November SCP-610 Object Class, Keeter Special Containment Procedures Due to the vast area of infection SCP-610 covers, containment is impossible. Isolation of the area has proved far more effective, and permission has been granted by the Russian government to establish a perimeter to keep people out of these areas under the guise of military operations. Should any organism displaying traits consistent with SCP-610 be cited near this perimeter, then the established protocol requires it to be engaged at range with small arms until a mobile then dispatched using incendiary weapons and munitions from as great a distance as possible. Any living thing coming in contact with an organism infected with SCP-610 is considered expendable and is to be immediately terminated and incinerated. Any persons coming within 3 meters of SCP-610 infected life are to immediately withdraw from the area, be isolated from the rest of their team, and subjected to medical examination using only remote techniques to determine if infection has occurred and appropriate steps taken based on that determination. At present, the known infection vectors for SCP-610 spread seems to be focused on physical contact. Drone movements within heavily infected areas have returned air samples containing minute particulates, which then expose organic compounds for a result in an SCP-610 spread. The results of these particular tests have given, most require several days to manifest if at all with the exception of direct contact with exposed lung and liver tissue. These particular tests show a rapid rate of growth which requires incineration of the testing environment no less than 24 hours after initial exposure, with even a 2 hour mishap risking a compromised facility event. Given that this kind of rapid growth only occurs in organic material existing outside the human body, this form of infection is at current considered a minor concern. These peculiarities have given rise to a series of questions regarding the possible origin of the infection, in conjunction with the failed ████ containment protocol remains of a scorched earth policy at this time, and no concern for transmission via water or air at infection parameters exist barring situational changes in the field. Description – Initial reports of SCP-610 came direct from the Russian government through undisclosable channels. These reports consisted primarily of disappearances of farmers in the region and were not considered until the local police, followed by the regional police, and finally a government dispatched agent all failed to report in within a 72 hour period. A small military contingent would dispatch to the area and quickly withdrew at which point the Foundation was contacted to investigate. The area, SCP-610-FX, is close to Lake Baikal in southern Siberia. Areas of known infection are marked on the map provided to us here. Containment perimeter are marked in blue surrounding these infection areas, and as of present no further locations have been identified. Incursions into the perimeter must be reported prior to conducting, confirmed during expiration, and debriefed on immediately following return. SCP-610 appears to be a contagious skin disease at first with symptoms including rash, itching, and increased skin sensitivity. Within three hours the disease will cause blemishes resembling heavy scar tissue to form in the chest and arm areas, spreading to the legs and back within an additional hour, consuming the victim completely within five hours. Exposure to higher temperatures vastly decreases the time for the contagious spread and complete infections have been recorded occurring in as little as five minutes. After the completion of the infection occurs the victim's life functions will cease for approximately three minutes after which time they will restart at two to three times the activity rate of a normal human. Following this, the scar tissue and the victim will start to move of its own accord and grow at a rapid rate. Normal human features start to disappear at this point under the infection, and the path to mutation appears to be largely random. Reserves in this stage of infection have been recorded as growing three or more limbs of a type such as arms and legs, the head may become misshaping and elongated or widened out, and parts of the subject may split open from which additional branches of flesh will grow. The duration of this stage of infection is unknown and not all subjects appear to progress to the later stages. Under unknown conditions an infected individual will cease moving and place itself in a location it deemed suitable where it roots itself. The fleshy growth in the victim will then begin to spread itself across all surrounding objects and consume them. Such objects do not spread the infection as living creatures do, however, and the effect of prolonged contact with these objects is recorded later in this document. It is assumed that this behavior is to create an area hospitable to continue growth of the other infected. Observation of life infected by SCP-610 by staff is impossible. Those infected with the disease immediately seek out aid as natural human impulse resulting in unintended