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[Assistant] You create this by an inline or a crossline or a random line. It displays the seismic and then you can do the interpretation that goes along with it, whether it's faults, whether it's surfaces all along this interpretation window.


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[Assistant] A charting window, as it says, allows you to create dynamic plots of vectors for large sets of results against time. Often this will come back from simulation, right? You can have them displayed just like this in lines.


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[Assistant] Or another one, you can have cumulative ones displayed. There is a tool called results charting and analysis that you can use. You can tell it which case you want to use and other information that you want plotted and you can get a window out that looks like this. A stratigraphics chart window.


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[Assistant] A Geotime window allows you to review 1D simulations, as it says here, such as burial history and time curves. And usually again coming back from a simulator.


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[Assistant] That is where the data comes from. Make plots that look like this.


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[Assistant] The windows over on the left are graphics windows that are just used as work windows.


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[Assistant] Scale plots of those, but you can plot most of them out. You can also copy them as bitmaps and most of them as metafiles and paste them into other applications.


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[Assistant] The ones here on the right you can make scaled plots of and on these on the right that's where you get the things like info boxes and map scales and other things that you can also put in the window.


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[Assistant] Actually, just, you know, people just acknowledging you, wanting you to do more events, uh, is fun, you know?


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[Assistant] On elimination, that first challenge, I don't- I think Ken was sent home for a lot of different reasons, but I don't think his dish was the worst dish.


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[Assistant] Tiffany is a smart cookie and her dishes, props. She was very creative, very innovative.


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[Assistant] Right now I'm making the scallion pancakes for the Peking flavored beef. Rather than do a traditional soft pancake, I'm gonna fry these off so they're nice and crisp.


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[Assistant] I just want to say the one person who I don't think should go home today is Dave. You know, he's such a positive energy in the kitchen. He was just really helpful. Whatever anybody needed, he was, he was there for us. And I think his catering experience came in very handy tonight.


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[Assistant] You know, I accept responsibility. If you guys want to send me home because it totally, uh, was a disaster, I'll, you know, I'll accept that.


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[Assistant] So uhm,


[User] Please transcribe this text

[Assistant] Move up the minimum value that it's going to create the volumes starting at this location until possibly ending at this one above


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[Assistant] And so on.


[User] Please transcribe this text

[Assistant] Okay.


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[Assistant] So we'll start at minus seventeen fifty and increment by, so we will start at minus twenty three hundred


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[Assistant] Above minus 2250 is this. And so on until it gets up to the minimum value that we've put in.


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[Assistant] At the bottom of the input pane is where it stores these two functions, area versus depth for top tarbert in acres, volume versus depth for top tarbert in barrels.


[User] Please transcribe this text

[Assistant] Okay.


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[Assistant] The volume versus depth. This is area versus depth.


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[Assistant] You can switch the X and the Y axis if you want on them by going into the settings for the function of in the input pane.


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[Assistant] There is a function tab on this and you can say swap x y and it will swap the x and y.


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[Assistant] Often, if you need to do that, you need to hit the view all icon to make sure you can see them.


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[Assistant] You'll be wanting to do something fun after being stuck out there on Delilah.


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[Assistant] The Book with No Pictures by BJ Novak.


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[Assistant] It probably seems boring and serious, except here's how books work.


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[Assistant] And I have to say every word the book says? Uh oh.


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[Assistant] I am a monkey who taught myself to read. Hey, I'm not a monkey.


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[Assistant] And my head is made of blueberry pizza? Wait a second! Is this whole book a trick? Can I stop reading please? No!


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[Assistant] And now it's time for me to sing you my favorite song. A song? Do I really have to sing a-


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[Assistant] Glug, glug, glug, my face is a bug I eat ants for breakfast right off the rug


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[Assistant] This book is ridiculous. Can I stop reading yet? No! There are more pages? I have to read the rest?


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[Assistant] My only friend in the whole wide world is a hippo named BooBooButt. BooBooButt?


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[Assistant] And also, the kid I'm reading this book to is...


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[Assistant] And this kid is the smartest kid too, because this kid chose this book even though it had no pictures.


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[Assistant] Because kids know this is the book that makes grown-ups have to say silly things. And, makes silly sounds like... Oh no, oh no, here it comes.


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[Assistant] Please, don't ever make me read this book again. It is so silly!


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[Assistant] In fact, it's completely and utterly preposterous. Next time.


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[Assistant] Please, please, please, please, PLEASE choose a book with pictures. Please. Because this is just too ridiculous to read.


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[Assistant] Bonk. I didn't want to say that.


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[Assistant] Hey guys, thanks for watching the book with no pictures. We really enjoyed this one and hope you did too.


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[Assistant] If you liked it, please click the thumbs up button and subscribe to the channel. We'll see you again soon. Thanks.


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[Assistant] Someone please tell me whose Shoggy Ball this is. It's our taxi. We're playing Splat Ball.


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[Assistant] I, I find you, and started playing Splat Ball instead. I'm sorry wee rabbit.


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[Assistant] I didn't know you were already playing hide and seek.


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[Assistant] We're like twins, only I'm a bull and he's a bee. We both like flowers and playing chess and singing. Come and meet him!


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[Assistant] Hello? Bee? Bee? Is that you? Sorry, thought you were someone else. Bee? Bee?


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[Assistant] It's no use. I'm never gonna find B. He could be anywhere. We'll never sing our song together again.


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[Assistant] How do you do, Lord Stag? Would you like to try one?


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[Assistant] It's okay, Bill. I'll go and get some more dough.


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[Assistant] Can I have some more cookie dough please Nana? Everyone wants our cookies! Yes.


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[Assistant] I didn't mean to take everyone away from you. I was just having fun.


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[Assistant] Map montages are often necessary to be made for presentation purposes. You do that in what's called a patrol plot window and this module will show you how to do that, how to do all this different information down here to it.


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[Assistant] And a montage in patrol is a single map containing


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[Assistant] Any number of individual maps or what Patrel calls viewports. Most, not all, Patrel window types may be included in a montage. A montage has some characteristics. It's virtual.


[User] Please transcribe this text

[Assistant] It's not a graphics file, just a static file. So if you have a surface this out here in one of the viewports and that surface changes, it also changes in the viewport. They are


[User] Please transcribe this text

[Assistant] So go to the settings of the plot window, change the size from the default, it's probably an eight and a half by eleven sheet of paper, change it to a roll piece of paper, change it to an E size, something like that, and then start adding information to it. So here we have an open plot window.


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[Assistant] Then up towards the top in the Windows toolbar is an icon that looks like this. That's called the new object icon.


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[Assistant] Using mouse button one, drag where you want the window to start and drag it to the opposite corner. The viewport will come in there. Here we have shows with a red background. That means that viewport is active. Next, start off again up here with this new object icon.


[User] Please transcribe this text

[Assistant] Select a stereo net viewport, a function viewport down here, and a well section viewport down at the bottom. Now we have kind of the basic outline of our montage put together. We have not yet added any data to them. So we're going to go back one at a time, make them active, and then add data to them.


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[Assistant] There's another way to create viewports.


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[Assistant] The number of rows and columns here changes this picture down


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[Assistant] In the margin area, you put the percent of the picture that you want as a right border, a top border, a left border, and down here you can see a larger number that will leave space down at the bottom.


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[Assistant] Then just populate it the same way you do any map. You go over to the input pane or the models pane. You put a check mark in the box. It appears here in the window.


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[Assistant] Click on it once, put the information in. Click on the second one, put the information in. And so on.


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[Assistant] The function viewports here and for the last viewport, we're going to add a well section. The way you do that is a little bit different. The intersection viewports are pretty similar to the well section and the next page shows how to do that. To populate a well section in there, we come to the windows pane.


[User] Please transcribe this text

[Assistant] Bring up the settings on there is a settings tab inside there too. We have to have a well section window already created. We highlight its name in the windows pane. It could be this one right here. Use the blue arrow to stick it in and when we hit update,


[User] Please transcribe this text

[Assistant] Then the viewport is populated with that well section. All the other


[User] Please transcribe this text

[Assistant] Viewports change dynamically when the data changes. If we change this well section, we have to come back to this location and again hit update and then it will update it to whatever the new well section looks like.


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[Assistant] We click that so it knows how big we want this intersection window to be, what the limits are. And then we just start checking the things we want to come in. Unlike normal intersections, the boxes don't turn blue. We just check them as they are. And then those, that information appears in the viewport.


