like from the front. It certainly resembles the original design of Luigi's Mansion from the game of the same name, but it has just as many differences as it has similarities. Let's take a look at the original mansion.

It has the exact same two smokestacks and a gable on the roof as the original, and there are three prominent windows on the third floor, but the further down we go, the less resemblance there is. There are far fewer windows on the second and first floors, and the door is much larger, accommodating a sign, which makes sense given that this is an attraction. Here is a close-up of the Boos on the sign:

However, the biggest difference is the sides of the mansions:

The original mansion simply has windows on both sides. But the Baby Park version has this:

An extra extrance, complete with an outcropping supported by pillars and another porch. And that's not all:

Not only is there a third entrance on the left, it is even shaped differently, giving the mansion an asymmetrical floor plan:

The original mansion was entirely symmetrical; so changing it in this manner is definitely a strange decision. In the end, regardless of the changes, we can only appreciate how much work went into redesigning a building to be used in the background of a race track that very few people would look closer at, especially if they could have simply reused the original model without anyone complaining.

Super Mario Sunshine Cutscene Oddities

Super Mario Sunshine was the first Mario game to use pre-rendered cutscenes. As the name states, "pre"-rendered cutscenes are rendered not in the game's actual engine using the same models and enviroments, but are rendered in advance with different, usually much more detailed models on the company's own computers and included in the game as video files. Instrumental here is "in advance". Sometimes the rendering happens far in advance of any finishing touches being put in the game, resulting in the environments looking different than they look when the player is exploring them in-engine. Other times, there is simply no time for the developers to re-render the scenes when they notice a mistake, leading to many of them remaining in the scenes. 

Here is a look at some of these oversights that I have not yet made posts about on my blogs. Screenshots in this section are taken from this video.

In the intro cutscene, Mario, Peach and Toadsworth are watching a video of Isle Delfino on a screen inside Peach's plane. The video contains Shadow Mario, so it must have been created very close (weeks or days) prior to Mario's arrival; however, Shadow Mario could not have possibly caused much damage to the island at that point as the video portrays everything as being relatively fine; there is also no visible Goop in the slideshow and Delfino Plaza is not cloaked in darkness. However, there are inconsistencies.

I have previously pointed out how Mario is in the above image, wearing the FLUDD, which chronologically should not be possible. However, there is another detail here that makes this oversight even more baffling. Note how this is literally a screenshot of the game, taken somewhere during Chapter 1 of Bianco Hills. However, during that chapter, Petey Piranha is on top of the windmill, while he is absent here. This means that whoever was in change of taking the screenshot took it, noticed Petey Piranha, edited him out, but left Mario in. 

Another chronological impossibility is in this shot of Delfino Plaza, which shows the M marking the Biano Hills entrance on the Pianta statue, visible on the left. This goes directly against a) the fact that Shadow Mario draws the M during events in-game, making it impossible to have been there prior, and b) the scenes of the video with the Piantas in front of the statue, which very clearly does not have an M on it. 

After this, Peach tries to talk to Mario and Toadsworth about Shadow Mario, but they are too distracted. Here, we can briefly see Toadsworth's mouth.

In-game, however, Toadworth does not actually have a mouth. Here is his model with the mustache removed:

Interestingly, he did regain a mouth for his appearance as a trophy in Super Smash Bros. Brawl.

When the plane is about to land, we see Isle Delfino from a flatter angle, which shows that this particular model did not have Pinna Park:

The Ferris wheel is completely absent, although some manner of wall is still there.

In the cutscene after landing, one very brief scene has Peach's earrings mistakenly use the textures for her eyes:

Finally, there is this very brief shot of the "wanted" poster during the courtroom cutscene, where some writing in romanized Japanese can be seen:

According to fans online who have tried to decipher it, the text means (roughly) "if you see him, call 110 or go to a police booth", police booths being very small police stations common in Japan and 110 being the emergency police number in Japan, similar to 911 in the US.

There are many more details in these cutscenes that can be pointed out, but I have either made posts about them in the past or plan to take a closer look at them in the future. Either way, if you continue reading Supper Mario Broth, you will not miss any of them!

Possibly My Biggest Stretch Yet

I apologize in advance if this section appears to you to be frivolous searching for patterns that are not there. I hope that even if you find the notion I present here ridiculous, there is enough actual rigorous information in the other sections to make up for it. I always try to find as many pieces of evidence as possible for any theories I put forward, so the type of baseless speculation I will go on here has been, and will stay, very rare among my content.

One day, I was looking at the North American box art for Super Mario Bros. 2. If you have taken a closer look at it before, you will have undoubtedly noticed the unusual turnip in Mario's hands.