infections. Those infected past the scar tissue phase actively and aggressively attempt to infect anyone approaching them within an undefined area. It has been established that should an infected be capable of sight and observe an unaffected, it will proceed towards them. If the infected has lost the ability of sight, a range of approximately 30 meters is considered safe. Observation of SCP-610 infected settlements has been established using artificial methods such as remote robots. The data returned from these observations, coupled with the openly aggressive nature of the infected to attempt to spread SCP-610, has resulted in decedent classification. However, so long as nothing is allowed to enter or leave the infected areas, it is considered a neutralized threat. Of concern are the cavernous areas beneath the infected settlements that were discovered during the exploration and attempts to get research personnel in these areas are underway. SCP-610-L-1 A small remote controlled rover is sent into Site-A to locate missing personnel. L-2 An infected Class D personnel is sent into Site-C with video equipment. L-3 Initial discovery of the tunnel enters the Site-A. L-4 Unmanned exploration of the Site-A tunnels. L-5 Manned exploration of the Site-A tunnels. L-6 is listed as the following field reports for Class-A or higher personnel only. Unauthorized viewing of this file is strictly prohibited and will be considered a violation of Foundation contracts and a breach of international law. Which, from a point here, it says that the exploration records of Operation Source Point, which I do not have clearance to read to you. However, we will start the next article with SCP-610-L-1 and proceed numerically to SCP-610-L-5 and read all reports therein. Establishing the containment perimeter for SCP-610, the Russian government approved our request to research and investigate the area. For the first such exploration of small camera mounted unit, known as Herbie, was dispatched at a safe distance and directed towards Site-A. Herbie has a battery life of 12 hours and a control range far wider than that is required for this dispatch. Herbie is able to enter Site-A without incident. The landscape around Site-A shows early stages of assimilation by singular SCP-610 infected, who have fallen at largely random intervals around what remained of the village. Many of the homes appear to have suffered fire damage long since put out, however a fair amount remain intact. Arrow reconnaissance of Site-A, combined with thermal imaging, has put it at an estimated population of 79 infected. And mobile infected are included in this number, however it is difficult to ascertain an exact percentage of mobile versus immobile. Variant degrees of physical mutation due to SCP-610 are present in Site-A and it is assumed that all of the inhabitants are in advanced stages of infection. Herbie observed the exterior of the village for two hours, during which time all infected behave with what appeared to be a loose sense of social structure. Because Herbie remained stationary during its observation period, it is unknown precisely what each individual infected was doing, however the central plaza experienced occasional burst of activity in downtime. Requiring more information, Herbie was directed to follow an infected as it entered a home. There is bumpy camera feed as Herbie scoots over the gravel behind the quickly shambly infected person. The interior of this home is the same that is attached to the primary file for SCP-610. The infected being tailed is the one sitting at the table. After entering the home, Herbie's camera was raised slowly so as not to draw attention. This action was either unnoticed or ignored. The infected person is watched from the doorway as it hopples around the home and stops at each of the other visible infected organisms. However, it appears to ignore the one under the table, which, while not immobile, does not leave that area. What this creature was before infection is unclear. After lapping the table and repeating this procedure three times, the primary infected person known as Alpha, heads forward, stops at the bed written infected, known as Beta, and proceeds to assault it with furious punches. Beta is unable to leave the bed for unknown reasons, but it is not completely immobile as it flails its arms in response to the beatings delivered by Alpha. After several sustained minutes of this beating, a piercing sound explodes from the area around Beta, who then proceeds to reject the cloud of unknown matter into the air from its chest cavity. Alpha lingers in the cloud as it floats in the air around it, slowly descending to the ground. The unknown life form on the table of sighted Beta begins to twitch in an apparent seizure, and Alpha then laps the room twice more, stopping again at each infected organism but still ignoring the one under the table as well as Beta now. After these two laps, Alpha seats itself at the table and reaches out to position the three plates on top of it as if setting a dinner plate. After the plates are positioned, the facial tendrils extended from Alpha wiggle up and start to coil on one of the plates before