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[Assistant] Any wells that are within a thousand units, either meters or feet, are projected onto the well section. Now, all montages go down here


[User] Please transcribe this text

[Assistant] Now, you can also add bitmaps to it. If you have bitmaps,


[User] Please transcribe this text

[Assistant] You just click on them, they all appear up here in the top left corner. And then in select mode, you just pick one and grab it and move them to wherever they want to go. You can also change the size by hovering over the corner and making them larger or smaller.


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[Assistant] But remember they are bitmaps, so they could become pixelated if you make them too large.


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[Assistant] You can also move, delete, resize all the viewports. If you want to delete them, come again to the plot window, expand it.


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[Assistant] Map viewport over kind of to the center. So we have all of them now. We don't have the histograms anymore, but everything.


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[Assistant] Else is on there. Again, to move one of the viewports, put the cursor on the edge. It will be turned into a four-headed circle like this. Move it to where we want it to go or to change the size of it. Put it in a corner. It will become a two-headed arrow and we can change the size.


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[Assistant] Are you sure, Softy? Bill's trying so hard to win a bean helpful badge.


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[Assistant] Hello! How splendid to see you all here. I'm holding a jolly old Kaylee this evening up at Stag Castle.


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[Assistant] Is he more amazing than me? The rules are simple. The fastest dancer wins. Now, we need a tune.


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[Assistant] Your legs really are faster than a leaping lungfish. Thank you, Lord Stag.


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[Assistant] I'd say, would you care to have the next dance?


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[Assistant] I hope God likes his birthday present, Dad. This is his first birthday since we became best friends.


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[Assistant] See treasure! I'm going to go and see what it is dad, okay?


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[Assistant] There's no clue on this one, or this one, or this one. No. No. No. Ooh. Girl, I've found the clue! Ah! It's a kit, girl!


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[Assistant] Let me have a look. Post carriage, lifeguard carriage, firefighter carriage, first class carriage, second class carriage, buffet carriage, post carriage. Oh.


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[Assistant] I would like some grass flavored ice cream, some extra strong shampoo, and something shiny. I like shiny things.


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[Assistant] Hmm, I think so. Take a look at my basket.


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[Assistant] Throughout the United States, there is growing social awareness that sexual violence and harassment are far too common occurrences within our various institutions. Occurrences often without any accountability.


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[Assistant] As a result, the MeToo movement is upon us and survivors everywhere are speaking out to demand change. Students have rallied against sexual assault on campus. Service members have demanded Congress reform the military.


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[Assistant] And workers ranging from Hollywood stars to janitorial staff have called out sexual harassment in the workplace.


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[Assistant] This is a tipping point. This is when a social movement can create lasting legal change, but only if we switch tactics. Instead of going by institution by institution, fighting for reform, it's time to go to the Constitution.


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[Assistant] As it stands, the US Constitution denies fundamental protections to victims of gender violence, such as sexual assault, intimate partner violence and stalking.


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[Assistant] Specifically, the Fourteenth Amendment of the Constitution


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[Assistant] That means that when a woman calls the police from her home, afraid that an intruder may attack her, she is not entitled to the state's protection.


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[Assistant] Not only can the police fail to respond but she will be left without any legal remedy if preventable harm occurs as a result. How can this be?


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[Assistant] It is because the state, theoretically, acts on behalf of all citizens collectively, not any one citizen individually.


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[Assistant] Instead of requiring intervention, our constitution leaves discretion. Discretion that states have used to discriminate systemically to deny countless victims any remedy.


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[Assistant] Unlike what you may have seen on law and order SVU, justice is rare for victims of gender violence. And even in those rare cases where law enforcement is chosen to act, victims have no rights during the resulting criminal process.


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[Assistant] ...represents the interests of all citizens collectively and not any one citizen individually.


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[Assistant] Despite this constitutional flaw, some victims of gender violence have found protections under federal civil rights statutes, such as Title IX.


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[Assistant] Title IX is not just about sports, rather it prohibits all forms of sex discrimination, including sexual violence and harassment, within educational programs that accept federal funding.


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[Assistant] So what this means is that through Title IX, those who seek access to education are protected against gender violence in a way that otherwise does not exist under the law.


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[Assistant] It is Title IX that requires educational institutions to take reports of gender violence seriously or to suffer liability.


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[Assistant] And through campus level proceedings, Title IX goes so far as to give victims equitable rights during the campus process, which means that victims can represent their own interests during proceedings, rather than relying on educational institutions to do so.


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[Assistant] And that's really important, because educational institutions have historically swept gender violence under the rug, much like our criminal justice system does today.


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[Assistant] So while civil rights protects some victims, we should want to protect all victims. Rather than going institution by institution fighting for reform on campus, in the military, in the workplace, it's time to go to the Constitution and pass the Equal Rights Amendment.


[User] Please transcribe this text

[Assistant] And much like Title IX on campus, that constitutional amendment could require states to intervene and address gender violence as a prohibited form of sex discrimination.


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[Assistant] While the Equal Rights Amendment did not pass in the 1970s, it actually came within three states of doing so. And within the last year, at least one of those states has ratified the amendment, because we live in different political times.


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[Assistant] So as a victim's rights attorney fighting to increase the prospect of justice for survivors across the country, and as a survivor myself, I'm not here to say time's up.


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[Assistant] I'm here to say it's time. It's time for accountability to become the norm after gender violence. It's time to pass the Equal Rights Amendment.


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[Assistant] It's hard work and I try to keep up, but my hands hurt most of the time.


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[Assistant] Sometimes after work I go to the park and feed the birds. I keep thinking Jake might just show up and say hello, but he never does.


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[Assistant] I hope wherever he is, he's doing okay and making new friends.


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[Assistant] I have trouble sleeping at night. I have bad dreams like I'm falling. I wake up scared. Sometimes it takes me a while to remember where I am.


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[Assistant] I guess I'm too old for that sort of nonsense anymore. I don't like it here. I'm tired of being afraid all the time. I've decided not to stay.


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[Assistant] I doubt they'll kick up any fuss. Not for an old crook like me.


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[Assistant] I'm gonna go pinch a loaf. When I come back, this is all gone, alright?


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[Assistant] Now you see, young lady, the wind is not as simple as you think.


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[Assistant] Aye, it's a lovely kite all right, but let's leave the flying to the experts.


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[Assistant] Sometimes it's hard to know what that is. You understand?


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[Assistant] If I'm gonna move on this, there can't be the least little shred of doubt.


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[Assistant] I have to know if what you told to frame was the truth. Yes sir. Absolutely. Would you be willing to swear before a judge and jury, having placed your hand on the good book and taken an oath before Almighty God himself? Just give me that chance.


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[Assistant] Chasing a figment of my imagination? Well, I'll be damned.


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[Assistant] You mean for real innocent? Yeaah. Alright, looks that way. Sweet Jesus. How long's he been here now? 1947. What is that? 19 years? 19 years. Williams, Thomas. Yeaah, over here. Paxson, Edwards. Yeaah. What you got? Board of Education. Son of a bitch, Melden. Like you did. You gonna open it? You gonna stand there with your thumb up your butt?


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[Assistant] The next morning, right about the time Raquel was spilling her little secret, a man nobody ever laid eyes on before strolled into the main national bank. Until that moment, he didn't exist except on paper.


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[Assistant] All told, he blew town with better than $370,000 award in Norton's money. Severance pay for 19 years.


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[Assistant] I wasn't there to see it, but I hear Byron Hadley started sobbing like a little girl when they took him away.


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[Assistant] I like to think the last thing that went through his head, other than that bullet.


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[Assistant] And behind every steady deal, behind every dollar earned, there was Andy, keeping the books.


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[Assistant] Hi, I'm Marcus Monkey and I'm from the United States. You can find me at the Carnival in Red Apple Reading. Today, I'm going to read, Today is Monday. We hope you enjoy it.


[User] Please transcribe this text

[Assistant] Today is Monday. Pictures by Eric Carle.


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[Assistant] Today is Monday. Monday, string beans.


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[Assistant] Tuesday, spaghetti. Monday, string beans.


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[Assistant] Wednesday, zoop. Tuesday, spaghetti. Monday, string beans.


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[Assistant] Thursday, roast beef. Wednesday, zoop. Tuesday, spaghetti. Monday, string beans.


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[Assistant] Friday, fresh fish. Thursday, roast beef. Wednesday, soup. Tuesday, spaghetti. Monday, string beans.


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[Assistant] Saturday, chicken. Friday, fresh fish. Thursday, roast beef. Wednesday, soup. Tuesday, spaghetti. Monday, string beans.


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[Assistant] Sunday, ice cream. Saturday, chicken. Friday, fresh fish. Thursday, roast beef. Wednesday, zoop.