This turnip is unlike any of the turnips, or other vegetables, that Mario and his friends can pluck from the ground in the game. Not only is it green, blue and purple, colors that the in-game vegetables do not have, it is also colored in a gradient and, for an unknown reason, is covered in sparkles. Vegetables, being grown in the ground and usually rather dirty immediately after pulled up, are usually among the last things one would think should sparkle; and even the cartoonishly clean vegetables in Mario's universe still are uniformly depicted as having a matte surface. There are also no examples of "special" vegetables in the game that would have needed a sparkle effect (although much later games, like Super Mario Odyssey, do in fact have golden turnips that do sparkle).

Thinking of all this, I looked closer at the sparkles and remembered that I have seen the configuration of dots before. It is actually extremely close to the famous real-world constellation, Ursa Minor.

If there was another sparkle halfway between the two bottommost ones, this would almost be too much to be a coincidence, as it would be incredibly close to a stylized depiction of the constellation. The way is it now, however, it is almost 100% a coincidence, as there is one less sparkle than there are stars in Ursa Minor. 

Of course, there is very little reason as to why the turnip would be referencing a constellation. There is no astronomy thematic in the game, nor are turnips connected to stars in any way. And of course, I really do not wish for anyone to think that I believe this to be any more than a curious coincidence. I hope you understand that if one spends as much time as I do looking for things in Mario-related media, it is inevitable to see parallels that are almost ludicrous stretches of the imagination.

Now, back to actual fact-based content.

The Looping Background

It is well-known that in Super Mario Bros., some levels allow skilled players to jump over the flagpole at the end of the stage. The only level that allows this without glitches is 6-3, where a pair of counterweight platforms can be manipulated to raise the one nearest the flagpole to a height slightly higher than the usual pre-flagpole staircase, allowing Mario to barely make the jump over the flagpole. In other instances, a glitch allowing a Koopa Troopa to walk on air can be exploited by luring it to the space between the staircase and the flagpole, jumping off of it for extra height. However, the methods of doing this are all well documented and are not what this section is about. 

What it is really about is the landscape you encounter after passing the flagpole and going further to the right. Here is footage of Mario jumping over the flagpole using Game Genie codes (as the method is not the focus of the article) and running to the right:

As you can see, the landscape loops after a while. I was unable to find any maps online that represented this area - as technically it is not an intended part of the game - so I have stitched one together from my footage myself:

This is a full loop of the area, spanning 48 blocks. Now, let's take a look at the level preceding it (map taken from here). 

Note the positions of the bushes, hills and clouds. The 48-tile pattern repeats throughout the level - in fact, it is hardcoded into the landscape. Note how the only gaps in the ground are in places where there are no bushes or hills? This is due to there being no code to change the decorative elements' locations. The designers were actually limited to creating the gaps in the ground to only the spots without decorations; a limitation that is so masterfully dealt with that it is nearly impossible to tell in-game that the level was actually designed around the background rather than the other way around.

Another interesting tidbit about the background loop:

At Mario's maximum running speed, it takes him exactly 128 frames to cross one loop of the background. You may recognize 128 as a very important number in computer science; as the seventh power of 2, it's the maximum number that can be stored in a signed byte, it appears very often as a limit in older video games, and there was even the Super Mario 128 tech demo. Note that Mario takes 128 frames to cross 48 tiles, which gives him 2 and 2/3 frames per tile. This likely means that Mario's maximum speed was not determined by how fast he can cross a tile - otherwise it would be a number more easily represented by a computer than 2.666... - but how fast he can cross a full background loop. 

Due to how deeply the influence of the background loop seems to be entrenched in the design of the game, it may even be possible that the looping background was one of the first things to be implemented when the game was starting development, with most other things like Mario and the level design being made to accommodate it, rather than the other way around.

Paper Mario TTYD Toadette in 3D 

Toadette has been growing in popularity in Mario games recently. The addition of Toadette as a playable character in New Super Mario Bros. U Deluxe and the (all but confirmed through the game's banner) appearance as a playable character in Super Mario Maker 2 likely mean that Toadette will be the main female playable character in Mario games in the foreseeable future, displacing Peach's few playable appearances.

From her first appearance in Mario Kart: Double Dash, Toadette has had her signature pink dress and purple vest.

However, that is not entirely true. Even though her in-game appearance and almost all piece of official art depict her with these clothes, there is precisely one piece of artwork that shows her in a different outfit.

Here, she has an orange dress and a red vest. And for an unknown reason, despite this being literally the only source that depicted these colors instead of the standard pink palette, this was the inspiration for her design in Paper Mario: The Thousand-Year Door.

I have attempted to edit the current model for Toadette to these colors to show what she would look if she had stayed with this alternate outfit (which is likely to have been an early version, and later replaced by the standard pink one).

Here is Toadette's model from Mario Party 8, taken from here:

And here is what this model looks like with the Paper Mario: The Thousand-Year Door coloration:

A few more angles with different lighting and shading:

As usual with my own edits to material, I am releasing these images into public domain and you may use them in any way you like as long as you credit the original ripper of the model, models-resource.com user "RatchetMario".

This concludes today's issue of Supper Mario Broth: The Lost Levels. The next issue is coming speedily, so stay tuned!

Thank you very much for reading.