tearing apart and separating. This is repeated at each plate, and the image attached to SCP-610's primary file is a still image of this occurrence. After each plate is filled with Alpha's flesh, it leaves the table and approaches Herbie, which is moved from Alpha's path. Alpha leaves the room, but Herbie's camera remains focused on the table. After several minutes, a group comprised of six to seven infected enter the room from outside, still ignoring Herbie. Each infected shambles as if movement is difficult, jerking in large steps or squirming in small ones. These infected all surround the table, and each takes turns grabbing handfuls of the flesh substance left behind by Alpha, pressing it into whatever orifices on themselves that they can. Some in the mouths, some in the chest, some behind their backs, some under the arms. When all the plates are emptied as the group leaves, Herbie remains here for several more minutes before retracting his camera and leaving when it seems no further activity will occur here. Immediately after leaving the room, Herbie collides with an object, panning the camera around the obstruction appears to be Alpha, whose facial tendrils are intermingling with another infected having several mutations. The impact is ignored into two infected partways after several minutes. Herbie is then directed to explore more areas of the village. The remains of what appears to have been a store shows signs of severe fire damage as well as activity inside the building, which Herbie moves to investigate. The door is slightly ajar, and with firm movements of Herbie, it is pushed open. No notice is taken of this action, or it is ignored. Inside the store are several infected persons, most of whom are standing around, however one is on the ground rolling back and forth over the space of approximately 0.3 meters or one foot, and is ignored by the others. Herbie rolls under the divider separating the cashier area from the customer area and pans around behind the counter. The upper half of a person is protruding from the cellar door behind the counter. This person does not appear to be suffering from advanced infection and wears the garb of a Russian soldier. Herbie zooms the camera in to confirm identification and is noticed the eyes of this person are in constant movement, often focusing on Herbie. The rest of the soldier does not move. Herbie is directed to leave this area and proceeds to the back room. In this storage area a large pile of bodies are stacked together. Some pieces of clothing are visible and appear to contain both military, garb, and everyday clothing. No facial features are discernible on any of the bodies due to the way they are stacked. Atop the bodies and infected sits, appearing to have its lower parts fused to the pile and with its upper half in a wild state of flailing and seizure. Approximately every 10 seconds a burst of spores fly out of the top of this which linger in the air. Herbie is directed to leave the building. After leaving this building, Herbie passes by the village well, surrounding which are a series of a mobile infected all facing the well. The arms of each of these infected persons are stretched out, one in contact with the next, forming a perfect chain, safe for one whose arms are down at its sides. Herbie passes by this last infected to approach what appears to have been a town hall or mayor's building when the infected become mobile and snatches the rover up. Video feed from Herbie focuses on the face of the infected which is strangely in perfect shape given the condition of the rest of its body which is horribly bloated. This infected was once a young girl from appearance, age estimated 10-12. Herbie is rolled side to side in its grip as his face stares motionless at the rover. The infected's face suddenly balloons inside and explodes outwards in a series of fleshy flaps that grip Herbie and draw it inside. Herbie's video feed terminates here. Herbie was considered lost at this point, however, no one that control remembers to turn off the video feed assuming it cut. Five hours later, Herbie's video feed resumes stationary and at a raised level pointing at the upper rim of the village well. The video feed contains some blur due to what appears to be a slimy film which often oozes across the lens, but not one obscured provides perfect quality recording. Video feed does not respond to any remote commands, but its video jerks back and forth from target to target, zooming in and out of its own accord. Video feed is cut manually in all connections to Herbie's unit or ordered erased. We will be proceeding to the next document of SCP-610-L2. Running SCP-610's containment area, several Class D personnel were infected due to assaults from infected villagers, where animals roam in the area in addition to a number of infections as a result of escape attempts and careless behavior. Most of these infected personnel were mainly destroyed with flamethrowers, however, a small collection of infected were contained in cold storage units which prolonged the inevitable progression of SCP-610's mutative property. The decision was made to utilize some of these infected personnel as video relays