Wednesday, July 12, 2017

Youtube daily report w Jul 12 2017

First, take a listen to the crappy breakdown Mr. Pig made.

Hey, Mr. Bear. How was the breakdown I made?

It was total crap.

No way, fuck my life.

Calm down.

Let's make it better together.

Well...

What you made sounds like the guitars are off time.

In metal, a breakdown's "tightness" is the most important thing.

So, why don't we quantize the instruments first.

In the example, drums and bass are midi.

So, we will edit only the guitars.

The first way of editing guitars is called "slip editing".

What you need to do first is separate each note...

...and slip the wave forms whithin the sections you made.

You need to do this by hand for each note.

It is tedious and takes time.

However, the sound will be good.

And it sounds more natural than editing by other ways.

So, I would recommend you to try it this way.

Next, I'm gonna show you how to do "robot editing".

First, you need to choose the best note from your recorded guitar.

Then cut it out and simply duplicate and put the selected note where you want.

In metal breakdown, all the notes are something like:

TAB 000000000000

I usualy means it's the same low notes.

So, you have many options to choose the best one.

When choosing, you shold consider something like...

...definition of attack, and stability of the note.

And the reason why I call this editing style as "robot editind" is ...

...it simply sounds like a robot.

Because you are continually playing exactly same wave form...

...when you heear "robotic", you may think of it as a bad thing, ...

... but it can actually sound nice sometimes.

For example, in djent ,,,

... many artists make "robotic" sound purposely.

So, I would recommend to try this way as well.

There are many ways to edit audio files,

But I think when you deal with breakdown,

those two ways are effective,

If you wanna learn more about these,

I put links of great tutorial videos for you.

OK, let's take a listen to

the quantized version of the example

Holy shit dude, it sounds so much tighter and better.

Not yet, it sounds better, but

it still sounds boring like you.

I think we can make it better with adding some FXs.

In general, if there are some FXs, it sounds better than without FXs.

FXs can make your breakdown more aggressive and memorable.

I'm gonna show you, non-edited FX samples,

which I'm gonna use in this example.

You can download the samples from the link in the description below.

Some are from royalty free sites and some are my originals.

OK, let's begin with Shotgun FX.

First, cut off the unwanted part,

and put it on where you want to emphasize your breakdown.

This time, I put it on the top of the section.

Then, let's add a trick.

First, duplicate the file,

Then, "resample" the duplicated file.

After that," reverese" the file.

You can do these processings,

From "Audio" at the left top. Then, click "processing"

Ok, let's take a listen to two combined sounds.

Next, I will put the shotgun FX

on the middle of the breakdown as well

But that means I will use exactly same FX twice.

Because I used the sample at the top of the section as well.

So, to add some differences,

I will put another FX

This time, I thought glass smashing sound

will be well suited with the shotgun FX.

Let's take a listen

Next, I will add reverse high hat

It can't fit in the mix as it is.

So, I will put reverb on it.

Also, make the stereo image wider to emphasize the FX.

Next, let's add a small thing.

I call this "Air".

The sample is a piece of reverse snare with a lot of reverb.

Le's do the same thing.

To blend it in the mix,

I will add reverb and EQ.

Here, I put a small trick.

I wrote an automation of panning

which moves the sound from L to R quickly

As a last fx, I made some bass drops.

It will be long if I explain it rightr now.

So, I will do that another day.

So, how was it, Mr. Pig? Did you learn anything?

In metal breakdown, "tightness" is the most important thing.

You can make the sound tighter with quantizing all the instruments.

When you do that, you can use the two editing ways I showed in this video.

Also, keep in mind I only added FXs this time.

You can add sync or vocals or literally any sound you like.

Experiment your ideas

so that your break down, which is the most important section

in metal will be better.

That's it folks for today.

Thank you for watching.

For more infomation >> ブレイクダウンの編集とアレンジ- How To Make Your Metal Breakdown Tighter and Heavier in Minutes (English Subbed) - Duration: 5:33.

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Xiaomi Mi Drone 4K - Volo al Tramonto in Puglia! Miglior Drone del 2017! - Flight ITA - Duration: 4:07.

For more infomation >> Xiaomi Mi Drone 4K - Volo al Tramonto in Puglia! Miglior Drone del 2017! - Flight ITA - Duration: 4:07.

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Suzuki Swift - Duration: 0:42.

For more infomation >> Suzuki Swift - Duration: 0:42.

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最近買的滿滿開架彩妝購物心得分享(上) 2017 Drugstore Makeup Haul|橙霖 x0 - Duration: 15:36.

For more infomation >> 最近買的滿滿開架彩妝購物心得分享(上) 2017 Drugstore Makeup Haul|橙霖 x0 - Duration: 15:36.

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Come fare la verticale di impostazione - tips - Duration: 4:57.

Hi guys! Today I'm gonna talk about some press handstand tips I didn't mention in the previous videos.

One video was a tutorial and the other one was about how to increase difficulty in press handstand.

But today I will talk about how to decrease difficulty.

so I will show you a couple of supportive exercises

that could help to learn the press handstand a bit faster.

As I said in the video, one way to increase difficulty

is to increase ROM (Range of Motion)

So we take parallel pars which allow us to start with our feet in lower position

and we have an increased ROM as well as an increased difficulty

or we could put weight on ankles as well.

One way we have to make the exercise easier is of course to decrease ROM

To do that we need some rise step or similar.

The important thing is that they have to be equal so same height.

Otherwise we will train in an asymmetrical way which is not good for our muscles.

They could be a couple of equal stools or a couple of equal chairs or whatever.

We talk mostly about straddle version since it is the easiest we can use in these cases

So we perform the press handstand from an elevated position thanks to the chairs (or whatever)

An exercise to improve ourselves a little bit before that

is to put our feet on the chairs and with straight arms

we move forward until we feel a high tension on our arms

and we keep the position more or less as much as we can.

We can use buffer system or failure system

Holding times can be long so maybe avoid total failure

But this will improve our shoulder strength which is required to do a press handstand.

Another way, harder but very helpful,

is to use a rubber band with divisions

like this one.

So this is the rubber band and these are the divisions.

So we put it on our ankles

and we perform the press handstand.

This system has a very little dark side

On the one hand is very helful in the first part with the straddle position

but on the other hand can be annoying when we close our legs since it stops doing tension.

That can make trouble with balance.

So we need to be very good with free handstand.

But of course we can do the exercise with the support of the wall.

It won't help more if you increase the assistance by using a more internal division.

In theory it should, but I prefer to use the last division

If the tension is too strong it will create trouble instead of help.

You simply have to find the best division for you.

So we saw a couple of systems to learn the press handstand faster

I hope it helps, thanks for watching and see you in the next video!

For more infomation >> Come fare la verticale di impostazione - tips - Duration: 4:57.

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JT Info espagnol 05 MAI 2017 - Duration: 0:44.

Finally, the representation of the latest innovation

It was this morning , the inauguration of The first electrical motorcycles

Recharged only by solar energy

the fleet of motorcycle can move in Rabat

And in Bilbao city also

In particular those motorcycles

Which has been recharged by solar energy

and it aims to protect the Environment from the pollution

Generally This project is involved

whithin the context of Renewable energy

An initiative that promotes

the new energy sector in order

to attract investement in this new sector

Presented in the framework of that festival

Which has started there and we have been and this event

And soon we will get more current information about it

We left outside morocco and we started by

For more infomation >> JT Info espagnol 05 MAI 2017 - Duration: 0:44.

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13 DAYS OF LIFE - aka: depression simulator 2017 - Duration: 9:58.

Hello everyone! Welcome back

Today we will speak, as mentioned in the previous video

of "13 DAYS OF LIFE"

An adventure graphic that will show you 13 days of the protagonist Mark

"13 DAYS OF LIFE", released on January 13, 2017

Cost 0,59 €

It weighs 62,11 MB and is made with the graphic engine "Unreal Engine"

And it has a 3.7 star rating.

We want to specify that we did not know

Nor we heard about this game earlier

So every aspect has been a, pleasant or not, surprise

The first thing you notice is its monochromatic look and feel

In a grayscale, which we appreciated

As the impact and visually consistent to the topics covered

During the course of the days, you can interact with a large amount of objects

But only some of them, and with the right order

Will allow us to advance in history

The game has a nature predominantly introspective

Since the thoughts of the main character will play a key role

In fact, they can disturb and involve the player

By attracting his attention

Note special attention to sound effects and other small details

Scattered within the setting

*sigh*

However.

The many possible interactions

will also be a weakness, since it will not jump to the eye

as there is not a tutorial

that the actions to take to move forward will be highlighted with a purple stripe.

If we don't realize it, again for lack of a tutorial

We'll be stuck not knowing what to do, and forced to interact with each object to the bitter end

This dispersion can be noticed already in the initial screen

Where all available options will not be grouped by genre, but placed in the same screen

One of these is the choice of language

Despite 20 are officially supported

Including the Italian, many are clearly being a copy-paste

Of an online translation.

If in the first 4-5 days, at least in italian

It will seem to have been translated with a minimum of care

We will notice then a sharp deterioration in the quality

As if suddenly they had lost the will (to live)

Speaking of gameplay, it is likely to become neither fish nor fowl

Since we have neither what characterizes

The classic adventure games, such as puzzles, riddles

Or an inventory

Neither of the choices to be made or a personalized experience.

Although we had already talked about the issues addressed

As a point of force, unfortunately there will be presented

A series of negative events, which will bring

The loss of credibility of the issues themselves

As it will appear that the unfortunate protagonist

Befall all the misfortunes of this world, almost falling into the ridiculous

As explained so far, it was just a general and impartial view of this application

If you are going to play and follow the plot

Please note that the analysis that is to follow

contains spoilers, and a lot of subjective vision

If you want to skip it so, you will find in the description of the exact moment they begin the next part

That is the conclusion

To better understand what we're talking about, we will offer you

A brief summary of the plot.

Mark is a guy who lives in an apartment alone,

Sullen Town in attending college.

We are now presented with inability to relate,

visible depression and deep sadness

Such sadness which led him to an attempted suicide later in history

He also recurrent nightmares, which will be the only "Action" part of the gameplay

It must open a parenthesis about it, because we think it is one of the most frustrating parts of this game.