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[Assistant] Okay, well just keep on looking then. Bye.


[User] Please transcribe this text

[Assistant] And here's a clear bottle for the clear bottle pile. We're good at this recycling, eh Lily?


[User] Please transcribe this text

[Assistant] Hmm, maybe we should start a red bottle pile.


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[Assistant] It brings up this window which controls all the volumetrics. Up here at the top, you tell it whether you want to create or edit an existing case. We're going to call this one volumetrics case.


[User] Please transcribe this text

[Assistant] Over here we tell it which 3D grid we want to do the volumetrics calculations on. And then there are a bunch of tabs and sub tabs down here.


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[Assistant] In the models pane, we can look at the 3D grid that we're going to calculate volumetrics on. It has intersections, it has properties. Down here there is a fluid contact set.


[User] Please transcribe this text

[Assistant] Whether we want to calculate oil or gas or both.


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[Assistant] Highlight, for example, the gas oil contact we want to use. We put it in this location in the middle. Highlight the oil water contact we want to use. We put it down here in this bottom area.


[User] Please transcribe this text

[Assistant] This is where we can enter information for net to gross and porosity. On this first line, any properties we have in our 3D grid with a net to gross template are listed here. We can choose whichever one we want.


[User] Please transcribe this text

[Assistant] The next line is porosity. All properties we have with a porosity template are listed here. We can choose whichever one we want. If we decide we want a constant value


[User] Please transcribe this text

[Assistant] We put a check mark in this box that says constant property and then we can type in whatever we want. However, I'm in this case going to use the property. After we have net to gross and porosity set up


[User] Please transcribe this text

[Assistant] or for oil saturation and then it converts it to water saturation for our use later on.


[User] Please transcribe this text

[Assistant] Sorry dad, the biggest ever bee was just about to land on you.


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[Assistant] See, treasure. I'm going to go and see what it is, dad. Okay?


[User] Please transcribe this text

[Assistant] Lord style. We'd like to keep playing back the barnacle.


[User] Please transcribe this text

[Assistant] What if you could take a pill? Or a vaccine? And just like getting over a cold, you could heal your wounds faster.


[User] Please transcribe this text

[Assistant] Today, if we have an operation or an accident, we're in the hospital for weeks and often left with scars and painful side effects of our inability to regenerate or regrow healthy, uninjured organs.


[User] Please transcribe this text

[Assistant] I work to create materials that instruct our immune system to give us the signals to grow new tissues.


[User] Please transcribe this text

[Assistant] Just like vaccines instruct our body to fight disease, we could instead instruct our immune system to build tissues and more quickly heal wounds.


[User] Please transcribe this text

[Assistant] Now, regrowing body parts out of nowhere might seem like magic, but there are several organisms that can achieve this feat.


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[Assistant] Some lizards can regrow their tails. The humble salamander can completely regenerate their arm.


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[Assistant] And even us mere humans can regrow our liver after losing more than half of its original mass.


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[Assistant] To make this magic a bit closer to reality, I'm investigating how our body can heal wounds and build tissue through instructions from the immune system.


[User] Please transcribe this text

[Assistant] From a scrape on your knee to that annoying sinus infection, our immune system defends our body from danger.


[User] Please transcribe this text

[Assistant] I'm an immunologist, and by using what I know about our body's defense system, I was able to identify key players in our fight to build back our cuts and bruises.


[User] Please transcribe this text

[Assistant] Our team noticed that after treating an injured muscle with these materials, there was a large number of immune cells in that material and the surrounding muscle.


[User] Please transcribe this text

[Assistant] So in this case, instead of the immune cells rushing off toward infection to fight bacteria, they're rushing toward an injury.


[User] Please transcribe this text

[Assistant] I discovered a specific type of immune cell, the helper T-cell, was present inside that material that I implanted and absolutely critical for wound healing.


[User] Please transcribe this text

[Assistant] Now, just like when you were a kid, and you'd break your pencil and try and tape it back together again, we can heal, but it might not be in the most functional way, and we'll get a scar.


[User] Please transcribe this text

[Assistant] So if we don't have these helper T cells, instead of healthy muscle, our muscle develops fat cells inside of it. And if there's fat in our muscle, it isn't as strong.


[User] Please transcribe this text

[Assistant] Now, using our immune system, our body could grow back without these scars and look like what it was before we were even injured.


[User] Please transcribe this text

[Assistant] I'm working to create materials that give us the signals to build new tissue by changing the immune response.


[User] Please transcribe this text

[Assistant] We know that any time a material is implanted in our body, the immune system will respond to it. This ranges from pacemakers to insulin pumps to the materials that engineers are using to try and build new tissue.


[User] Please transcribe this text

[Assistant] The immune system creates a small environment of cells and proteins that can change the way that our stem cells behave.


[User] Please transcribe this text

[Assistant] Now, just like the weather affects our daily activities, like going for a run or staying inside and binge watching an entire TV show on Netflix, the immune environment of a scaffold affects the way that our stem cells grow and develop.


[User] Please transcribe this text

[Assistant] These scaffolds are made of a variety of different things, from plastics to naturally-dried materials, nanofibers of varying thicknesses, sponges that are more or less porous, gels of different stiffnesses, and researchers can even make the materials release different signals over time.


[User] Please transcribe this text

[Assistant] So in other words, we can orchestrate this Broadway show of cells by giving them the correct stage, cues and props that can be changed for different tissues.


[User] Please transcribe this text

[Assistant] I'm combining specific types of signals that mimic how our body responds to an injury to help us regenerate.


[User] Please transcribe this text

[Assistant] In the future, we could see a scar-proof band-aid, a moldable muscle filler or even a wound healing vaccine.


[User] Please transcribe this text

[Assistant] Now, we aren't going to wake up tomorrow and be able to heal like Wolverine. Probably not next Tuesday either. But with these advances and working with our immune system to help build tissue and heal wounds, we could begin seeing products on the market that work with our body's defense system to help us regenerate.


[User] Please transcribe this text

[Assistant] Thanks, Nona. You go and get ready to cook, and I'll take Mr. Zeal's order.


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[Assistant] Goodness me. Mr. Sailor, you lost it politely while you were waiting for your fish cakes.


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[Assistant] Well done, Lily. Here's your prize.


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[Assistant] Ready? One, two, three.


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[Assistant] I should be lily. Hoho, welcome aboard.


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[Assistant] Oh ho, you've got the hat, you've got the voice. Why don't you take the wheel, son?


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[Assistant] Back in the 1980s, actually, I gave my first talk at TED, and I brought some of the very, very first public demonstrations of virtual reality ever to the TED stage.


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[Assistant] And at that time, we knew that we were facing a knife-edge future where


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[Assistant] The technology we needed, the technology we loved could also be our undoing.


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[Assistant] We knew that if we thought of our technology as a means to ever more power, if it was just a power trip, we'd eventually destroy ourselves. That's what happens when you're on a power trip and nothing else. So ...


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[Assistant] Culture back then was all about starting with that recognition of the possible darkness and trying to imagine a way to transcend it with beauty and creativity.


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[Assistant] I always used to end my early TED Talks with a rather horrifying line, which is, we have


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[Assistant] A challenge. We have to create a culture around technology that ...


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[Assistant] Is so beautiful, so meaningful, so deep, so endlessly creative, so filled with infinite potential that it draws us away from committing mass suicide.


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[Assistant] And, uh, you know, I mean, so it's, it's, we talked about extinction as being one in the same, as the need to create an alluring, infinitely creative future. And,


[User] Please transcribe this text

[Assistant] Still believe that that alternative of creativity as an alternative to death is very real and true. Maybe the most true thing there is.


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[Assistant] In the case of virtual reality, well the way I used to talk about it is that it would be something like


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[Assistant] What happened when people discovered language? With language came ...


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[Assistant] New adventures, new depth, new meaning, new ways to connect, new ways to coordinate, new ways to imagine, new ways to raise children. And ...


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[Assistant] I imagine with virtual reality we'd have this new thing that would be like a conversation but also like waking state intentional dreaming. We called it post-symbolic communication because it would be like just directly making the thing you experienced instead of indirectly making symbols to refer to things.


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[Assistant] And yet, haunting that beautiful vision was the dark side of how it could also turn out. And uhm ...


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[Assistant] I suppose I could mention from one of the very earliest computer scientists whose name was Norbert Wiener, and he wrote a book back in the 50s from before I was even born called The Human Use of Human Beings.


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[Assistant] In the book, he described the potential to create


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[Assistant] A computer system that would be gathering data from people and providing feedback to those people in real time in order to


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[Assistant] Put them kind of partially statistically in a skinner box in a behaviorist system.