and dispatch them into nearby sites. Due to the concern over loss of equipment and evidence in SCP-610-L1, all three subjects that were used in this manner were sent in with a single video system to Site-C. Additional equipment issued for this dispatch includes one gallon container gasoline, three emergency flares, three nine millimeter pistols with three magazines ammo each, three single serving food rations. The infected personnel were instructed to observe and avoid interaction with the infected villagers as long as possible, but should a situation arise where they are met with aggression or feel they are losing themselves to SCP-610's influence, they are free to kill as many infected villagers as they so choose and do as much damage to infected objects and property as possible while maintaining video feed. The intent of this order was to provide data of SCP-610 infected communities in a raid situation so a plan of eradication could be better established. At the time of this expedition, Site-C was suspected to be a possible origin point for SCP-610, having far fewer mobile infected on other sites as well as structures which appear to have been layered over several times with the terraforming effect of the mobile infected. This spatch-class D personnel, known henceforth as D-I-1, D-I-2, and D-I-3, were directed to pay particular attention to anything that could be considered an origin point for SCP-610. The trek from our perimeter camp to Site-C without a vent full, there is no evidence of any native animal life in the area. As Site-C is approached, there is a notable rise in the temperature within the last 30 meters of the trip that necessitates removal of the heavy, cold-based coverings that were provided. The temperature rises again sharply at the entrance to Site-C proper, which requires a further shedding of garments for fear of heatstroke. Temperatures within Site-C are described as being heavily humid at around 32 degrees Celsius or 89 degrees Fahrenheit. One of the first immediately-nosed traits about Site-C is an array of immobile pylons which encircle what is believed to be the entirety of the site, separated by an apparent distance of 5 to 6 meters, each pylon appears to be two to four infected persons fused together in one spot. On some of these pylons, features such as faces or anuses are still visible, in addition to several other holes which do not naturally occur, all appearing to act as heat vents. Where the heat is generated is unknown. Current belief is that this is an advanced stage of SCP-610 terraforming its environment to facilitate spread of itself. D-1-2, who is furthest along in progression of SCP-610 of the three by a number of hours, begins to seizure after only a few minutes in Site-C during examination of the pylons. To progression to the scar tissue phase of SCP-610 infection is observed in full course as D-1-2 spasms on the ground, his entire body being overtaken by the sickly tan flesh almost entirely after 45 seconds. D-2 is terminated by a gunshot from D-1 and his equipment left where it is. The spread of SCP-610 over D-2 continues even after death of the body until all movement ceases. As forever in control of related new instructions to D-1 and D-3 regarding the situation, there is a shift in the ground covering in Site-C where D-2's body is. Video feed shows the fleshlight growth splitting open beneath the body and a series of ropey tendrils coming from within the gap to pull his corpse inside. This opening closes up quickly, total time elapsed three seconds. As D-1 and D-3 decide to act quickly in these hotter temperatures fearing the same fate, they proceed to the village center and encounter another previously unknown phenomenon. In the precise center of town rising above what was the community well is a sphere suspended by angled supports comprised of SCP-610 flesh. This ball is riddled with the features of humans in early stages of SCP-610 infection as well as a good number as soon to be in later stages. A number of specimens of non-human life forms such as deer and bears are also visible within the mass. The entire sphere of flesh pulses at roughly a five second interval and with each pulse emits a ring of sport-like material from its equator. This material floats to the ground and appears to be absorbed in a converted environment. D-3 begins to douse the sphere with the provided gasoline when questioned by a panicking D-1, explains it looks like as good a thing to burn as any. At this point perimeter control has ceased giving commands due to the rapid deterioration of events. There is no reaction from anything within Site-C to any of this activity until the precise moment at which a lit emergency flare is applied to the spherical mass which immediately goes up in flames. Their remote feed plays back a noise from an unknown location that seems to come from a location far outside of Site-C, but was reported as being heard even at perimeter control by Site-C and A. This noise is described as both explosive as this multiple high yield charges were detonated on a mountainside and alive like a large feral creature roaring. Within 15 seconds following the sound dissipation Site-A