The mechanics for control of the character

They are very woody and uncomfortable, and run away from a monster with the obstacles that we will

Presented along the road will become a living hell

It will not, however, a high degree of difficulty and challenge

But a real technical failure

To complete these levels

The only way to complete them, will be to spam the "act button"

But by doing so, we can not read the dialogues on screen

Having to give up a piece of plot

Among other things, this monster we affectionately called "educated"

Because waiting for us when we're slowed down by obstacles,

adapting to our speed.

Mh ... okay, thank you?

His life is rather monotonous and repetitive,

so much so that we will meet every morning very little to choose between meals appropriate to the situation

But in the end, it's just a bonus game

as perfectly it reflects the situation dell'universitario offsite

Take keys and purse and exit to complete the day

which at times will be shorter than expected - like two hours.

We note, in this regard, some

small technical details physically and humanly impossible.

For example, the fact that after breakfast on day 9

not eat for two days.

Or, more simply, which will come into shower dress

In this city take place numerous murders, suicides or simply dead

For example, we will hear of the suicide of a girl named Victoria,

and we witness the death of Sofia

Exactly ten minutes later he made his acquaintance

and you have thought that for once things could work.

As if his misfortunes were not enough,

he was diagnosed with leukemia.

Once home, attempts suicide by cutting the veins, but after yet another nightmare

(For the player) he realizes he's still alive

(Although, well, 'he spent the whole night to bleed ...)

It decided, therefore, to move and start over

However, collapses just climbed on the bus and found, finally, death

The whole narrative is surrounded by a soundtrack apparently

pleasant, but quickly repetitive

and soon almost unbearable.

Which, by the way, reminds me vaguely of something ...

Arrivamo, therefore, the final ...

No

Of course?

I refuse.

No, as you refuse ?!

-Come here. -No.

Come here, we have to finish to record! -No

-No! -Move!

... tell you.

Have you already Tuesday, tomorrow you have to assemble! Come on, move!

-No! The end is too disgusting! -I know that sucks! You have to just say it!

-No, it's a final me- -I know that is an end of shit!

-...No! -You must let others know!

-On! -No!

What to say about the final ...

After collapsing on the coach,

He finds himself in a kind of paradise.

That, according to him, is created by the mind of Sofia.

In this paradise, Sofia meets Mark

And, he explains why the Victoria suicide

Oh my God.

-That would... -That sucks!

I know it sucks!

Let me at least try to be impartial - then.

I'm trying.

In essence,

Victoria had committed suicide because ...

He loved Sofia. Only Sof- Sofia's love for Victoria ...

It was ... yes paid, but half.

Because she, Sofia, wanted a family

and he could not be with Victoria after it was all right together.

So what does ?! It goes to Mark after two days who commits suicide!

Let me finish!

After...

After two days, apparently

It went to Mark

Because ... for comfort?

I do not know. I do not know why it andata-

In fact the karma has made investing!

In conclusion, so ... trying not to freak out again.

The final vote that we give is two and a half stars out of five.

Because, as you saw, in addition to the final horrific ... er.

-Yup -The end

The end ... there are at least three minus points for a bonus.

We would now like an olive branch, however,

Since we know that it is difficult to create video games

we know that it is difficult to program them.

And these criticisms we made

They do not want to be destructive but constructive

We hope that anyone who wants to create video games, or intend to do so

May benefit them

Maybe, looking at what's wrong

in this game, and trying to avoid it

Or why not, to the creator of this video game, hope

Watching these errors and correct them for a future game

or to re-create from scratch that.

Yes, it would not hurt

replay this game with all the errors corrected, however,

If I'm honest, at first I gave him a chance in this game

We hoped to see the end, but ...

THE END!!

That said, we hope we have done anyway exhaustive review

And ... if there makes you want to buy the game,

it means that we have not done well.

Oh well, no ', sorry.

So see you next Wednesday, with another app.

For more infomation >> 13 DAYS OF LIFE - aka: depression simulator 2017 - Duration: 9:58.

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Lions announce Ackermann successor - Duration: 1:05.

Lions announce Ackermann successor

The Lions have announced that Swys de Bruin will replace Johan Ackermann as head coach when the latter departs for Gloucester.

De Bruin, who is currently Ackermann's assistant, has been confirmed in the role by Rudolf Straeuli, CEO of Lions Rugby (Pty) Ltd.

"The company is pleased to announce that De Bruin has put pen to paper for the position of head coach at the Lions," Straeuli said.

"We believe it will bring continuity and stability within the different teams in the various competitions that we are taking part in.

De Bruin said: "I am thankful for the trust the board of directors put in me and look forward to the challenge.

For more infomation >> Lions announce Ackermann successor - Duration: 1:05.

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About Events by Cache - Duration: 1:40.

Hi, I'm Marleitha Williams!

I'm the owner and the lead coordinator at Caché Events.

And I'm your point of contact

when you're looking to plan your special occasion.

I got my start from the hotel industry.

I worked with Fortune 500 companies

and from there I actually was hired to work

for a Fortune 500 company and I was one of their event coordinators.

And from there I planned events, I would do over 600 events a year

for the company

and then I started my own company.

The reason why I like doing events

is because people like to remember their special occasion

and I like working with clients

to create memories that they will always remember their special day.

We would tailor an event based on your budget

and based on the client's objective.

But at the end of the day,

our goal is to make sure every client is happy

and every occasion is memorable.

If you would like to learn more about our services and contact us

please visit our website www.eventsbycache.com

and I will personally respond to you within 24 hours.

For more infomation >> About Events by Cache - Duration: 1:40.

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'Day Of' Wedding Coordination at Events by Cache - Duration: 0:46.

While we do not plan weddings,

Caché Events is available to do 'Day-Of' coordinating.

So if you need a Day-Of Coordinator

we will be more than happy

to work with you on your special occasion.

because a lot of brides, bride's mother, sisters, grooms,

they like to plan their special day

and at Caché Events we will be more than happy

to work with the bride as a Day-Of Coordinator.

For more infomation >> 'Day Of' Wedding Coordination at Events by Cache - Duration: 0:46.

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免費學習 YouTube賺錢方法 | YouTube官方教你如何在YouTube賺錢 🤑 - Duration: 4:23.

For more infomation >> 免費學習 YouTube賺錢方法 | YouTube官方教你如何在YouTube賺錢 🤑 - Duration: 4:23.

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Suzuki Swift - Duration: 0:42.

For more infomation >> Suzuki Swift - Duration: 0:42.

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Opel Astra 1.0T(105pk) INNOVATION NAVI/ECC/PDC - Duration: 1:02.

For more infomation >> Opel Astra 1.0T(105pk) INNOVATION NAVI/ECC/PDC - Duration: 1:02.

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Alfa Romeo Giulietta 1.4 T Business Executive Sport - Duration: 1:02.

For more infomation >> Alfa Romeo Giulietta 1.4 T Business Executive Sport - Duration: 1:02.

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How young can a child be saved? - Duration: 4:43.

- I don't think that there's a one size fits all age

of when a person can come to faith in Christ.

I think with different testimonies,

you have different people talking about

when they became a believer.

I know there are some people who confessed

that they believed they were a believer

at the ages of seven or eight.

What the person would need to be able to do

is to be able to conceptually process the Gospel,

to be able to understand at the age in which that child is

what sin is, understanding that that child is a sinner,

understanding that Jesus died on the cross for sins

and God raised him from the dead

so that sinners can be saved.

And I think whenever a person is able to process that

in a way that allows that child

to turn away from his or her own sin

and recognizing he or her as a sinner,

he or she as a sinner, then that child can be saved.

It's not always easy to discern

whether a child has been converted

because what I'm learning as a parent is

is that sometimes the child wants to read the Bible,

wants to pray because the child knows

that makes mommy and daddy happy

and then there are other occasions

where the child wants to read and wants to pray

and wants to obey Jesus

because there is something happening in the heart.

And so then practically,

what about those of us who have young children

who think they are believers?

Are they believers because they prayed for Jesus

to come into their hearts?

Is that what we look for?

Or is it a pattern of lifestyle

that we're trying to help shepherd them in to discern

whether there's been a genuine conversion experience?

As a parent of a child, of an eight-year-old,

one of the things that I try to do to discern

whether or not there's been a genuine conversion

is to constantly emphasize to him the Gospel,

to have conversations with him about the Gospel.

You learn a lot about what your child thinks about God

by asking him questions about God

or questions about Jesus or questions about sin

and making that conversation, those kinds of questions,

part of the shepherding and discerning process

can help create the kind of certainty or assurance

that we want as parents

as to whether there's been a genuine conversion experience,

but then also helping him to understand

that if he has committed his life to Jesus

and believes by faith that those things are true,

then a Christian also obeys Jesus' teaching

and so I think with children especially

it's important to make sure we don't become content

with believing that there's a genuine conversion experience

just because the child's prayed a prayer.

As we know, Jesus says, "Follow me."

He doesn't say, "Ask Him to come into your heart."

He says follow Him

and so one of the things I try to emphasize with my child

is the importance of giving his entire self to Jesus.

That means my son has a responsibility then

to show his faith in an eight-year-old way

that he follows Jesus by doing basic things

like obeying his parents,

loving his neighbors, loving his friends.

So of course for a child who has expressed faith in Jesus

and who follows Jesus and loves Jesus,

that love will be an eight-year-old love

or a seven-year-old love or a 10-year-old love

and the point is not does my child's faith

or another person's child's faith

resemble a mature 25 or 39 or 50-year-old faith,

but is there a genuine desire for Jesus and to follow Him

and is that being worked out in that child's life?

And as parents, I think we need to rest in

looking at the child's life holistically

and not get fixated on our child

asking Jesus into their hearts.

- [Narrator] Thanks for watching Honest Answers.

You can submit your questions by email, Twitter,

or in the comments section below.

And don't forget to subscribe

to find out the answer to next Wednesday's question.

(music)

For more infomation >> How young can a child be saved? - Duration: 4:43.

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【白狼※新卡介紹※新活動資訊分享】4星白狼如何呢+明日活動資訊分享 - Duration: 9:11.

For more infomation >> 【白狼※新卡介紹※新活動資訊分享】4星白狼如何呢+明日活動資訊分享 - Duration: 9:11.

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LoL Funny & Best Moments 226 - Leona WTF BUG - Highlight Montage - Duration: 11:01.

For more infomation >> LoL Funny & Best Moments 226 - Leona WTF BUG - Highlight Montage - Duration: 11:01.