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[Assistant] And he has this amazing line where he says one could imagine as a thought experiment, and I'm paraphrasing, this isn't a quote,


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[Assistant] One could imagine a global computer system where everybody has devices on them all the time and the devices are giving them feedback based on what they did. And the whole population is subject to a degree of behavior modification.


[User] Please transcribe this text

[Assistant] In, uh, I believe that we made a very particular mistake, and it happened early on.


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[Assistant] It happened in the 90s and going into the turn of the century. And here's what happened.


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[Assistant] Early digital culture and indeed digital culture to this day.


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[Assistant] Had a sense of, uhm, I would say lefty socialist mission about it. That unlike other things that have been done, like the invention of books, everything on the internet


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[Assistant] Must be purely public, must be available for free, because if even one person cannot afford it, then that would create this terrible inequity.


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[Assistant] And so forth. But we were thinking, no, no, no. This is an exception. This must be pure public comments. That's what we want.


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[Assistant] And so, uh, that spirit lives on. You can experience it in designs like the Wikipedia, for instance, many others. But at the same time, we also believed with equal fervor in this other thing that was completely incompatible, which is we loved our tech entrepreneurs.


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[Assistant] We loved Steve Jobs. We loved this Nietzschean myth of the techie who could dent the universe. Right? And that ...


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[Assistant] That mythical power still has a hold on us as well. So you have these two different, uhm,


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[Assistant] Passions for making everything free and for the almost supernatural power of the tech entrepreneur.


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[Assistant] How do you celebrate entrepreneurship when everything's free?


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[Assistant] And so therefore, Google was born free with ads. Facebook was born free with ads. Now, in the beginning, it was cute, like with the very earliest Google.


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[Assistant] Entities who use these systems just got more and more experienced and got cleverer and cleverer.


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[Assistant] And what started out as advertising really can't be called advertising anymore. It turned into behavior modification, just as Norbert Wiener had worried it might. And so I can't call these things social networks anymore. I call them behavior modification empires. We have ...


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[Assistant] I refuse to vilify the individuals. I have dear friends at these companies, sold a company to Google, even though I think it's one of these empires. Uhm, I don't think this is a matter of bad people who've done a bad thing. I think this is a matter of


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[Assistant] A globally tragic, astoundingly ridiculous mistake, rather than a wave of evil. Let me give you just another layer of detail into how this particular mistake functions.


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[Assistant] With behaviorism, you give the creature, whether it's a rat or a dog or a person, little treats and sometimes little punishments as feedback to what they do. So,


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[Assistant] If you have an animal in a cage, it might be candy and electric shocks. But if you have a smartphone ...


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[Assistant] It's not those things, it's symbolic.


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[Assistant] Uh, symbolic punishment and reward. Uh, Pavlov, one of the early behaviorists, demonstrated the famous principle. You could use, you could train a dog to salivate just with the bell, just with the symbol. So on social networks, social punishment and social reward function as the punishment and reward.


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[Assistant] As has been publicly acknowledged by many of the founders of the system, everybody knew this is what was going on. But here's the thing.


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[Assistant] Traditionally, in the academic study of the methods of behaviorism, there have been comparisons of positive and negative stimuli.


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[Assistant] In this setting, a commercial setting, there's a new kind of difference that has evaded the academic world for a while, and that difference is that


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[Assistant] Whether positive stimuli are more effective than negative ones in different circumstances, the negative ones are cheaper. They're the bargain stimuli. So what I mean by that is it's much easier


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[Assistant] To lose trust than to build trust. It takes a long time to build love. It takes a short time to ruin love.


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[Assistant] Now, the customers of these behavior modification empires are on a very fast loop. They're almost like high-frequency traders. They're getting feedback from their spends or whatever their activities are, if they're not spending.


[User] Please transcribe this text

[Assistant] And they see what's working, and then they do more of that. And so they're getting the quick feedback, which means they're responding more to the negative emotions, because those are the ones that rise faster, right?


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[Assistant] And so therefore, even well-intentioned players who think all they're doing is advertising toothpaste end up advancing the cause of the negative people, the negative emotions, the cranks, the paranoids, the cynics, the nihilists, those are the ones who get amplified by the system.


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[Assistant] The alternative is to turn back the clock with great difficulty and remake that decision. Remaking it would mean two things.


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[Assistant] It would mean first that many people, those who could afford to, would actually pay for these things. You'd pay for search. You'd pay for social networking.


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[Assistant] Maybe with micropayments as you use them, there's a lot of options. If some of you were recoiling and you're thinking, oh my god, I would never pay for these things, how could you ever get anyone to pay? I want to remind you of something that just happened.


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[Assistant] Around the same time that companies like Google and Facebook were formulating their free idea,


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[Assistant] A lot of cyber culture also believed that in the future, televisions and movies would be created in the same way, kind of like the Wikipedia.


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[Assistant] Said, actually, you know, subscribe, we'll give you great TV. And it worked! We now are in this period called peak TV.


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[Assistant] It could mean when you want to get factual information, there's not a bunch of weird paranoid conspiracy theories. We can imagine this wonderful other possibility. Ah.


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[Assistant] I dream of it, I believe it's possible, I'm certain it's possible. Uhm, and I'm certain ...


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[Assistant] That the companies, the Googles and the Facebooks would actually do better in this world. I don't believe we need to punish Silicon Valley. We just need to remake the decision.


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[Assistant] Of the big tech companies, it's really only two that depend on behavior modification and spying as their business plan. It's Google and Facebook. And if you ...


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[Assistant] And I love you guys. I love the com- Really, I do. Like, the people are fantastic.


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[Assistant] I want to point out, like if you look, if I may, if you look at Google, they can, they can propagate cost centers endlessly with all these companies, but they cannot propagate profit centers. They cannot diversify because they're hooked.


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[Assistant] They're hooked on this model just like their own users. They're in the same trap as their users, and you can't run a big corporation that way. So this is ultimately totally in the benefit of the shareholders and other stakeholders of these companies. It's a win-win situation.


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[Assistant] I don't believe our species can survive unless we fix this. We cannot have a society in which if two people wish to communicate, the only way that can happen is if it's financed by a third person who wishes to manipulate them.


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[Assistant] Uhm, in the meantime, if the companies won't change, delete your accounts, okay?


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[Assistant] Welcome to Brightly Storytime. I'm Miss Linda.


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[Assistant] Parrots will play with a tweet on the bill.


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[Assistant] Breaching's big fun for the humpback whale.


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[Assistant] A woodpecker's toy is another one's tale.


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[Assistant] Young goats leap high and kick up their heels.


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[Assistant] Sea otters are allowed to play with their meals.


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[Assistant] Watching all those animals play makes me want to go outside and play. And you should too.


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[Assistant] At ReadBrightly.com, you can sign up to get reading tips, book recommendations, and videos like these delivered to your email inbox.


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[Assistant] Hi, said Pete. Do you want to play cars with me?


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[Assistant] The monster didn't want to play cars with Pete. He wanted to eat Pete.


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[Assistant] But playing cars looked like fun. So they had some races.


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[Assistant] Hey, said Pete. What should we do next? Do you want to play Pirates?


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[Assistant] The monster did not want to play pirates with Pete. He wanted to eat Pete.


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[Assistant] But the monster had never played pirates before. They dug for treasure. He walked the plank.


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[Assistant] Next, said Pete, I think we should play blocks.


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[Assistant] The monster did not want to play blocks with Pete. He wanted to eat Pete.


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[Assistant] But he liked building things, so they made a castle.


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[Assistant] They built towers. They knocked them down.


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[Assistant] Now, said Pete, we should play superheroes.


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[Assistant] The monster did not want to play superheroes with Pete. He wanted to eat Pete.


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[Assistant] He spun the wheels of a car. It wasn't any fun to play alone. He missed Pete.


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[Assistant] That was not very nice, Pete told the monster.


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[Assistant] The monster did not want to play superheroes with Pete. He wanted to... hug Pete.


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[Assistant] I was scared there for a minute, but I'm glad that Pete and his monster were able to stay friends.


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[Assistant] Come back to read more stories together anytime you'd like, or find more books to read yourself at ReadBightly.com. Bye.


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[Assistant] Lots of people play instruments on Driftwood Bay. Maybe we could get some new fiddling flatfish together.


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[Assistant] The Quick Access Toolbar is new in Patrel 2014 and is normally located up here at the very top left of the Patrel window. It contains commonly used tools such as


[User] Please transcribe this text

[Assistant] Save your project, undo, redo, create a new window, adjust the color table, bring up the inspector, use one of the players, copy and paste.