reported a series of explosions had occurred within the village. Five seconds after this report the spherical mass in the middle of Site-C explodes. D-1 and D-I-3 are thrown by the blast. D-I-3 is confirmed to cease by D-I-1 after regaining his footing, having suffered injury from stone shrapnel from the well. D-I-1 is able to report he has bruises and ringing ears, but aside from the rapidly spreading SCP-610 infection he suffered no blast damage. During this recording of footage D-I-1 had his video equipment removed and was looking into it. Due to the angle of recording it is unknown precisely what occurred at Site-C, but something draws D-I-1's attention back to the center of town, where he stares for several moments then is pulled in the opposite direction. The video equipment fall into the ground and recorded in a skyward direction. The last moments of footage from D-I-1's video unit displays a humanoid figure moving through the air followed by the sound of an impact in the same direction. Within three seconds of this event an unknown creature steps upon the video recording equipment and destroys it. Perimeter control remained on high alert for a full 24 hours at all locations without any incident following this event. We will then proceed to the next document, SCP-610-L3. Caused by the rapid collapse of the Site-C exploration attempt during SCP-610-L2 resulted in a series of unexpected events in Site-A. As the strange, spherical formation in Site-C was burned and destroyed, the SCP-610 infected and happening Site-A were recorded by aerial drones going into seizures and convulsions. The immobile SCP-610 infected rapidly shriveled and died along with all the flesh material spread across inanimate objects within the village. The mobile SCP-610 infected, who were able to regain their footing, all proceeded to what appears to have formally been an upper-class resident and entered the building. As the infected entered his dwelling, it suffered a foundational collapse revealing the presence of a sinkhole beneath it. The sides of the hole in relation to the structure above it posed an impossibility for an entire building to collapse suggesting something within the hole applied force directly to the structure with the intent to pull it inside and expose the hole. The revealed hole was approximately large enough to accommodate three grown men standing shoulder to shoulder. Life-sources applied by remote drones failed to penetrate further than four meters depth into the hole. Objects dropped into the hole did not produce an impacting sound suggesting a bottom potentially more than 1,000 meters down. Research of the exterior of the Site-A hole was only able to be carried out for two hours time. Samples of the atmosphere in Site-A indicated a complete death of SCP-610-related materials. All infectious life that did not evacuate into the hole died above ground and quickly became shriveled husks. Manned exploration of Site-A was approved and commenced immediately, and to span in 30 minutes a total of three research teams consisting of two to three research staff and four to five armed escorts each were dispatched and setting up stations within the remains of the village. Samples of deceased SCP-610-infected and converted matter were sent back to perimeter headquarters for processing and transport. One team was able to recover a small sample of still-living SCP-610 tissue substance from a building and packet for research. Within the second hour exploration of Site-A, a series of echo reverberation units were set up surrounding the hole with the intent of getting an accurate mapping of the hole and possible branch totals. At the end of the second hour before the echo units could be activated, seismic activity began to occur within Site-A. Two teams of the original three remained on site. The third en route back to the perimeter headquartered for samples. The third team was instructed to proceed back to perimeter HQ when seismic activity began and was told that Site-A should not be returned to for resistance. Seismic activity of Site-A capped at a 2.3 Richter level before Peter and Off, and immediately following the seismic event, a tour of SCP-610's spores erupted from the hole and layered the area around it for a span of 50 meters. As all staff on site were in level A had their material suits, this spore burst was startling but did not lead to any infections. As the eruption was being reported, both teams of Site-A came under attack from aerial lifeforms infected with SCP-610. These organisms were captured by the remote drone video equipment and showed extremely advanced stages of infection. It is impossible to tell what they mutated from to this presence of state. Many of the avian creatures attacked by splitting their heads in half and clamping them against research members, pulling them into the air and dropping them into the hole when possible. These avian infected proved vulnerable to small arms fire, and dispatching them a total of two research staff were lost to the hole and one injured due to crossfire. The injured staff was put down immediately upon showing signs of infection due to a soup breach. Before video and radio contact was lost to the remaining teams inside Site-A, a second seismic event began to occur starting out in the 1-1.5 range in scale.  