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A Poor Man and His Wife - Documentary on a Beggar - Duration: 6:25.

Azim Nagar Railway Station.

Gopalpur, Lalpur, Natore.

there's a mosque at the right side of the station.

beside the rail line, the irregular jungle start from here.

that full with human waste.

a drifting couple made a shack in this jungle.

which is made by the bringing out of banner, polythene, jute sticks, some useless elements,

some broken tin etc.

there have been two nestling's from heaven.

they are leading their life within this shady shack with their nestling's beside the lied and warmth laziest rail line.

dad and mom both are voiceless.

they use to beg in the train that stopped at this station.

one of them goes to beg and another takes care of their children by sitting beside the rail line.

and waiting for companion when he or she comes back home.

similar one doesn't go to beg everyday in the same train.

having fair if people don't give them money by see a similar beggar everyday.

when dad goes to beg then mom takes care of her children.

if mom goes to beg then dad takes care of.

sometimes local people and some who come to pray in the mosque,

who help them by giving food, money or by other things.

no one knows about their religion, caste, class, descent or anything.

even they are nameless.

parent call their children as kiddy by signalling.

children are also talk with their mom and dad by the same way.

the first child of that parent were stolen from the station when she learnt how to walk.

they aren't emotional even after loosing their first child.

only signalling by their hands and try to express,

"i had a girl this size, when she got that size then lost from there."

this is the feelings about their lost child.

now they have a daughter and a son.

the sister is elder and brother is younger.

they don't know what meant sorrow.

the shack seems to like a divine to them with their two angels, where lot of peace's are just come from heaven.

if someone wants to show a brave to touch their divine, it can be considered as humanity.

humans are for humanity, after all.

we named these two babies as

Shahazadi Gulbahar (daughter)

and

Samrat Humayun (son).

For more infomation >> A Poor Man and His Wife - Documentary on a Beggar - Duration: 6:25.

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Holiday Story with Clothes NEW. Stories for Kids from Steve and Maggie with Bobby | Wow English TV - Duration: 4:33.

It's Steve and Maggie - Wow English TV

Oh.

I love going on a summer holiday.

I need T-shirts.

I need shorts.

Yeah.

Oh.

Hey.

Hello boys and girls.

I'm packing my suitcase, because I'm going off on a summer holiday.

I need to pack everything I need.

Hey.

Steve.

Don't forget your woolly jumper.

Oh Maggie.

Don't be crazy.

I don't want a woolly jumper.

No.

Look.

I never wear a woolly jumper in the summer.

That's just crazy.

Oh, but I might need a sweater.

Steve can take my dress too.

Yeah.

Hey.

Look.

I sometimes wear a sweater in the summer.

Let's put it in my suit case.

Great.

What else do I need?

Well, I don't need a ski jacket.

I don't need ski trousers or a woolly hat.

Oh.

But I'll need my sun hat.

Hohoho.

Hello.

Hello.

Hello.

Oh.

Wow.

Steve is throwing away some old clothes.

I can take them and show them to the little blobs.

Yeah.

Thank you for the old clothes Steve.

Oh.

Bye, bye.

Oh, Bob stop.

You've got my clothes for my summer holiday.

Look at these things little blobs.

Hohohou.

Wait.

Hello Steve.

Hey.

Bobby.

That's my suitcase with my clothes for my summer holiday.

What?

Really?

But Steve.

You always wear blue trousers and a red T-shirt.

You never wear things like this.

I mean, look at these.

What are they?

They are shorts Bobby.

I sometimes wear them in the summer.

Do you wear shorts in the winter?

No, I never wear shorts in the winter.

It's too cold.

Look.

Do you wear shorts in the winter?

No.

That's just crazy.

But Bobby, I always wear trousers in the winter.

Like these ski trousers or these trousers.

Or these trousers.

That's right.

Come on.

Help me teach the little blobs by saying.

I always wear trousers in the winter.

Come on.

I always wear trousers in the winter.

And again.

I always wear trousers in the winter.

Well done.

It's like my shoes Bobby.

I always wear shoes.

I know what shoes are.

Let me show the little blobs.

No hey.

They are shoes.

Bob.

Hey Steve.

Do you always wear shoes in the winter.

Yes I do.

And the spring.

And the summer.

Yes I do.

And autumn.

Yes I do.

I always wear shoes.

I always wear shoes.

I always wear shoes.

I always wear shoes.

Oh.

Sorry Steve.

Bobby.

Hey.

Wait a minute.

What's that in my suitcase?

This?

Oh.

It's a dress.

It's a dress?

But it's too small.

Okay.

Steve.

How often do you wear a dress?

What?

No.

I never wear a dress.

I never wear a dress.

I never wear a dress.

Why not?

It would look good on you.

Look.

That's better.

Bob.

Stop it.

Boys don't wear dresses.

Really?

Oh Bob.

I haven't got time to play these games.

I'm going on holiday.

I have to catch an airplane.

Okay.

Have a nice holiday.

Bye bye Steve.

That's a good lesson little blobs.

Where is Steve?

He's going to be late.

Bob.

Hello.

Hey Steve.

Oh, hello Maggie.

Don't say anything.

Steve's wearing a dress.

Heyyyy.

Hey.

Did you like that?

Yeah?

Then please like it, if you love it, you can subscribe.

Just touch here.

Go on.

If you want to watch another Steve and Maggie clip, touch here.

Yeah.

Thank you.

For more infomation >> Holiday Story with Clothes NEW. Stories for Kids from Steve and Maggie with Bobby | Wow English TV - Duration: 4:33.

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burning like a flame inside of you • juliana - Duration: 1:28.

For more infomation >> burning like a flame inside of you • juliana - Duration: 1:28.

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Top 6 Amazing Hairstyles Tutorials Compilation 2017 - Duration: 11:03.

Please like, share and subscribe to my channel for more hairstyles

For more infomation >> Top 6 Amazing Hairstyles Tutorials Compilation 2017 - Duration: 11:03.

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Talking Angela - My Summertime Favorites ☀️ - Duration: 2:28.

I am a big fan of summertime

So I thought I'd share some of my all-time favorite summer things with you and since I love makeup

I thought I'd start with some of my top summer beauty products

We all want to have that sunkissed glow in Summer

I find the easiest way to achieve the perfect glow is to add a bit of highlighter. Some call it strobing, but I call it magic

It's so easy and so pretty

Speaking of makeup when it's hot I don't like wearing lots of it. In fact I like to keep it simple

Some days I'll just put on a little bit of waterproof Mascara and a splash of mint green nail polish

That pretty much does the trick

And now for my favorite summer accessory

My canvas bag!

It's super practical and eco-friendly too

You can use it for going grocery shopping or getting books out of the library

And it's great at the beach bag

It's even a pretty cool bag to wear in a casual day

Like me you know the importance of Sunscreen

But applying it can sometimes be such a boring job right?

Well my easy sunscreen hack is to use a spray bottle

It's so much easier and quicker

Meaning that I'm ready for beach fun in a flash

My favorite summer food is obviously ice cream!

But treats like that don't have to be bad for you in fact my homemade popsicles are as healthy as they are delicious

You don't believe me

Well, you can make them yourself with my quick diy tutorial

So all you need is fresh fruit

Coconut water, coconut milk, yogurt

Honey, a blender...

A popsicle mold with popsicle sticks and a freezer

Make them however you like

For example blend coconut milk, some yogurt, a drizzle of honey and some fresh fruit together

Hmm banana would taste great in that mixture

Once it's blended just pour it into the mold and freeze it!

And before you know it you'll be cooling off in the summer sunshine with delicious homemade popsicles

It's as simple as that.

I don't know about you, but I really want to go make some yummy homemade Popsicles now

Mmm. Oh but before you go remember to click subscribe for even more deliciousness!

Happy Summer my little kitties

For more infomation >> Talking Angela - My Summertime Favorites ☀️ - Duration: 2:28.

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Sorry for not posting - Duration: 1:44.

Hey guys, sorry. I didn't post last week, and I know I was supposed to (Mumbling)

Know I was supposed to

post

yesterday

But I forgot. I'm sorry so I'm posting today

right now it is currently

1:37 a.m. don't know if you guys can see that

Yeah, so this guy

and this guy

and my sister which I didn't have any pictures of

Yeah, moved to Florida recently

it oh, really I'm

pretty sure it was Wednesday actually and

yes, uh

Check out his channel

I'm gonna post two two this week. Hopefully hopefully don't like

Don't hopefully I can I probably won't but I'm not trying to post two this week

Well hey see you guys next week. I'm at an all time low

For more infomation >> Sorry for not posting - Duration: 1:44.

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Samsung HDMI Adapter | USB Type-C - MytrendyPhone - Duration: 3:51.

What's up everyone! It's Becca from MTP,

and welcome back to our channel.

This time we're checking out

this superior 4k viewing experience:

HDMI adapter with USB type-c plug by Samsung.

What's that you ask?

Well, with this little thing you can stream content

from your phone to the big screen with

supported signal of 4k resolution without any lag

and with the perfect synchronization between devices.

And not only did it transfer the image,

it can also transfer sound just as fast.

you can control the volume

using the volume rockers on your phone as well.

The process of pairing two devices is rather easy.

Plug the USB type-c output

to the port of the supported phone,

and plug the cable from the big screen

to the HDMI adapter.

No installation needed.

The image will automatically transfer from your phone

to the big screen, either if it's a TV, PC or a projector.

Here you can see how we demonstrate the connection

and usage of the devices.

You can see that it's very responsive

without even a split second between the screens.

Now, that's impressive!

Plus it's so fast and easy to setup.

You can use your phone in portrait or landscape mode,

the image of the screen will follow instantly.

There is literally no limits on how

you can use your phone whatsoever.

You can go to YouTube, browse internet, play games,

text and even take calls.

Camera works just as well.

Your big screen is now a camera viewing screen.

There are plenty of reasons that make

this gadget useful and great.

Imagine you're in a meeting,

and you want to do a presentation-

This is everything you will need.

Your phone can be connected to any screen or projector

that has an HDMI port.

You can forget about the bulky laptops and huge setups.

Show pictures to your family and friends, share videos,

play games, browse- have fun.

Even though the phone is days can get pretty big

there's nothing like streaming media

in 4k on a big screen.

Please note that not all devices can be

compatible with this adapter.

We connected the Samsung Galaxy S8 Plus to it

and it works perfectly.