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[Assistant] Click on this window icon and the little black arrow to the right of it and you can see all the different windows that are available in Petrel. Down here is a new one, Geosteering.


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[Assistant] For example, if you want to access the settings on the toolbar, you can right click on one of the objects in Patrel, click on settings, right click on that and say add to the quick access toolbar. And now you can see there's an icon up here for settings. Whatever is the active object will be brought up in the settings in Patrel.


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[Assistant] Active, we can come up here again, click on new folder, and it adds a new folder down here to the bottom of the windows page.


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[Assistant] Then we can fill it out just like we filled it out before, adding whatever is necessary, and make our grid.


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[Assistant] As was mentioned earlier, the toolbar is normally located up here in the top left of the trail. You can right click on any of the icons in it


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[Assistant] Everything works the same as it did above. To return it to above the ribbon, again right click and now that option is show quick access toolbar above the ribbon and it moves back above the ribbon.


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[Assistant] Can be a little bit confusing with, uh, bisect and clip on.


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[Assistant] Select all of those. Get all the lips we can.


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[Assistant] As long as that's the same thickness as the lid, looks fairly okay.


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[Assistant] First of all, I'm not very verbal. Really, I have no facility with words.


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[Assistant] Uh, and the struggle for me to write anything, essay or fiction, is always that there is a kind of model.


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[Assistant] Of something that I've seen, or something that I've perceived in some way or another. It may be in a life, it may be in a film, or it may be in a painting, or a work of literature, somebody else's.


[User] Please transcribe this text

[Assistant] Uh, something which I feel, which is almost by definition unsayable, which exists there, a bit like a melody of music, a bit like a pattern of colors, uh, sometimes a bit like a geometric form. And the struggle is always to try to recreate that in words.


[User] Please transcribe this text

[Assistant] The struggle is a question of precision, so that finally, the words are as close as possible. They're never close enough.


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[Assistant] But as close as possible, uh, to that model, which is nonverbal, uh, which I have felt, intuited, perceived, uh, sensed.


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[Assistant] And it's not very different whether I'm writing about a work of art or whether I'm writing about a banquet or a wedding party or a death.


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[Assistant] It's very interesting that because it is once more and we've often touched upon this.


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[Assistant] There's never that voice at the beginning. There is the enormous difficulty of seeing, uh, that situation, that person, uh, of following them.


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[Assistant] Which is probably in the real time of writing, somewhere around about two thirds, not necessarily two thirds of the text, but two thirds of the writing time, the months or the years. Then, suddenly, the voices come.


[User] Please transcribe this text

[Assistant] And then I just write. I mean, uh, uh, but they come, uh, after, uh, the, the situation or the people have been established. Not before.


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[Assistant] I don't know, uh, I had to relearn to write. That's true. Uh, because the experience of, of


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[Assistant] The underprivileged, uh, or peasants is very different from the experience of the privileged and G is a book about them.


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[Assistant] Uh, and if I, in general today, there is a kind of failure of nerve, uh, in fiction, what do I mean by that? I mean that, uh...


[User] Please transcribe this text

[Assistant] Most novels probably are really now disguised autobiographies.


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[Assistant] And on the other hand, people say, how do you have the right to write about peasants? You're not a peasant. How do you have the right to write about, uh, uh, for you to write about men? You're not a man, or vice versa. Uh, and,


[User] Please transcribe this text

[Assistant] These questions are very current and the crisis of nerve, the failure of nerve, uhm, is that it is not possible to write about what one has not lived or what one has not seen. But I don't believe that.


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[Assistant] Yes, but there's always a story behind them. I mean, the story has to be written first, not necessarily in book form.


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[Assistant] I think, I think something different. I mean, I think that the novelist...


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[Assistant] Is, uh, somebody who says come and I'm going to show you what is happening inside that private house, uh, that private heart.


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[Assistant] Uh, and it is finally the novel, which is a very small period of the millennia of storytelling, is about the private and the privileged.


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[Assistant] Uh, which is, which, I mean, there's no reason that when I say that, it's not that I'm denigrating novels, but I think that is at the heart of its form. And actually, what happens there is no longer very important in the world.


[User] Please transcribe this text

[Assistant] No, but the capacity of choices has changed. Uh, novels are about choices. Uh, stories are often about, uh,


[User] Please transcribe this text

[Assistant] With cunning, uh, with, with caution, uh, those sort of choices. But those big choices in which, uh, and their consequences, which is the theme of so, so much in, uh, in novels, those choices are no longer open to most people.


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[Assistant] The great brilliance of an exploding star, the nimble dance of space dust through a nebula


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[Assistant] Yes dear, I promise. When the day comes, nothing will be able to keep me from being there with you. Good night, my Owlette.


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[Assistant] I hardly think so. Knowing your mother, this will take all weekend.


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[Assistant] What the fuck is a Brandon Rage- Oh- Oh dear.


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[Assistant] Mr. Ragers, we've been looking for you everywhere. You were supposed to be on set an hour ago! The fuck are you talking about? You're get spot on!


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[Assistant] Everyone knows a good crossover has to have some epic threat that brings the heroes from two worlds together. And epic threats? Just don't I think.


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[Assistant] And an unlikely hero on a mission to destroy it.


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[Assistant] The story has a series of intriguing connections to reality. From the trenches of World War I to the Bible. Now, discover the facts behind the fiction. This is the real story of the Lord of the Rings.


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[Assistant] A lone figure teeters on the edge of an abyss.


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[Assistant] The long, arduous journey of proto-baggins has come to an end.


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[Assistant] This is the quest at the heart of the Lord of the Rings.


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[Assistant] Behind the Lord of the Rings, there are a number of ancient and modern influences that combine to create the most ambitious mythological journey since the Odyssey. All of them are channeled through one man.


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[Assistant] The ancient connections begin with the setting of the story.


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[Assistant] In Norse mythology, the world is made up of three levels. The highest is Asgard, dwelling place of the gods. The lowest is hell, underworld of the dead.


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[Assistant] Between the two lies the world inhabited by elves, dwarves, and men.


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[Assistant] It is called Midgard, which translates as Middle Earth.


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[Assistant] In the Lord of the Rings, it is through Middle-earth that Frodo must travel to destroy the evil rings.


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[Assistant] This ring is the central focus of the story, and it too is inspired by earlier legends.


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[Assistant] The Lord of the Rings centers on twenty magical rings found in Middle Earth. Some of them offer healing. Others can extend life. But one is more powerful than all the others. It is called


[User] Please transcribe this text

[Assistant] It is a concept that plays a key role in the Lord of the Rings, but it didn't begin there. It can also be found in the most legendary tale of the Middle Ages. Another story of courage in a time of peril.


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[Assistant] It's an intriguing parallel between two myths created more than a thousand years apart.


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[Assistant] This idea of an evil ring also has a mythical precedent.


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[Assistant] In an old Norse epic called the Valsunga Saga.


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[Assistant] A king possesses a golden ring that gives him unimaginable wealth and riches. But the king's son wants it for himself. And the temptation drives him over the edge.


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[Assistant] He kills his father to claim the ring. Then takes it and hides in a cavern. There, the evil ring transforms the prince into a hideous serpent.


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[Assistant] It's a harsh lesson in the danger of greed. One that echoes in the Lord of the Rings.


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[Assistant] Gollum takes the ring and hides in a cavern, just like the prince in the Volsunga saga.


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[Assistant] After possessing the ring for nearly 500 years, Gollum loses it.


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[Assistant] It ends up in the hands of an innocent hobbit named Proto Baggins.


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[Assistant] Frodo's journey begins in a land of rolling hills and green fields called the Shire.


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[Assistant] This is the home of his race. The Hobbits.


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[Assistant] Mirror's author J.R.R. Tolkien's own childhood in the countryside of Western England.


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[Assistant] A hobbit is the last creature one might expect to save the world from evil.


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[Assistant] When he discovers the ring's destructive power, he sets out to destroy it.


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[Assistant] But he soon finds himself being drawn in by its evil.


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[Assistant] Frodo's quest to destroy evil is the heart of the Lord of the Rings. But the myth of Middle-earth doesn't begin there. This is only its final chapter.


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[Assistant] Revealing for the first time how the most ambitious myth of the modern era really begins.


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[Assistant] With direct connections to history's most legendary tales.


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[Assistant] J.R.R. Tolkien's mythological world is so detailed, he even created a word to describe it.


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[Assistant] Tolkien's Mythopeia even had a creation story to explain how Middle-earth came into existence before the Lord of the Rings.