A second spore burst erupted from the hole during the rising seismic activity. At the point where scales registered to 3-3.5 in force, a new unseen SCP-610 entity began to emerge from the hole.  Video and radio contact were lost as seismic forces increased to 7 on the scale for two seconds duration, then abruptly ceased. Further aerial surveillance of the Site-A hole and area depicts zero activity and no traces of the research teams other ever having been there. All personnel and equipment are considered lost. We will then proceed to SCP-610-L4. We researched and handling SCP-610 rapidly degraded to the point where fail-safe options were being considered. For over one hour, nothing further had happened as Site-A following the loss of the research teams during the seismic events in SCP-610-L3, and subsequent contact with previously unseen SCP-610 lifeforms. With the absence of activity as Site-A a remote drone dispatchment authorized in two parts. The first part would drop a remote relay device at the entrance to the Site-A sinkhole, and the second part would dispatch a drone into the hole directly to relay its data to the remote relay for transmission back to headquarters. Drones on site were powered by solar energy with a battery maintaining at 4 hour charge. Attached as the video log recovered from the Site-A sinkhole drone before its loss. Video feed activates. Researchers face a scene looking at the camera applying a polishing cloth to lens. This is Explorative Drone RSCP-610-1 coming online. Systems check out. Video confirmed. Feed is good to relay station. We are testing rotors now and deploying if successful. The sound of a helicopter blade starts up as video feed begins to lift in the air. Camera tilts left and right to test pan features, then directs itself towards the Site-A sinkhole. Video feed is go, engines are go, links are green, alright, sending drone down now. Audio from the outside world fades away as camera angles itself down and peers into the darkness within the sinkhole. After approximately two minutes of descent, lights on the drone activate and illuminate a roughly dug shaft. Initially it is unclear what could have created a hole, but at a glance it would appear the shaft was created by a single event rather than dug over time. At 15m descent, there are traces of SCP-610 material attached to the dirt and stuck to rocks. The material is dormant but retained as texture and appearance. Unlike samples from above ground level, which shrivel and dry rapidly, there is a possible connection with this material and the events last recorded during SCP-610-L3. Descent continues. At 100m in depth, branch tunnels become visible on the walls of the sinkhole. Many of the camera reveals small tunnels branching out of apparently random intervals but which are not restricted to any one side of the hole. These tunnels are considered too small for any useful exploration to occur. Descent continues. Increasing density of SCP-610 materials on walls is noted as depth increases. At 250m the bottom of the sinkhole becomes visible and the tunnels slope sharply suggesting unnatural formation, which was already suspected. Some video shifts to illuminate this tunnel when drone proceeds forward through the area. SCP-610 coats entirety of the tunnel now and cares taken to keep the drone from coming into contact with any surface. Movement is detected 5m ahead. Lights on the drone are dimmed and weapons come online. The RSCP-610 drone is equipped with a 5.56mm machine gun containing 50 rounds of ammo. This was meant to be used to deter wildlife away from the drone and defend against aggression when possible, rather than a dispatch of target, although it is fully capable of handling human aggressors in small groups. Camera focus turns into the moving mass of flesh ahead of 3m. After focus clears the movement appears to be coming from appears to be a deer, unaffected wriggling in the grips of tendrils composed of SCP-610 material. The deer is being suspended above the ground with unclear intent. The drone is moved past the trapped deer while holding it in view of the camera until safely away. Nothing occurs with the deer and the drone proceeds past undisturbed. The previously fairly leveled ground of the tunnel displays large humps and apparently random placement, 5m ahead of the drone, 30m past the encountered deer. Upon approach these lumps turn out to be similar to the infected villagers who escape from site A into the sinkhole after destruction of site C. The sound of rushing water is now detected and the drone is pushed forward. 