Unfortunately, it won't work with

Huawei or Honor phones, for example.

So please do that in mind if you're planning on

purchasing this gadget.

And that would be all for today's review.

If you like this product, check out our online store.

The link will be in the description box.

As usual, it's always a pleasure guys,

and thank you so much for watching. :)

For more infomation >> Samsung HDMI Adapter | USB Type-C - MytrendyPhone - Duration: 3:51.

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Check whether a given point lies inside a triangle or not | GeeksforGeeks - Duration: 2:32.

For more infomation >> Check whether a given point lies inside a triangle or not | GeeksforGeeks - Duration: 2:32.

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10 Things We Did As A Kid - Duration: 2:51.

For more infomation >> 10 Things We Did As A Kid - Duration: 2:51.

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Copper Fit Toning Pant with Waistband Pocket - Duration: 5:22.

For more infomation >> Copper Fit Toning Pant with Waistband Pocket - Duration: 5:22.

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Planet of the Apes - The Evolution of Makeup & Visual Effects | NowThis Nerd - Duration: 9:26.

Hi I'm Andrew and I don't know about you but I hate every chimp I see.

I f---ed that line up already.

Yeah I hate this. Why make me sing?

Hi I'm Andrew and I don't know about you but I hate every ape I see.

From chimpan-A to chimpan-Z.

But I love the 'Planet of the Apes' movies.

The three reboots give us the chance to see how special effects have developed over the last 50 years of cinema.

It's a lot like evolution.

It started in the 60s with a bunch of primitive, sweaty monkey masks.

Reached the pinnacle of physical effects with the reboot.

And today, we've evolved beyond actual makeup and use computers and performance capture to make our talking apes.

So let's put the theory to the test.

We're gonna tell you all about

The Evolution of Effects in Planet of the Apes.

So let's start with the common ancestor, the original 'Planet of the Apes.'

Take your stinking paws off me, you damn, dirty ape!

Back in the 60's, sci-fi movies weren't big budget blockbusters like they are today.

They were cheap, low quality films that were good for a quick buck, but not much else

So when the studio saw the $5 million budget for the original 'Planet of the Apes,' they needed some convincing.

No one knew whether audiences would take the idea of a talking ape seriously.

You see? He keeps pretending he can talk!

Execs were worried that they'd burst into laughter every time they spoke.

So they commissioned a screen test.

Fox gave the producer $5,000 to film a short scene with Charlton Heston and Edward G. Robinson as Dr. Zaius.

The orangutan makeup was a little rough, but it worked.

By the way, have you seen that scene? It looks like a post-apocalyptic 'Muppet Show.'

The movie was a go, so Fox hired an effects artist named John Chambers to refine the ape makeup.

Chambers is a fascinating dude.

He got his start making facial prosthetics for soldiers disfigured in World War II.

That experience led him to Hollywood, where he became one of the most influential people in the history of movie makeup.

He's the guy that made Mr. Spock's ears!

Which means that without him, Vulcans would just be humans 2.0. It wouldn't make sense.

They have green blood...

They have green blood is what I'm being told by our writer.

So Spock would effectively have to bleed every f---ing episode to let you know he's an alien.

There's even a rumor that Chambers created the sasquatch in this famous Bigfoot film.

But 'Planet of the Apes' was his masterpiece.

It won him an honorary Oscar.

Please bring Mr. Chambers his award.

But that's not even the coolest award he's ever received.

There definitely aren't too many Academy Award winners who also have a medal from the CIA.

Chambers designed high-tech disguise kits for their spies

and he helped with the rescue of captive diplomats in Iran.

Remember 'Argo?'

John Goodman plays him in the movie.

Anyway, Chambers wanted find the perfect balance between human and simian features.

Basically, he didn't want his apes to be just people walking around with hair glued to their faces.

But he didn't want them to seem like animals, either.

He began sculpting heads that looked more like Neanderthals than apes, then slowly worked backwards down the evolutionary ladder until he found the right look.

Once the designs were locked, Chambers got to work on developing the makeup process.

They spent a huge chunk of their budget on makeup effects, the largest amount in history at the time.

In those days, movie studios had pretty small makeup departments.

They were basically just a few people locked away in a room.

That wasn't going to work for 'Apes.'

Chambers taught his methods to over eighty new makeup artists.

Originally, it took them five hours to apply the full ape makeup, but by the time shooting wrapped they had honed it down to a cool three.

So at first, they wanted stuntmen and extras to play the apes.

Why bother casting an expensive star when they'd just be hidden under makeup?

But Chambers' makeup was the first to let an actor's performance shine through.

By using three separate appliances-- a chin, a muzzle, and a forehead-- the apes could talk and emote in a way that let them be real characters, not just movie monsters.

If we didn't keep the appliances moving, they began to look like masks.

I got very used to making them move all the time. We were doing crazy things with our faces all the time.

The emotions you can see behind Chambers makeup is a lot like of how Weta Digital uses facial capture technology to make Caesar one of the most convincing CGI creations ever.

We'll get to that reboot in a little bit.

But first we've got to talk about Tim Burton's 'Planet of the Apes.'

Do we have to?

Yes. It's Mark Wahlberg.

Let's get this out of the way first: This movie sucks.

It's the most pointless remake this side of 'Robocop,' but I can't complain about Rick Baker's awesome makeup effects.

Baker was part of the generation of makeup artists who grew up inspired by Chambers' work.

And he had a reputation for being the ape guy in Hollywood.

By the time Tim Burton hired him for the remake, he'd done four ape movies, including the 1976 update of 'King Kong.'

Baker wasn't happy with how unrealistic Kong looked, and he saw the new 'Apes' as a way to atone for it. A second chance if you will.

His apes weren't quite as innovative as the originals, but they looked incredible.

It's the same basic techniques, just with decades of refinement and progress.

They're the natural evolution of Chambers' work in the '60s.

All of the main apes have unique looks as opposed to the three basic designs in the old films.

And I'm still blown away by how they seamlessly transformed these huge stars into realistic primates.

Except for you Helena Bonham Carter.

Apes shouldn't have eyebrows, you shouldn't put your girlfriend in every movie, and honestly

she looks just like the boy in 'Jumanji' through the third act in the film. Can we get that on screen for a second?

Baker's apes were much more animalistic than the originals.

The old ones walked upright and pretty much acted like humans for the most part.

But in Burton's remake the apes run on all fours, leap around treetops, and attack humans with fists and feet of fury.

It feels a lot more authentic than the old movies, mostly thanks to a Cirque du Soleil performer named Terry Notary.

He set up an "ape school" on set, where he taught the main actors and over 100 extras how to behave like real primates.

And then the chimps are much more wiry, they're much more...

It worked so well that Notary got the same job in the 2011 reboot.

Burton actually considered using CGI to create the apes in his remake.

But considering the technology at the time, they made the right call going with makeup.

Seriously, it was 2001. Look at all the CGI from 2001. It's a great case for not doing CGI in 2001.

Think of the remake as the missing link in the evolution from physical effects to the computer animation of the reboot

Take your stinking paws off me, you damn, dirty ape!

So the performance capture technology used in 'Rise,' 'Dawn' and 'War for the Planet of the Apes' isn't anything new.

Remember all those creepy mo-cap movies like 'The Polar Express?'

It's rooted in an old animation process called "rotoscoping."

Artists would trace over live-action footage to make a cartoon character move realistically.

Performance capture isn't all that different.

It just uses little dots all over the actor's body to record their movements, then transposes them onto a computer-generated character.

Making for some pretty funny behind the scenes featurettes. Just look at Benedict Cumberbatch pretend to be Smaug.

It's an industry standard practice, but Weta Digital is famous for pushing boundaries.

They pretty much wrote the book on CGI characters with their work on Gollum in the 'Lord of the Rings' trilogy.

And they made a major technological breakthrough with 'Planet of the Apes.'

With traditional mocap, you had to film the actors indoors with very specific lighting.

That's so the camera can keep track of all the reflective dots.

Weta came up with a way to use infrared sensors to make the technique work outdoors.

Shooting on location made a huge difference in the apes' performances.

Instead of being hidden away in a studio, the actors were out there in the rain and mud and dirt.

They're interacting with their human co-stars on set in real time.

And with facial capture, we can have CGI performances with the same nuance and subtlety of real life.

Once Weta tweaks things by hand and corrects for the differences in ape and human face structure, the results are incredible.

Especially with a great actor like Andy Serkis.

King Kong! Gollum! Caesar! He's gonna be in 'Black Panther!' I mean, what's Andy Serkis gotta do to get nominated for a f---ing award?

I love you, Dr. Zaius!

His performance is so immersive that you completely forget about the illusion.

Also, did he ever win an Oscar? He wasn't even nominated for an Oscar! The man's a genius!

Caesar is as real as any flesh and blood character.

It's honestly hard to believe there's not a single real ape in any of these movies.

That's because special effects have come a long way since 1968.

Today, they can bring giant transforming robots to life, create impossible new worlds and even re-animate the dead. Lookin' at you, Tarkin.

But if you really want to see evolution at work, you don't have to look much further than a talking ape.

CTA subscribe!

For more infomation >> Planet of the Apes - The Evolution of Makeup & Visual Effects | NowThis Nerd - Duration: 9:26.

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Wha Me Eat Wednesdays Rasta Ital Vegan Soup Recipe 'Ital Sip' 12/7/2017 - Duration: 0:57.

For more infomation >> Wha Me Eat Wednesdays Rasta Ital Vegan Soup Recipe 'Ital Sip' 12/7/2017 - Duration: 0:57.

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Do We Need a Soulslike Genre? | Game Maker's Toolkit - Duration: 13:53.

Hi, I'm Mark Brown, this is Game Maker's Toolkit, and this is not Dark Souls.

It's actually a game called Lords of the Fallen, but you'd be forgiven for thinking

that it's one of the Souls games.

It looks like Dark Souls, feels like Dark Souls, and borrows most of its ideas from

Dark Souls - like stamina management, dropping your experience points when you die, and rolling.

Lots, and lots, of rolling.

In fact, we've seen a whole bunch of games recently that are, to put it charitably, inspired

by the Souls series.

The Surge, by the same developer as Lords of the Fallen, is Dark Souls done sci-fi.

Nioh is Bloodborne with a samurai twist.

Salt and Sanctuary is a Souls game in 2D, and so is the upcoming Death's Gambit.

They all have their own ideas, like stance-based combat and special finishing moves.