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[Assistant] But it wasn't published until after his death, in a book called The Silmarillion.


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[Assistant] Tolkien drew from many sources as he set out to create his own mythical world.


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[Assistant] In Tolkien's story, there is one supreme god called Iluvatar.


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[Assistant] He creates angelic beings called the Anur, who sing songs so beautiful that the world springs forth from them.


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[Assistant] This is the beginning of Middle Earth, the future setting of the Lord of the Rings.


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[Assistant] Tolkien had quietly sketched out the framework of his mythology.


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[Assistant] That would transform him from a 36 year old college professor into the modern master of myth.


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[Assistant] Wordplay was nothing new for Tokin. He began inventing his own phrases as a child.


[User] Please transcribe this text

[Assistant] They became the foundation for the many languages spoken in the Lord of the Rings, especially the language of the elves. The elves are not to be confused with hobbits. They are a race of near perfect immortal beings who represent a vision of what humans would be like.


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[Assistant] And they not been tainted by the original sin of Adam and Eve.


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[Assistant] Some parts of the Elvish language are based on a real one.


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[Assistant] Tolkien learned it while studying the national myth of Finland called the Kalavala.


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[Assistant] In the Lord of the Rings, another language belongs to the dwarves.


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[Assistant] A short, stout group of characters who live underground.


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[Assistant] Their alphabet is inspired by Norse inscriptions that can still be found in Scandinavia on ancient memorials called runestones.


[User] Please transcribe this text

[Assistant] Tolkien added a runic riddle to his first published novel. The epic precursor to The Lord of the Rings. The Hobbit. It centers on Bilbo Baggins, Frodo's uncle, a hobbit in search of stolen treasure.


[User] Please transcribe this text

[Assistant] The magic writing on the map leads Bilbo to the lair of Smaug.


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[Assistant] Bilbo bravely enters the dragon's lair and steals a golden cup from its hoard.


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[Assistant] In retaliation, Smough angrily attacks a nearby village.


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[Assistant] If the story of a dragon who guards a hoard of gold sounds familiar, there's a good reason.


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[Assistant] Beowulf. One of the most famous myths in human history. And one that was a favorite of J.R.R. Tolkien.


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[Assistant] Beowulf is one of many written sources that had a major impact on the Lord of the Rings.


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[Assistant] But there was a real life experience that shaped the story more than anything pulled from the pages of a book.


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[Assistant] A terrifying trauma laden with ghosts, blood, and death. The battle scarred trenches of World War I.


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[Assistant] Among them is 24 year old second lieutenant J.R.R. Tolkien, future author of The Lord of the Rings.


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[Assistant] His experiences in war will have a profound influence on the mythical battle for Middle Earth.


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[Assistant] World War I was a scene of death on a scale that defies belief. The history books call it the Great War.


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[Assistant] A time when men slaughtered each other over mere yards of mud.


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[Assistant] Lieutenant Tolkien sees action in the Battle of the Sars.


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[Assistant] The hobbit Frodo travels through a bog called the Dead Marshes.


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[Assistant] Where a great battle had taken place thousands of years earlier.


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[Assistant] The horrors of war were first exposed in the precursor to the Lord of the Rings.


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[Assistant] Sees many of his companions killed on the battlefield and comes to understand the futility of war.


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[Assistant] Like Bilbo, Tolkien himself watched his companions die in battle.


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[Assistant] In France, he fought alongside three of his oldest and closest friends. But by November of 1916, two of them were dead.


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[Assistant] The misery and terror of World War I are reflected not only in the suffering of Middle Earth's heroes, but in the ruthlessness of its villains.


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[Assistant] Perhaps nowhere is Tolkien's war experience more powerfully revealed than in the horrific evil of the orcs.


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[Assistant] The Lord of the Rings is the work of a vivid imagination.


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[Assistant] This is where the hobbit Frodo must come to destroy the ring before its evil power overcomes him.


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[Assistant] It is a setting drawn from one of the world's most well known ancient sources, the Bible.


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[Assistant] Those who enter Mordor are as good as dead.


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[Assistant] It is patrolled by a race of ruthless foot soldiers known as Orcs.


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[Assistant] Like so many components of the Lord of the Rings, may derive from an ancient myth.


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[Assistant] Historical sources inspired not only Middle Earth's most despised fiends, but also one of its principal heroes.


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[Assistant] Gandalf guides Frodo in his quest to destroy the One Ring.


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[Assistant] But Gandalf draws more than his name from Norse myth.


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[Assistant] His appearance is modeled after its most powerful deity.


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[Assistant] Gandalf roams Middle Earth for years, quietly working to destroy its evil forces.


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[Assistant] And a Christian savior who was resurrected. Two powerful figures from the ancient world. Both seen in one main character.


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[Assistant] The religious influences behind The Lord of the Rings are fully revealed in the climax of the epic. As the story concludes, it is not Gandalf.


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[Assistant] But Frodo, who is in a position to save the world, the myth's defining moment will draw from a pivotal chapter in the life of Christ as Frodo faces the last temptation of the ring.


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[Assistant] This is where the hobbit Frodo finds himself at the end of a painful journey across Middle Earth.


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[Assistant] His quest to reach Mount Doom is over. But his real test is about to begin. To destroy the One Ring.


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[Assistant] As Frodo climbs Mount Doom, the Ring draws him in, challenging him to abandon his mission and give in to its power.


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[Assistant] Inspired by author J.R.R. Tolkien's Christian worldview.


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[Assistant] Parallel, one of the most famous passages in the New Testament.


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[Assistant] The evil creature who once held the ring for hundreds of years has followed Frodo all the way to Mount Doom. He desperately wants the ring back, and now he sees his chance.


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[Assistant] It's an ending that strays from Tolkien's Christian roots and mythological tradition.


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[Assistant] Despite Frodo's failure, the final outcome echoes the Christian belief that good will triumph over evil. But that triumph comes at a cost.


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[Assistant] After the ring is destroyed, Frodo and the hobbits return to the Shire.


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[Assistant] It is a vision of technology run amok. This was one of Tolkien's worst fears.


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[Assistant] He saw the same transformation happening to the countryside he called home.


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[Assistant] When Frodo returns home from his quest to destroy the Ring, he is restless.


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[Assistant] Is a soul forever changed by traumatic memories.


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[Assistant] At the end of the Lord of the Rings, Frodo remains deeply wounded by his battle with evil.


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[Assistant] He leaves the Shire once and for all to seek a new beginning in Middle Earth's holy lands.


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[Assistant] Got a few of the- the wort- ow. Oh, that's not good.


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[Assistant] But we saw what it took to open a portal. How could one little ball- Sithona. I'm not sure what the rest of this says, but I know this says Sithona.


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[Assistant] How's this for a plan? Find the jerks who are using stuff from my dead home world to hurt our friends, and formidable or not, take them down!


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[Assistant] Quit it! I think they used Kryptonian magic to send my friends to the Phantom Zone! See, this is Cithona!


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[Assistant] Yesterday, I stopped both Toyman and Cheetah. Each time. Gone.


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[Assistant] Babs, I think what you meant to say is WE have a mystery to solve.


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[Assistant] What would a multi-billionaire like me want with such an eclectic group of- Ew.


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[Assistant] What if I told you I hold the power to get rid of every superhero?


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[Assistant] While searching through the remains of Krypton, my space probe came across the amulet of Sithona.


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[Assistant] This device uses an ancient science even I have yet to understand. But its power is undeniable.


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[Assistant] Sorry rookie, pacifism won't cut it this time. Punches have gotta be thrown.


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[Assistant] What? This is the kind of shit gays like, right? Okay, first off dad, I'm bisexual. Yeah!


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[Assistant] Hey guys! So welcome to the first video in the tutorial series on making a farming RPG.


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[Assistant] This is a little preview of what we're going to be making. So we're going to be creating a controllable player.


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[Assistant] A collision system, a robust crop system which allows for many different types of crops with different properties such as growth times and prices, and also a night and day system. We'll make NPCs including people and animals. We'll go through creating a dialogue system, sound effects, houses with different rooms and levels, interactable objects and furniture,


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[Assistant] So now just a little disclaimer here. The assets I'm using are not my own, so they're from many different creators on a website called Open Game Art. And this site hosts all different kinds of assets, including 2D art and music, and they're all free to use. So for most of the assets, you can use them.


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[Assistant] Even commercially, but some of the licenses are more restrictive than others so be sure to check the asset license if you're using them.


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[Assistant] Often it's not required, but it is appreciated and I would always recommend that you give credit.