But they also stick rigidly to the Dark Souls formula, with renamed versions of estus flasks,

bonfires, souls, and even something as specific as the homeward bone.

Some might call these games clones. Others, including Patrick Klepek over at Waypoint,

have argued that these games should be part of an entirely new genre.

Call them Soulslikes.

Or Soulsborne games.

Or something along those lines.

And... okay!

Let's investigate that idea, by asking what happens when we turn a game into a genre.

First, we need to understand how new genres get made.

So, check it - here's a super-quick, four step guide to making a new genre.

Step 1 - someone makes a game that is both innovative, and wildly successful.

Step 2 - It gets cloned.

We give these games a nickname.

They copy pretty much everything about that successful game, just with a different theme

- and some minor tweaks.

DUKE NUKEM: I'm Duke Nukem

Step 3 - The clones keep coming, but they start to make radical changes to the formula

- adding new stuff and tossing out most of the features from the original game.

By this point, the clones don't really feel like clones at all.

Step 4 - With just a couple immutable factors linking all of these games, we realise that

it's not just a bunch of clones, but an entire genre.

So we change the name.

So, I wonder what would happen, then, if a genre never went past step two.

Like, if games kept closely following one specific game, and we were still naming the

genre after that landmark game, years and years later.

What would THAT be like?

Oh.

Yeah.

It's easy to forget that Roguelikes are called Roguelikes, because the games are literally

like Rogue, which was a randomly-generated dungeon-crawler from 1980.

That game was super popular, and - like Doom - led to a bunch of similar games such as

NetHack, Moria, and Angband, which all made small tweaks and additions to the formula

But, for the longest time, Roguelikes never really went beyond that.

In fact, in 2008, a bunch of developers got together to define the Berlin Interpretation

of Roguelikes, and listed a whopping 14 high and low value factors that can be used to

define a roguelike.

It lists everything from permadeath and turn-based gameplay, to ASCII graphics, complexity, and

numbers.

So where first-person shooters can allow for military games, abstract puzzle shooters,

open world RPGs, underwater dystopias, and more.

Most classic roguelike games felt very similar, with minor tweaks to an established template.

More like sequels than entirely new games.

Thankfully, Roguelikes got a whole lot more interesting when developers stopped caring

about ticking those boxes, and started mashing up Rogue's best ideas with other types of game.

One of the first was Spelunky.

And in his book about the game, creator Derek Yu says he liked playing games like NetHack

for "the variety that the randomly-generated levels offer and how meaningful death is in

them", and so picked those elements - but not the turn-based gameplay, grids, or ASCII art.

Instead, he took those systems and paired them with another genre he loves: the platformer.

Rogue's random levels solved Yu's platformer bugbear of needing to memorise level layouts,

and expressive platformer gameplay helped bring Rogue's ideas to an entirely new audience.

Reducing Roguelikes from a whole bunch of factors to just permadeath and procedural

generation has given the genre an entirely new lease on life, and opened it up to a new

generation of both players and developers.

These games don't exactly play like Rogue, but I think they capture the same feelings

of surprise and peril.

And, you see, when we reduce a game down to its constituent elements, devs can copy them

and end up with pretty much the same game as the original developer.

But if we consider why those features were designed they way they were, and what sort

of experience they led to, devs can find different ways to give players that same feeling.

Go look at the many games that are inspired by The Legend of Zelda, for example.

There's no Zelda-like genre, and, I think because there's no easy template to follow,

each game ends up very different.

Every developer gets to make their own interpretation of what makes a Zelda game special, and use

that to influence their own creations.

These games all work very differently, but they capture the spirit of the Zelda series.

Or, at least, how that developer sees the Zelda series.

Anyway.

Die hard fans of classic Roguelikes haven't been too happy about their genre being expanded

to incorporate platformers and shooters, and they have some, creative names for these new games.

And I have some sympathy for them.

As players, we use genres to find new games that are similar to the ones we love.

And if you like playing Roguelikes for their turn-based, grid-based gameplay, you won't

be too impressed by the twitchy arcade thrills of Downwell.

If you ask me, the best way to handle it is to just put roguelike on the front of other genres.

Easy.

But then again, maybe naming a genre after a specific game is not the best idea in the

world - because it can effectively canonise that game as some holy text to be forever

referred to.

In his Medium post Picture in a Frame, which is partly about this type of genre, Amr Al-Aaser

says "Often the quality of a game in the genre is judged by its adherence to, or ability

to emulate, aspects of the entries considered to be the series landmarks".

Metroidvania - which was once a catty nickname for Castlevania games that played like Metroid,

but is now an entire genre of games that... play like Metroid - has effectively mythologised

Super Metroid as the perfect exploratory game.

And so while the genre should be about any game that has you exploring an interconnected

world, most developers just copy Nintendo's approach and use very similar locks, abilities,

progression, secrets, and world design.

Thankfully, some games do take a different approach, like Toki Tori 2 which has a similar

world structure to Metroid but has no items, abilities, or even combat.

Instead, it's a puzzle game and you open new areas by gathering knowledge of the game's

mechanics, not through upgrades.

But it's telling that Two Tribes said it didn't set out to make a Metroidvania - it

just stumbled into it when it made a world with "alternative paths, a worldmap that

marks where you've been, and a story that encourages backtracking and revisiting of

previous areas".

Holding up one game as the blueprint, can also push aside other games that are doing

similar work.

Before Metroidvania became a thing, there were other games with interconnected worlds

that could equally serve as inspiration.

And I think a similar thing has happened with immersive sims.

Because while it's not name-checked in the name of the genre, it feels like Deus Ex has

become the defacto formula - and so we end up with a bunch of first-person shooters where

you have magic or bionic powers and can play as a stealthy ninja or a mass murderer.

Up to you.

DAVID SARIF: Lethal it is! But remember, they do have hostages!

But this pushes aside games like Thief.

For that game, the Looking Glass design philosophy, which would one day be rebranded as immersive

sim, was about embodying a character in a realistic world - and being able to tackle

problems in ways that made sense for that character.

Garrett is a thief, and so solves problems largely through stealth and burglary, while

direct attacks are discouraged.

Oh, and he doesn't have super powers, either.

Thief is worthy of study and influence, but the genre almost treats it like a failed experiment,

on the path to the perfect immersive sim.

The same thing often happens to Demon's Souls, which gets routinely ignored as just

some flawed prototype that led to Dark Souls 1.

I've never played it, but watch this video by Matthewmatosis to hear more about what

Demon's can teach us.

The other effect of this mythologising, is that the genres don't easily allow for games

that go beyond thsee landmark titles.

In the early days of the Looking Glass design philosophy we saw it evolve and mutate.

But once it became codified as more of a named genre, with a set of expected mechanics, in

some ways it feels like the evolution of the idea has stalled.

I certainly felt this when playing through Prey.

As much as I enjoyed the game - I also felt like I had played the same thing many times

before - right down to the audio diaries, upgrade trees, hacking mini-games, and stealth pathways.

It's perhaps best to take immersive sim as less of a formula and more of a general ethos.

As a way of thinking about systemic gameplay and player agency and world reactivity.

That can then be applied to everything from Hitman to The Legend of Zelda: Breath of the

Wild, to immersive games we haven't even thought of yet.

Because a genre like this can make us satisfied with what already exists - when we should

be pushing against the boundaries and asking "what's next"?

Don't get me wrong - it's absolutely fine to take influence from a specific game.

The truth is, every game is built on the titles that came before it.

But when we turn a game into a genre, that game can become a formula, that all developers

end up following in pretty much the same way.

We judge new games by their ability to emulate the original.

We erase the contributions of other important games that were exploring the same territory.

And because we keep going back to the same game over and over again, the pace of innovation

can grind to a halt.

It's the difference between someone saying "hey, I'm gonna use Metroid as

a base and build something new!", and a cottage industry of developers all doing the

same thing for years and years and years.

So while genres can be very useful - I mean, they help players find stuff that is similar

to the games they like, and they give developers more structure than a completely blank page

- I'd argue that we want them to be as broad as possible, and not narrowly defined by many

of the mechanics of a single landmark game.

Which brings us back to Dark Souls.

Look, if we are going to make a Soulslike genre, let's try not to make it quite so

restrictive, yeah?

Let's fast-forward the whole roguelike thing and try and make the genre about just one

or two elements.

I'd personally recommend the game's deliberate combat that comes from action warm-ups, animation

priority, and stamina management.

I think that could lend itself to a whole bunch of interesting games.

We've already seen it in Grasshopper's Let it Die, which is a free to play game with

a roguelike structure, and Dead Cells, which is a "Roguevania"

God, that's a whole 'nother thing. Don't get me started on that.

Uh, anyway. Also: maybe don't call the genre Soulslike.

That's only going to hamper its growth as every game will be compared to Dark Souls

1, and we'll run the risk of it taking years before we get games that radically depart

from Dark Souls.

But a genre isn't the only way to pay homage.

If you love Dark Souls and want to take influence from the game - there are perhaps better ways

to do it than by just reducing the game down an ingredients list and then copying that.

Instead, find new ways to capture the spirit of Dark Souls.

And like with Zelda, the spirit will mean different things to different people, leading

to a wider variety of games than if we define a specific formula.

Some might admire the punishing nature of the Souls games, or that feeling of surprise

and relief when you open up a shortcut, or the joy of untangling a complex backstory

told through item descriptions and statues.

For me, the soul, of Dark Souls, was that it was unknowable and obtuse.

People talk in riddles, mysterious voices help you spot ambushes, and traps lay behind

every corner.

Ironically, none of these Soulslike games can capture that feeling, because - at

this point - they're completely familiar.

But games like Hyper Light Drifter, can.

So I guess my point is - take influence and inspiration from your favourite games.

But be wary about turning those games into genres.

That can stifle innovation, and stop developers from coming up with the next game that's

as important, and influential, as Dark Souls.

Hey! Thanks for watching.

GMTK is made possible thanks to the generous backing of my Patrons.

The names on screen are my top tier supporters.

Because I hit 2000 backers, everyone now pays per month instead of per video, which should

effectively halves your contribution.

Backers get access to a Discord, a book club-style GameClub, early access to videos, developer

Q&A sessions and more.

Doing this video gave me so much more to talk about than could ever fit into a single episode.

I mean, we can find examples of genres leading to very similar experiences outside of these

hyper specific ones.

And there are genres that are more about capturing a feeling than copying a bunch of mechanics.

And so, there'll be plenty more on this subject down the line.

Though, I do need to stop promising future topics at the end of videos and then... never

making them.

I'm a bad person. I'm sorry.

For more infomation >> Do We Need a Soulslike Genre? | Game Maker's Toolkit - Duration: 13:53.

-------------------------------------------

Andy Serkis and Steve Zahn on the Motion-Capture Technology of 'War for the Planet of the Apes' - Duration: 1:53.

No mercy

no peace

This is war

Apes together strong

Weta are an extraordinary visual effects company and they've been working particularly with

performance capture you know, for a good sixteen years now seventeen years

since we started on 'Lord of the Rings' and um, they've photographed my face in more ways

than you can possibly imagine scanning and they know every single facial expression that

I pull, every single muscle in my face but you know, they know it to an nth degree

When you shoot the scene it's gotta work with you and I with thoughts on our face.

Right?

You have to believe that, you have to sit behind the camera and you cry.

Then you get it, then you take it, and then you render all this stuff, I cannot explain

to you what a cool experience that was to sit and see yourself as an ape it was moving.

The artistry that goes into taking the actor's performance that we create on set, that Matt

directs, that I perform or the other actor, playing actors perform you know, and then

being able to completely honor that performance so that it's exactly what you know cause in

the cut, Matt is watching the actor's faces for many months until and creating the

story with those cuts.

Um, and until later on the visual effects shots come in and the artistry that they that

has changed radically since even since Rise um, is the ability to render the fur the eyes

the skin textures and so on.

But also how to replicate the original actor's performance with great fidelity that's whats

really been the single most technological greatest improvement

For more infomation >> Andy Serkis and Steve Zahn on the Motion-Capture Technology of 'War for the Planet of the Apes' - Duration: 1:53.

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Breathe, relax and visualize: Interview with Steve Clarkson - Duration: 1:06:28.

Free From Stutter Success Stories is a series of interviews

with people who reached freedom from stuttering or are on their way there.

Freedom from stuttering it's when stuttering is not holding you back in your life.

It can be either achieving fluency, a real progress on that path

or it can be reaching your goals and making a difference despite stuttering.

So we're going to press for specifics how are they doing that,

what can we learn from them and what can we apply in our life?

Today we'll talk with Steve Clarkson.

He hasn't written any books on stuttering, but

he has a great resource called stutterfreesteve

packed with information about breathing, meditation, visualization,

and how they can help with stuttering.

Ok, today we're having Steve Clarkson.

Hello, Steve!

Steve is very active again in the Facebook groups about stuttering.

And I went to your website stutterfreesteve.weebly.com, and I really loved that.

Recently, I had couple interviews, and it happened so

that these people wrote some books about stuttering.

And your website why I love it because maybe I don't have enough patience to read the whole

book, to go in every detail.

Your website is pretty concise but at the same time pretty jam-packed with information,

but I still have many questions.

I still have many questions, so the first question actually you write that at the age

of 40 you decided to fix this thing, right?

Why it happened at 40, why not before?

I can suggest that you had a mild stuttering or something like that.

I was always fairly good around friends and family.

I was reasonably fluent.

I had blocks where I got on the telephone or dealing with customers or suppliers.

And the reason that I really got into curing it at the age of 40 was a career change, a

mid-life crisis that's what you might call it, but I was forced to look for another source

of employment.

I have been self-employed after that time producing accessories for furnituring, coffee

tables, lamps, that sort of things and the market fell out because they opened up New

Zealand to imports.

I used to let the products do the talking for me.

You produce something, and then you go out and sell it, the merits of the product would

sell it.

But as that fell apart I was having to

I went into sales which was something for a personal status, and it was pretty critical

to begin with.

One thing I've always realized was that I was reasonably fluent when I was relaxed.

It was when I got tense that I start to stutter and everything that I've learned since has

backed that up, that it's the arousal of our nervous system that is the problem.

Yeah, so.

Okay, but I still want to

Sorry for keep digging for this but a bit of a personal story.

When you started to stutter, what was the development of that thing before 40 years?

Well, since as long as I can remember presumably I stuttered at the age of 3 or 4 like most

people or earlier.

I've never really got to the bottom of its appearance.

It was something I guess, a lot of people who stutter, it's the elephant in the room,

and it's sort of ignored.

Then you get older, you know, and you talk about it.

Presumably, my parents have been told from an early age that there's no cure and all this sort of carrion.

Yeah, it just wasn't talked about.

Okay.

How did it fit into because the major struggle usually is about work and career, how did

it fit into your job and how much did you have to speak?

Or you became self-employed at an early stage?

Sorry if I missed that.

Yeah, you know, early on yes, I worked for other people who were generally the small

businesses.

They were possibly more sympathetic.

So, and as I say I wasn't completely disfluent, I could hold a conversation but it was just

telephones and the usual I think that hits everybody, we have to say something specific.

I got pretty good at avoidance, dodging words, skipping around words, substitution, whereas

when you have to say something specific like your name and address or your telephone number

or a specific set of dimensions or something like that, then that always used to cause

a problem, yes.

Got it, got it.

Usually in that case probably can you say about yourself that you were covert stutterer

or that's not the right...

No, it was a combination of struggle behaviors and avoidance.

I used whatever employ I could.

Okay, got it.

I read on your website and you know to me again that's my perspective how I see it,

how I feel it.

It's like you felt like in a certain situations you're fine, you're fluent, in certain situations

you're not, so you came to a conclusion that it's mostly about how you feel and it would

be great to feel the same way like same confidence, same being relaxed in all situations, right?

So you kind of tried to transform and tried to somehow make that relaxed and confident

state happen in every situation, right?

So that was kind of the idea if we put it in simple words.

At that particular time, I didn't know what I know now.

I've learned what I know now by attempting and researching and attempting to understand

why I feel the end of fluency.

At that time, I just knew that if I could learn where it derives more then hopefully,

I'll be more fluent.

Sadly it didn't happen overnight, it took time, but I happened to pick up a little book

on relaxation written by a psychologist and a therapist, not a speech therapist but a

general therapist I guess, but I can't remember.

It came down to breathing; breathing was a great way to relax and using your diaphragm

and the calming breath, yoga type of calming breath was pretty essential in my recovery.

That just I still use the calming breath till today, it's so powerful.

Yeah, so what you said is tummy breathing and visualization were the main ingredients

of my fix with meditation being the act that bound it altogether.

Yeah, but that sounds like you know... we'll talk about the therapy and what you think

about it but that sounds like a dream come true because what I usually think about is

like having some technique which is very different from our usual speaking.

What we think about therapy, right?

And then you try to go with this in your real life and it's very awkward so your idea of

being more relaxed, being more confident seems awesome but as you say it took a long time

and usually people see like before and after...

Can you tell how that transition was happening exactly like how did you see that you're making

progress?

We're all kind of more or less aware about like maybe not all but people mostly are aware

about tummy breathing, it's great.

People usually think how can it really change anything?

You say it was long process, how did you have the patience to really see how you get better?

Because people often wait for some like sign that I'm getting better, so with that tummy

breathing and visualization, how did you see that it's working and that it's helping?

Well, I always believed that if I could be fluent some of the time there was no reason

I couldn't be fluent all the time.

I just couldn't see a reason.

That makes sense for many people because people keep asking me again, I see many people saying

all the same thing, I'm fluent most of the time or in some situations, in some situations

I'm not, so what can I do?

So that's the question.

What happened is that the speech therapy industry has told people that it's a neurological problem

and that's the way it is.

And unfortunately, that has just robbed people of any way of positive thinking.

It's our thoughts that actually make our world.

If you're thinking that it's over, there's no cure, this is it, this is the way it's

going to be; well that's where you end up.

As simple as that.

So you've got to keep hope alive and you've got to keep driving towards it.

And effectively what happened with the breathing that actually lead me to a very simple meditation

on the breath.

And when you meditate, you're very, very focused and then we need to be focused to learn anything

whether it's anything academic or whether it's a physical skill such as a or sport;

you need to be very focused to learn it or else it will take a long time to learn it;

effectively, the meditation helped with that because when I got into

And the problem associated with meditation people think it is some sort of virtual or something,

it isn't that bad, that's a very simple meditation on the breath, it's just about focusing the

brain and getting where all the noise occurs every day.

You think about what you're having for dinner, what he doesn't say, all other things that

happen during the day.

So meditating on the breath you just completely focus your brain.

And I've done that daily.

I did it lying down.

People lie down on the bed so in the evening I was on the bed.

I came to a realization that breath was an essential part of speech.

When I was doing a tummy breathing that gives you a max amount of air to play with.

It also instead of breathing with your upper chest which is that sort of thing which uses

all the muscles right up here and gets you all tight, it takes all the muscular activity

right down at the diaphragm so at least this area is nice and relaxed.

And that's how I started to see things and then I thought when I was very focused and

relaxed like that I started to whisper the same phrases and my mouth worked perfectly.

So I thought, well.

You know, like, my name is Steven Clarkson. My telephone number is.

When you whisper you're using a lot of air because that's how you can make yourself heard.

I just did that as a practice and it builds up the confidence that I could

speak if I was focused on what I was doing.

And the meditation also lead to the visualization.

The visualization is not about visualizing the end goal; it's not about visualizing yourself

standing on the winning dice, it's about visualizing the process that's going to get you there.

The process that was going to get me there was taking in plenty of air with the diaphragm

and having a loose relaxed mouth.

If I could let that air slowly come out with a loose relaxed mouth then things had to work.

I mean it was about discovering natural speech.

Any form of the technique is a form of control.

And essentially stuttering is a form of control.

Yeah.

You're trying to...

It's sort of bad habits learned early.

And possibly you'll see that as I'm talking I have small blocks, I just consider them

as disfluency.

You know, there's no struggle, I'm not interrupting the conversation, you're not getting embarrassed,

I'm not getting embarrassed, I'm not dodging the words.

And stutter if I have little minor blocks hesitation, prolongation that's just natural

speech and people do that.

A brilliant example but I haven't been able to show it on Facebook because a couple of

videos are unable to be loaded, but these are one of the psychiatrists or I say my psychiatrists

one of the ones that I follow is a fellow by the name Jeffrey Schwartz and he gives wonderful speeches

along in the YouTube.

And he's perfectly fluent.

He gave an interview on the Bernstein show.