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[Assistant] So now in the rest of this video, I'm just going to be giving a basic introduction to GameMaker itself and some programming concepts. So if you already know what sprites, objects and rooms are and how basic code logic works.


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[Assistant] Then feel free to skip to the next video. We're not really going to be doing anything else here. So in the next video, we'll be doing the proper project setup. We'll start importing the assets that I was showing you in the preview and, and we'll code the players movement in a way that allows for collisions and more complex interactions. All right, let's get started.


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[Assistant] So we can do a number of things here. We can open up the marketplace where you can download assets. There's some tutorials, some game demos.


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[Assistant] Opening and importing assets or projects into this project but we're just gonna click


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[Assistant] Which is kind of like a window or a tab. So you can have multiple workplaces and you can switch between them. You can have different tabs up. You can undock them.


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[Assistant] Move them around. If you've got multiple monitors, you can drag it over to the other monitor. Redock them. And get rid of them. Up the top here, we've got some buttons. So homepage, open, save. Uh, the most important ones are probably these ones here. So.


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[Assistant] This is the debugger tool, so we'll be going into this in a later project.


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[Assistant] And here are the magnification tools. If we have tabs up, we can zoom in and out of them. Over here is our resource panel. And this is basically holding all of the stuff.


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[Assistant] That makes up our game. So in our game project, we're going to have a collection of what's called assets or resources. So these include the art, the music, the sound effects, the fonts, the objects, and the levels or rooms of our game world. So everything.


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[Assistant] All these represent different types of assets that are just stored in these separate trees. So we'll go over all of these, or most of them anyway, as we make our game, as we go through the series, but just to start you off, we're going to just go through


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[Assistant] So we're gonna go through sprites, objects, and rooms. So let's talk about sprites first, they're probably the easiest to explain and understand. So a sprite is one of the types of assets in your game. The graphic images, anything that is an image. So any type of picture in our game, the grass, our characters, our background,


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[Assistant] And in this window, you can change a bunch of properties about your sprite, so you could change the size here.


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[Assistant] So you can hold Ctrl and then use the mouse wheel up and down to zoom in and out of the image. If you click the middle mouse button and then move the mouse around, you can move around the image.


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[Assistant] Over here is the different tools we can use to draw our sprite. This is just the basic pencil.


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[Assistant] And I'm gonna make this the character sprite, so if you want you can go ahead and draw something a bit prettier, but I'm just, I'm just gonna draw a square. So there we go, that's a very basic sprite.


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[Assistant] And we're done here, so we can just go over here and quit. And let's move on to objects.


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[Assistant] So to explain what an object is, I want to use a bit of an analogy. Because it's actually very similar to what an object is in the human mind. So for example, let's think of an object. Let's think of the object bird.


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[Assistant] You're thinking maybe feathers, two eyes, two wings, and a beak. You might also be thinking of what it sounds like, what noises birds can make.


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[Assistant] You might be thinking of actions that birds can perform, flying, waddling, and you might also be thinking of many different types of birds, all with their own properties, their own sizes, colours, wingspans, speeds, and so on. And it's all of these things combined.


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[Assistant] are sort of abstract things that don't really exist in the real world.


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[Assistant] You can have instances of birds, but there is no bird object outside your mind. And that's exactly what an object is in programming.


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[Assistant] We can even set up what's called an inheritance system with a hierarchy of objects. So think back to the bird example.


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[Assistant] The different types of birds would be its children, and they would define the properties specific to those bird species.


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[Assistant] So we're going to be wanting to do something every single frame.


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[Assistant] So, I'll just point out that while all game engines, they'll have something like rooms, they might be called something different, so they might be called a world or a level, and the Game Maker version of this is just called a room. So by default,


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[Assistant] So as you can see, it's just a big black empty sheet right now. And you move around similarly to the image editor, so middle click to drag and move, hold control and the mouse wheel to zoom in and out.


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[Assistant] I just want you to know that this is where we will be putting all of our objects. So remember how I said that objects themselves are just abstract ideas and don't really exist?


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[Assistant] That's pretty much the case in a game engine too. So you can create objects, but if you never actually put them into a room, they won't ever exist in the game world.


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[Assistant] So to do this in here, we can just click and drag this into the game. And you could have as many instances as you want, right? As many birds as you want. So this is how we actually put objects into our world. So now if we run the game.


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[Assistant] But for this little exercise, let's just make them move when we hit the arrow keys.


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[Assistant] So to go back to the object, we can either, we can just quit out of this or we can double click on the object here, but this will leave the tab open. So just to give us more space, just quit out of that. And now let's think about how to make the object move. So which event should we use?


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[Assistant] Basically, we want to be checking if I'm pressing a button to move the character. That's the logic we're going to be using. So we could go if we're pressing a key down, left, right, up or down, and then we can tell it to move.


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[Assistant] So remember our logic, so we're saying if we press a button, move the player.


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[Assistant] And if this works out to be true, it's going to do whatever we put in these curly brackets.


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[Assistant] So now what is the condition? So the condition is a keyboard press.


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[Assistant] And this is different to keyboard check pressed because this is just checking if you have just pressed it on the previous frame, if you've just pressed the key down, like if you're hitting space to jump.


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[Assistant] Alright, so if keyboard check and then we have to give it a specific key.


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[Assistant] And it will bring up the documentation. And it will tell you what it does.


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[Assistant] And here is the format that we have to give it as an argument. So we can say if space, this is the space key, left, right, up, down. If you wanted to give it a character, you actually have to give it in this sort of format. You have to say.


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[Assistant] And its position is given by a certain coordinate, a certain x, y coordinate. So we basically want to tell it to change its x, y coordinate in the event that we press a keyboard button.


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[Assistant] So to move left, we're going to be changing the x coordinate. So we're going to put x,


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[Assistant] Equals, and then what do we want it to equal? We basically want it to be getting smaller because we're going left. So we want x to equal itself, but minus a bit. And to move it


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[Assistant] Right up and down, we're going to be using exactly the same format, so I'm actually just going to copy this and paste it a few times. And we can change the buttons.


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[Assistant] So if we're right, we want x to be getting larger. Larger than its current position. So we're gonna put plus.


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[Assistant] In Game Maker, the y-axis is a little bit unintuitive, so the y-origin, y equals zero, is actually starting at the top instead of down the bottom. So to go down, we're actually going to be


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[Assistant] Making Y larger. And to go up, Y is getting smaller. I know it's a bit weird, it takes a little bit of getting used to. But that's just how it's done in Game Maker.


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[Assistant] Alright, so we're done. Let's test this code. So just hit F5 or come up to the play button and hit play.


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[Assistant] And let's give it a little test, let's hit the buttons. Left, down, right, up. So there we go, we've set up some really basic movements.


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[Assistant] So now this video was just a basic introduction to Game Maker and the fundamental assets that we're going to be using.


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[Assistant] But in the next video, we're going to be having a bit more fun, so we're going to import some art assets, we're going to be refining the movement system, we're going to be adding some collisions, and I'll introduce you to some more concepts of Game Maker. So until then, take care, and I'll see you next time.


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[Assistant] It is the greatest myth of modern times An evil ring of power


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[Assistant] And an unlikely hero on a mission to destroy it.


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[Assistant] From the trenches of World War I to the Bible. Now, discover the facts behind the fiction. This is the real story of the Lord of the Rings.


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[Assistant] A lone figure teeters on the edge of an abyss.


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[Assistant] The long, arduous journey of proto-baggins has come to an end.


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[Assistant] Behind the Lord of the Rings, there are a number of ancient and modern influences that combine to create the most ambitious mythological journey since the Odyssey. All of them are channeled through one man.


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[Assistant] Tolkien drew from his own experiences in the modern world, as well as his favorite stories from the ancient world.


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[Assistant] The ancient connections begin with the setting of the story.


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[Assistant] In Norse mythology, the world is made up of three levels. The highest is Asgard, dwelling place of the gods. The lowest is hell, underworld of the dead.


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[Assistant] Between the two lies the world inhabited by elves, dwarves, and men.


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[Assistant] It is called Midgard, which translates as Middle Earth.


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[Assistant] In the Lord of the Rings, it is through Middle-earth that Frodo must travel to destroy the evil rings.


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[Assistant] This ring is the central focus of the story, and it too is inspired by earlier legends.


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[Assistant] The Lord of the Rings centers on twenty magical rings found in Middle Earth. Some of them offer healing. Others can extend life. But one is more powerful than all the others. It is called


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[Assistant] It is a concept that plays a key role in the Lord of the Rings. But it didn't begin there. It can also be found in the most legendary tale of the Middle Ages. Another story of courage in a time of peril.