An American television interviewer.

And on this particular interview, he makes repetitions.

They don't interfere with the interview but that's just obviously his nervous system has

somewhat aroused, he's talking off the cuff and he's quite excited about what he's talking

about so his nervous system is slightly aroused and he's making reputations but it's not

stuttering it's just a disfluency.

Yeah, I totally agree.

Yeah, speech therapists for a while, well, some speech therapists, I shouldn't generalize

but there was certainly some.

They used to sit you down.

They used to count the number of disfluencies you had.

Hey, you've exceeded the score that needs to be exceeded.

It's crazy stuff.

Yeah, I'll have a question about the therapy but I wanted to get back to your belly breathing,

so what in particular did you do or you are doing?

Is it just belly breathing and concentrating on it or just any particular exercise?

I don't use the breathing; I don't use any technique with my speech.

Oh yeah, yeah, yeah.

I understand but you say that you did belly breathing anyways at home, right?

As a practice, so is it just meditation and kind of feeling it, focusing on it, being

there and that's it?

Well, yeah, I totally agree.

I mean that I must say that with the belly breathing and the calming breath I used

to do it anywhere and everywhere.

Particularly in the car driving it's a wonderful endeavor for a road ride.

And anywhere and everywhere.

And I still do it to this day.

I literally practiced belly breathing until it became my normal way of breathing.

If you watch people who stutter and there are quite a few of them on YouTube it gets quite obvious

that they're breathing with their chest and their shoulders, all this thing and gain up

and down.

It takes a lot of energy to breath through the chest.

Whereas when you breathe from the diaphragm a lot less energy is used.

The energy is used in breathing in but the relaxation of the diaphragm just gently pushes

the air out across your vocal cords which is what you want to be happening.

That's half a problem.

When we stutter on a block and carry on we end up breathless.

Got it, yeah, absolutely.

We usually struggle with doing...

Ok, so this is some practice you're doing at home all the time.

But then the moment of speaking comes and usually we kind of switch into a different

state, right?

We forget about everything.

And here probably visualization helped you and is helping.

So what is that...

Because for most people, for me everything goes away, all my previous practices, what

I did just one second before speaking - I forget about everything.

I got into this state, right?

And I feel, oh, yeah, I got there, I stutter, everything is useless, hopeless.

That's it.

And you feel like a loser; there's no hope.

It doesn't make sense to try.

So how this process happened for you.

How you managed to, how you brought this actually into that moment when it happens, that speaking

happens.

When you're at the front of the lunch queue, and you happen to order this baloney sandwich,

remember this?

Small successes build on small successes.

Before I started speaking, I would visualize that process that I needed,

the air, the relaxed mouth.

And I've been practicing this away from the situation.

And what helped me too was I would read small passages to my wife or family out of the newspaper,

just non-challenging situations but really feeling that breath and relaxed mouth, the

lack of tension, the mouth, the vocal apparatus.

And that's, as I understand it, where self-directed neuroplasticity comes in, we can change our brains.

We can create a new pathway in our brain, but it doesn't happen quickly.

The more you practice something, the more you achieve success at it.

Ok, that's important.

So it was not only home practice and then you go into stressful situations.

You practiced with your family, friends, and you write that even colleagues.

Sometimes it's hard to get anyone, for many people it's a struggle to show or to tell

other people that you stutter and that you're doing some exercises or something.

So it's also kind of a challenge to do that, to practice in less stressful situations.

Well, we sort of build up on that.

I mean every time you get into a shop I would have asked something.

That came as a little challenge.

I would visualize what I have to do immediately before going into the shop or as I was waiting

in the queue.

And perhaps I just get the first sentence out fluently and then it all fall apart.

But as I said the first sentence was a win, so you choke up your wins.

Win here, win there, it all adds up.

The thing about the brain I understand too is that it will

always go for the easier, the more familiar way.

It will look for the easier, the more familiar route too.

So you have to build up that new pathway.

Right.

So what you're saying probably means that it's an endless adventure.

You're saying that our brain always tries to choose the easiest way.

And that means we always tend to naturally not being so active, right?

If we have a choice to go and ask and not ask probably why, why bother, right?

So is it like, my question then,

is it like an endless adventure, we always need to push yourself to be active and make

another step, another step, go and create that situation?

Or I just got there, oh I'm fluent, and that's it.

No, no, definitely not.

It was a long process.

And I still have blocks today.

But they are not accompanied by struggle or avoidance.

And who knows, who cares?

I mean I don't know every little... because one of the things about people who stutter

and I think it's fairly well documented is that they are perfectionists.

You know, and we think we have to speak perfectly.

Yeah, agree totally, agree totally.

So for me, every little disfluency I have is a finger in the air to perfectionists.

Right, right.

I totally agree.

And actually, in one of my videos, I actually noticed that the best speakers they do have these repetitions,

maybe not the blocks, but real disfluencies which we would be very concerned about.

And they just don't think about it as a disfluency at all for sure.

So it's very important how we feel about it.

It's a huge thing.

We become acutely sensitive to any little disfluency because immediately it sets the

alarm in our heads, I'm gonna stutter, help!

This is part of the problem.

That perfectionism and the signal as soon as you have that block, as soon as you feel

the tension coming on, you immediately go into the alarm mode.

And that just increases the tension.

If you can recognize it, but don't respond to it, then that's when you're winning.

Then was it a part of your strategy when you were practicing and getting into speaking

situations, was that your approach from the very beginning that I should not take much

attention, not focus much on disfluencies if I have them?

No, it wasn't because I didn't really know what I was doing.

I was going a little blind.

But I was very focused on what I needed to do to be fluent.

You see what the meditation does and the current trend for meditation is they call it mindfulness

which is really, it's meditation, but it's awareness.

It's awareness of your environment.

It's awareness of what's going on at the moment, what's happening around you.

When you meditate and you practice your speech in a very relaxed environment you begin to

become aware of what you need to do to be fluent.

And it's the breath, the relaxed mouth.

That awareness is what you focus on.

Or certainly what I focused on.

The other thing I did to help the relaxation was something called "progressive relaxation

technique" which was something developed by a medical doctor in the States in 1940-s.

And I really think it stems from yoga.

I'm tensing a muscle set in the body as you breathe in and releasing the tension as you

breath out.

And the exercise on that, and that's on my website too, there are links to progressive

relaxation, but you start with your toes by tensing your toes, you move up your legs and

progressively with every breath you tense and release you move all way up - your fingers,

your arms.

And I did this for a while and it was fine, and then I realized that I give the majority

of the focus with this progressive relaxation with the tensing when you breathe in and release

of tension when you breathe out to my mouth and my neck and that area.

So I did that as part of my meditation, and my visualization and progressive relaxation

all rolled into one, you know one good exercise.

And once you get the hang of it you can do the progressive relaxation, the calming breath

as essentially progressive relaxation.

Because you then to the count of three maybe.

One, two, three.

Breathe out to the count of four.

The idea is that the outgoing breath is slightly longer that the ingoing breath.

You can feel that relaxation as you breath out.

And when you're feeling that relaxation you feel as though you sort of conquered the world.

You feel bulletproof.

And this particular thing you can do during speaking, right?

No, No, I don't do it during speaking.

That's the whole thing.

Trying to put any technique into speaking is moving to failure.

Your speech is something we do without even thinking about it.

We're thinking about the words, we're thinking about what we're saying but trying to control

your mouth or trying to control your vocal apparatus is to my way of thinking moving

to failure.

That's what stuttering is - trying to control your mouth.

I know people don't think that way but that's how I see it.

You know as a small child...

Well, no, let's put it in a simple way.

You get a block and the natural instinct is to try and push through it.

As it is when you come to a glass door.

You try and push it even though that "push" is written on the other side of the glass

you still try and push on this side.

I mean it's a human instinct to try and push.

And therefore for a moment whenever we experience these disfluencies, and it was somehow brought

to our attention when that wasn't desirable we try to push through them.

And it's that pushing that produces the struggle.

And then as you get a bit older and smarter produces the avoidance and the covert behaviors.

And as the affair comes back to recognizing the disfluency, but not responding to it.

Ok, so that's the question, that's a big question.

Again, what you're saying you're not using any of that... but you know the belly breathing

and again the meditation focusing on being present why that's not something that can

be used during speaking?

Well, it is.

Hopefully, it is.

Because I've trained myself with the belly breathing away from speaking situations.

Right.

So that hopefully, and I do believe it's become my natural way of breathing.

Right.

So anyways my perception of that you do something in the classroom, at home and then you nail

it, and then you anyway try to bring it into your real life.

So you say you learned to relax, to be present and then you try to bring that in real life.

It just happens.

Because your whole way of thinking changes.

And when your way of thinking changes your behavior changes.

How we think creates our world.

If you think you're gonna fail you'll fail.

Put it this way.

It's a bit like walking along a wooden beam.

It's only a foot off the ground.

The majority of us can do it quite happily.

Walking on a wooden beam you know one foot off the ground.

You put it at six foot off the ground the majority of us would fall off because we think

oh, hang on, we couldn't do it.

People that can they believe they can.

They do it.

Yeah, and probably part of that yeah belief and for me, the best way to believe is actually

do it.

Because when you've done it once and oh, I didn't fall, twice and when you do it.

So by doing it's the best way.

By doing and small steps.

You might only get your first sentence out.

But it's a win.

You say I can do it.

So I must be able to do the second sentence fluently as well.

Rather than thinking oh, I stuttered on... maybe I can't get this right, ba-ba-ba.

You know you've got to have that attitude that if I can do it once, I can do it again.

And again, and again.

Ok, got it.

That's something I really love.

Let's talk about the therapy.

So you said that therapy... you actually did take some and it didn't work and you feel

like it's same as stuttering, it's replacing one as you say set of reactions into other

set of substitution of that.

So you didn't like therapy.

I did something called "smooth speech."

Smooth speech!

The majority of these or a lot of the therapists used to have you talking funny.

Now, this is where it comes back to the brain.

The brain really doesn't like the unfamiliar.

It doesn't like something that makes you feel awkward.

It became comfortable with our stutter.

So the brain just naturally reverts back to stuttering because it doesn't like talking

funny, it doesn't like something that's awkward and unfamiliar.

The familiar thing is stuttering.

So it sticks with stuttering.

I guess an interesting parallel is the tyranny of the mother tongue which you as, you're

being presumably bilingual will understand that when you're learning another language

and having to speak and use it there's always your mother tongue at the back of your mind,

you revert to it until you get really good at the second language.

The mother tongue is always there waiting to leap in.

And that's how I sort of see stuttering.

As that it's always in the back waiting to leap in.

But you know you push it away.

And that tyranny of the mother tongue is overcome by intense focus, by being very focused.

Apparently, the American Navy SEAls that do undercover operations they when they need

to go to another country and be accepted as a local and they have to learn another language

they've developed this sensory deprivation tank.

I think that's floating, that's completely dark, there's no other sensory input and they

are completely focused on learning how to speak like a local.

And apparently, it works, you know, that complete amount of focus.

And that's what I see as the secret of the meditation.

Now with mindfulness you just become aware of your situation, you become aware of what

is, you accept what is now, what is happening right now.

If you look at it as a meditation rather than mindfulness, the mindfulness if good, don't

get me wrong, but you can use that focused ability, that ability to focus to do other

things, to progress.

That's where sports people use visualization, and they are very focused.

They are totally focused on what they are doing.

They use visualization to perfect their technique or to change their technique.

And it's that focus that actually does it.

Because you've got to change something that is in use all the time.

The psychiatrist will tell you that you can change bad habits by walking away from them,

by diverting, diversion.

And you do that with small children when they are screaming you divert them.

You say, oh here's this toy, or look at that dog.

You divert their attention.

So you can do that with a bad habit, but you can't with speech because you've got to

it's in use all the time.

You cannot in the middle of a conversation say, oh I'm sorry I just have to divert my

attention for a while.

Therefore, it needs even more intense focus if you like and visualization to overcome

that tyranny of the mother tongue if you like which is stuttering.

Ok, but my question is with the smooth speech, that's the technique, did you stutter with

the smooth speech in the classroom or in the sessions you had.

No, because I mean the overall, the goal of most of those therapies is to release air.

It's about releasing air, getting air flow across your vocal cords.

But it's an awkward way of doing it.

And that's why so many people don't continue with the speech therapy.

They can do it fine in the classroom,

and if they go out and they want to sound a little bit like a turkey put into a fate.

But if you're a young lady you don't really want to be talking like somebody out of Star Wars.

Yeah, but my question is that, again maybe I'm oversimplifying things, just tell me,

my idea is that why can't we combine in the therapy smooth speech with tummy breathing,

visualization, how do they contradict to each other because you're saying these are something

that cannot be combined.

Can you explain why?

Because you're trying to control your vocal apparatus.

The vocal apparatus is something that works without any conscious input.

Maybe I don't quite understand that smooth speech.

Any therapy is like you're given some technique and it works in the classroom then you kind

of... and the main idea as far as I understand to give your brain a signal that I can say

something without speech impediments.

So it's giving that feeling that I actually can say without speech impediments and hopefully

when your brain gets certain experiences and it goes to muscle memory you try to get better

and better.

We've already covered that.

People who stutter know that they, or the majority of them, know that they can be fluent

some of the time.

Particularly, when talking to babies and talking to...

Oh, I see.

We know that we can be fluent.

So why the heck we want to use some sort of technique that sounds strange?

Sorry, did you have to use that smooth speech in real life situations?

So was that part of the therapy or was that the message, the idea of the therapy that

you go and use that in real life?

Or the idea is that it should change something in the sessions, in the classroom and then

you'll be better in the real life?

Or you had to use that technique in real life?

No, because I found it uncomfortable.

It wasn't the real me.

I knew I could speak fluently, that was the real me that I wanted.

I wanted my speech to be naturally me.

I don't' want speaking with smooth speech.

That was not something that was attractive.

If it wasn't attractive it wasn't gonna work.

Yeah, sure, it works.

The thing I went for was a four or five days intensive course.

This is part of the problem I see with speech therapy is that a lot of it is being intensive

courses because they are economically viable and what have you.

And again the intensity is the focus, you're really focused for a week.

And yes, you do get reasonably professional data, but at the end of that course, you go

away with no discipline to keep you at it.

And that's the success of the McGuire Programme I believe is the maintaning, they keep you

at it, they keep you going at it.

You know it's just another method of... and believe me I think they are pretty away in

overcoming stuttering.

And everybody has to find the comfortable way of doing it.

But it is about a discipline at keeping at it and not expecting it to be something that

happens overnight.

And the thing with the speech therapies is that they... you pay money for it and under

an intensive course you come away at the end of the week or whatever it is thinking oh,

yeah, this is OK, I'm reasonably fluent, but when many get out to the real world things

all the different, I mean, as I said I've always been reasonably fluent when I felt

comfortable.

It was when I felt uncomfortable when the stuttering happened.

And I think that would be the case for most people.

But speech therapy is something that we probably need.

How do you see the future of speech therapy?

Because what you've done with yourself this is also some sort of a therapy.

You've invented that, you've done it to yourself.

How do you see, how we can, what it should look like in your vision?

Well, I think the future absolutely, and it is beginning to happen to give the industry

credit, is that psychologists and neuroscientists need to become involved, but there lies a

difficulty because and there I say it it's probably the academic world that comes down

through research dollars and who gets the research dollars and psychologists and neuroscientists

have had plenty that keeps them occupied, so they really haven't had to concern themselves

with stuttering.

To be fair, the speech therapists come from a medical background.

And in the last part of the 20th century, the mind-body thing was largely ignored by

the medical profession.

Everything had to have a physical cause if you like.

You know the mind was, didn't want to go there too hard, it's about a journey of our patients,

as soon as you get a patient, you know GP, and its patient enters

the room and you start pointing at all the psychological problems or whatever you start losing money.

I mean most things in life follow the money.

And I firmly believe, and it is happening, it's starting to happen, but I don't think

they're quite common to neuroplasticity.

The self-directed neuroplasticity because I believe it has to be self-directed.

I don't think anybody can cure your stuttering.

It has to be a personal journey, and it has to come from within you.

So what you're saying is that now the therapists oftentimes the speech-language pathologists

they oftentimes have a simplified approach, we need to widen our knowledge for the speech-language

pathology.

Because I remember my daughter had a problem with the sound "r" and some girl came and

she did some exercise and in a matter of one day it was fixed.

So with stuttering, probably that's not the case.

It's not one exercise we can introduce, and it's fixed.

Probably what you're saying is that now oftentimes we have a simplified approach and that causes

a problem.

We need to widen our approach including neuroscience and psychology as you say, right?

Yeah, well, the psychology is the study of behavior.

And essentially we have a behavior problem.

As soon as you mention psychology or psychiatry, people get mad and panic and think, oh I'm

not mad, I'm not...

Alright.

Psychology is literally the study of behavior.

And human beings, we behave badly all the time.

It's human nature to behave badly.

We do lots of things with our body that are about bad behavior.

That's why we end up with sprains and strains and what have you.

So that's another area that's really interesting.

There's a fellow by the name of Moshe Feldenkrais who was a originally, he

was a Jewish Russian I believe or Ukranian or something he got himself out before the

Second World War, and he got himself to France or, I forget the story, but he became a nuclear

physicist and then, the whole story is absolutely fascinating, and he was one of the pioneers

of self-directed neuroplasticity.

Just Google this guy and read his books, the descriptions of them are quite amazing.

He injured himself playing soccer, he was also the first judo black belt in Europe,

and he used the principles of judo which is about using movement efficiently and breathing

efficiently to overcome his injury that he had.

He really screwed up when he got out of France, he walked or made his way overland to Spain

and finally got to England where he was part of the English warriors and entirely brilliant.

He used the principles of judo and efficient movement to overcome the injury that he had.

And he went back to be able to do judo.

He then enters a career as a nuclear physicist and became a body therapist.

Most amazing things he was able to achieve by

again, by focusing, by using slow movement, and again I get to the whispering.

When you're in a meditation state and "my name is Steven Clarkson, and I live at..."

and doing it really slowly so you get the feeling of what your mouth is doing

and how your mouth is working and what it should be doing to be fluent.

It's his principles.

So that's self-directed neuroplasticity.

I believe everyone who has overcome stutter has used some form of self-directed neuroplasticity,

has used the mind to overcome the problem, to beat the problem.

And that's simply what it is - using your mind to overcome the problem, and not allowing

your mind to panic and make the problem worse.

Got it.

That's a really interesting topic.

It a bit contradicts to what I have in my mind so that's why it's so interesting and

it questions all, not all but some of my perceptions.

That's really interesting and yeah, we'll continue that discussion for sure.

But for now, probably the last question I want to ask is what would you say or what

would you do differently with your knowledge know if you were young like nineteen, twenty,

what would you say to yourself in terms of your stuttering and how to deal with it?

Well, one thing that I have learned is that the younger you are the easier it is to create

new pathways in the brain.

Even though it never stops you can do it right at any age, but the younger you are, the less

stored habit memory you have, the better.

But I certainly know psychiatrists, I know psychologists or neuroscientists, but I just

from what I've read, from what I've learned from these people, and there are, these people,

they are on the webpage, I have links to some of the talks and so forth from these people.

And what you learn from them is I believe so applicable to stuttering that it needs

this sort of expertise to get involved and come up with solutions.

That will really help people.

I just don't think a four or five-day intensive course is the solution because people walked away.

And as I've said with the McGuire Programme it's the mentoring and voluntary mentoring

of people who have recovered using the McGuire Programme who mentor and keep the individual's

nose to the grindstone if you like, on sort of beating the stutter.

And they keep mentally focused on the end goal if you like rather than giving up.

Because it is very easy to give up.

You revert back to what is familiar even though it's stuttering.

So I can't really provide a definitive answer on that I'm afraid.

But the general idea is not giving up, right?

What I hear.

Because you say it's hard work, it's a long journey of improvement, it's not one exercise

and quick fix.

But there is a way of probably personal journey of improving, right?

I think that anyone who has a dogma will understand about businesses and habit.

Got it, got it.

Ok, thank you so so much for this interview.

It's really interesting and it questions again many things in my mind, we'll keep that discussion

hopefully.

And I'll give the links to the useful resources you provide.

And yeah, let's stay in touch.

Ok, certainly.

I think what you're doing is fantastic.

I would like to hear a little more about you at some stage, and what is it to get you...

Okay, we can make the reverse interview. That would be great.

Let's just do that one day. We'll talk about it.

So you've got the chat. Thanks, Andrey.

Thank you so much. Bye.

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