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[Assistant] It's an intriguing parallel between two myths created more than a thousand years apart.


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[Assistant] It also corrupts them. The One Ring is a creation of an evil lord who imbued it with his own destructive power. Saurah.


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[Assistant] This idea of an evil ring also has a mythical precedent.


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[Assistant] In an old Norse epic called the Valsunga Saga.


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[Assistant] A king possesses a golden ring that gives him unimaginable wealth and riches. But the king's son wants it for himself. And the temptation drives him over the edge.


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[Assistant] It's a harsh lesson in the danger of greed. One that echoes in the Lord of the Rings.


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[Assistant] Gollum takes the ring and hides in a cavern, just like the prince in the Volsunga saga.


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[Assistant] After possessing the ring for nearly 500 years, Gollum loses it.


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[Assistant] It ends up in the hands of an innocent hobbit named Frodo Baggins.


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[Assistant] Frodo's journey begins in a land of rolling hills and green fields called the Shire.


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[Assistant] This is the home of his race. The Hobbits.


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[Assistant] Mirror's author J.R.R. Tolkien's own childhood in the countryside of Western England.


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[Assistant] A hobbit is the last creature one might expect to save the world from evil.


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[Assistant] Frodo inherits the One Ring from his uncle, Bilbo, who found it in Gollum's cave.


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[Assistant] When he discovers the ring's destructive power, he sets out to destroy it.


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[Assistant] But he soon finds himself being drawn in by its evil.


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[Assistant] Frodo's quest to destroy evil is the heart of the Lord of the Rings. But the myth of Middle-earth doesn't begin there. This is only its final chapter.


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[Assistant] More than twenty years after the Lord of the Rings was first published, its forgotten blueprint emerged.


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[Assistant] Revealing for the first time how the most ambitious myth of the modern era really begins.


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[Assistant] It's a creation story with intriguing ties to the Christian Bible.


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[Assistant] J.R.R. Tolkien's mythological world is so detailed, he even created a word to describe it. Mythopeia.


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[Assistant] Tolkien's Mythopeia even had a creation story to explain how Middle-earth came into existence before the Lord of the Rings.


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[Assistant] But it wasn't published until after his death in a book called The Silmarillion.


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[Assistant] Tolkien drew from many sources as he set out to create his own mythical world.


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[Assistant] In Tolkien's story, there is one supreme god called Illuvatar.


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[Assistant] He creates angelic beings called the Anur, who sing songs so beautiful that the world springs forth from them.


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[Assistant] This is the beginning of Middle Earth, the future setting of the Lord of the Rings.


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[Assistant] Tolkien had quietly sketched out the framework of his mythology.


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[Assistant] That would transform him from a 36 year old college professor into the modern master of myth.


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[Assistant] Wordplay was nothing new for Tolkien. He began inventing his own phrases as a child.


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[Assistant] They became the foundation for the many languages spoken in the Lord of the Rings, especially the language of the elves. The elves are not to be confused with hobbits. They are a race of near-perfect immortal beings who represent a vision of what humans would be like.


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[Assistant] And they not been tainted by the original sin of Adam and Eve.


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[Assistant] Some parts of the Elvish language are based on a real one.


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[Assistant] Tolkien learned it while studying the national myth of Finland called the Kalavala.


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[Assistant] In the Lord of the Rings, another language belongs to the dwarves.


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[Assistant] A short, stout group of characters who live underground.


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[Assistant] Their alphabet is inspired by Norse inscriptions that can still be found in Scandinavia on ancient memorials called runestones.


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[Assistant] Tolkien added a runic riddle to his first published novel. The epic precursor to The Lord of the Rings. The Hobbit. It centers on Bilbo Baggins, Frodo's uncle, a hobbit in search of stolen treasure.


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[Assistant] The magic writing on the map leads Bilbo to the lair of Smaug.


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[Assistant] Bilbo bravely enters the dragon's lair and steals a golden cup from its hoard.


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[Assistant] Smug angrily attacks a nearby village.


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[Assistant] If the story of a dragon who guards a hoard of gold sounds familiar, there's a good reason.


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[Assistant] Beowulf. One of the most famous myths in human history. And one that was a favorite of J.R.R. Tolkien.


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[Assistant] Beowulf is one of many written sources that had a major impact on the Lord of the Rings.


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[Assistant] A terrifying trauma laden with ghosts, blood, and death. The battle scarred trenches of World War I.


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[Assistant] Among them is 24 year old second lieutenant J.R.R. Tolkien, future author of The Lord of the Rings.


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[Assistant] His experiences in war will have a profound influence on the mythical battle for Middle Earth.


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[Assistant] World War I was a scene of death on a scale that defies belief. The history books call it the Great War. A time when men slaughtered each other over mere yards of mud.


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[Assistant] Lieutenant Tolkien sees action in the Battle of the Sands.


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[Assistant] A brutal stalemate that results in carnage on a scale never seen in human history.


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[Assistant] In the Lord of the Rings, the hobbit Frodo travels through a bog called the Dead Marshes.


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[Assistant] The horrors of war were first exposed in the precursor to the Lord of the Rings.


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[Assistant] ...sees many of his companions killed on the battlefield and comes to understand the futility of war.


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[Assistant] Like Bilbo, Tolkien himself watched his companions die in battle.


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[Assistant] The misery and terror of World War I are reflected not only in the suffering of Middle Earth's heroes, but in the ruthlessness of its villains.


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[Assistant] Perhaps nowhere is Tolkien's war experience more powerfully revealed than in the horrific evil of the orcs.


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[Assistant] At the heart of Mordor lies Mount Doom, the volcano where the One Ring was forged.


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[Assistant] This is where the hobbit Frodo must come to destroy the ring before its evil power overcomes him.


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[Assistant] It is a setting drawn from one of the world's most well known ancient sources, the Bible.


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[Assistant] Those who enter Mordor are as good as dead.


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[Assistant] It is patrolled by a race of ruthless foot soldiers known as Orcs.


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[Assistant] Mordor's evil race, like so many components of the Lord of the Rings, may derive from an ancient myth.


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[Assistant] Historical sources inspired not only Middle Earth's most despised fiends, but also one of its principal heroes.


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[Assistant] Gandalf guides Frodo in his quest to destroy the One Ring.


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[Assistant] Clues about Gandalf's origins can be found in Norse mythology.


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[Assistant] But Gandalf draws more than his name from Norse myth.


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[Assistant] His appearance is modeled after its most powerful deity.


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[Assistant] Odin. To the ancient Scandinavians, Odin represented many things. He was a god of wisdom, war, battle, and death. But it is his role as the wanderer that echoes most clearly in Gandalf.


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[Assistant] But the wizard may also be influenced by another, more prominent, ancient figure.


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[Assistant] A pagan god of many disguises and a Christian savior who was resurrected. Two powerful figures from the ancient world.


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[Assistant] The religious influences behind the Lord of the Rings are fully revealed in the climax of the epic. As the story concludes...


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[Assistant] But Frodo, who is in a position to save the world, the myth's defining moment will draw from a pivotal chapter in the life of Christ as Frodo faces the last temptation of the ring.


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[Assistant] Home to the orcs and the evil lord Sauron.


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[Assistant] This is where the hobbit Frodo finds himself at the end of a painful journey across Middle Earth.


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[Assistant] His quest to reach Mount Doom is over. But his real test is about to begin. To destroy the One Ring.


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[Assistant] As Frodo climbs Mount Doom, the Ring draws him in, challenging him to abandon his mission and give in to its power.


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[Assistant] It is the ultimate battle with temptation an internal struggle between darkness and light.


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[Assistant] Inspired by author J.R.R. Tolkien's Christian worldview.


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[Assistant] parallel one of the most famous passages in the New Testament.


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[Assistant] The evil creature who once held the ring for hundreds of years has followed Frodo all the way to Mount Doom. He desperately wants the ring back, and now he sees his chance.


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[Assistant] It's an ending that strays from Tolkien's Christian roots and mythological tradition.


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[Assistant] Despite Frodo's failure, the final outcome echoes the Christian belief that good will triumph over evil. But that triumph comes at a cost.


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[Assistant] After the ring is destroyed, Frodo and the hobbits return to the Shire.


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[Assistant] It is a vision of technology run amok. This was one of Tolkien's worst fears.


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[Assistant] He saw the same transformation happening to the countryside he called home.


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[Assistant] When Frodo returns home from his quest to destroy the Ring, he is restless.


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[Assistant] Is a soul forever changed by traumatic memories.


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[Assistant] At the end of the Lord of the Rings, Frodo remains deeply wounded by his battle with evil.