100m further into the tunnel the sound of running water is now deafening. Drone lights reveal a running stream of water potentially from one of the adjacent rivers in the area. A sample vial is placed in the water, allowed to collect and then released with an active tracking beacon. Later recovered the sample indicates no SCP-610 contamination of groundwater. The tunnel splits into at this point. One tunnel leads around the river and then seems to slope downward while the other is directly above a light source in the ceiling. The second one is selected to facilitate recovery of the drone. Using adjustment of the drone's flight path it comes in contact with a portion of the tunnel wall coated on SCP-610, causing a deep gash from the propeller of the drone which is already healing over when the camera focuses on the impact point. The drone proceeds upwards, travel will take approximately 45 minutes, results in the drone emerging into a windy section of mountain where it is directed to stay low. Camera panning of the area reveals what may have once been a village long since abandoned. The precise location is unclear but is assumed to be in a vicinity of Site B judging from estimates and travel by the drone. The buildings here are coated in deceased layers of SCP-610 and unlike other buildings in Site A and C which were coated in SCP-610, these buildings appear to be constructed directly from the tissue substance. After a cursory scan of Site B is determined there is no life here, either natural or SCP-610 related, so the drone is directed back into the tunnel as the winds around the area make aerial recovery impossible. Upon descent in the tunnel with a deep roaring sound fills the audio and video feed becomes choppy as something blocks the signal. During the periods in which connection to the drone is clearest, its camera and weapons are angled downward and propellers slow and speed it to allow a faster drop. Video feed becomes entirely clear for the final two minutes before feed is lost. Rushing up towards the drone from the area below is what appears to be a large human face stretched to 20 times its proportions with no features saved those created by the SCP-610 material. There are eye sockets but no eyes, a mouth but no teeth. The drone fires upon this rushing mass of SCP-610, but the bullets do not deter it. Impact points remain visible for several seconds before closing over themselves. There is no room in the tunnel for the drone to take evasive action and is swaddled by the mass. Our SCP-610 is considered lost until three hours later when feed inexplicably returns. Video feed from the drone appears to show a series of structures illuminated by one of the two lights in the drone. The camera pans around without instructions from the remote relays or HQ capturing a vast number of shambling entities within the area. SCP-610 material moves over the lens of the drone and video feed is permanently severed. Manned exploration was approved, results are in document SCP-610-L5. The bullet from central headquarters was granted for a manned assault excursion into the tunnels of any Site-A, the try to ascertain the extent of the SCP-610 infection. The destruction of Site-A and Site-C have established SCP-610 can be contained and destroyed, making the source of the infection top priority. The initial descent in the tunnels consists of five teams. Two research teams and three assault teams, along with enough equipment to establish an underground base of operations. Descent into the tunnels was established using pulley systems and a lift to move equipment. Assault teams were the first to descend, armed with flame units to clean SCP-610 out of the area. All teams were able to descend without incident and flame units took point providing an undisturbed journey towards the water source where the RSCP-610 drone was lost. The scamp for underground SCP-610 operations reside at the bottom of a three-way junction, four if the water flow is included. The first pathway is that which led from Site-A to Cavern Headquarters. The second is the pathway to the ruined village residing in the mountains above where RSCP-610 was destroyed by a large unknown SCP-610 entity. The third pathway heads west and seems to follow the flow of water for an unknown distance. The cavern area here is quite large and is supported by a number of rock formations that are coated with decayed SCP-610 material. The state of this material suggests great age and appears to reinforce the structure supports. Whether or not this is intentional or coincidental is unknown. The two research teams split activity between building cavern headquarters and collecting samples of SCP-610 in various states. No contagious materials were detected within this area, and the creature recorded by unmanned drones did not appear at any point to the cavern staff. Of the four research teams, three were ordered to proceed down the unexplored pathway while an aerial drone was prepped for a second recon of the vertical shaft. SCP-610 infection did not appear in the third pathway until approximately three kilometers, and serious infection did not appear until sixteen kilometers in. Even after the lens traveled by the assault teams, no SCP-610 infectious lifeforms were encountered, and a fleshy material coating the cavern walls posed no threat to the team. The most significant reports of this time were the increasing thickness of material, suggesting a source, and the complete lack of SCP-610 contamination in the water. As a test, a sample of SCP-610 was cut away from the cavern wall and placed into the flow of water. It exhibited no unusual reactions but was quickly swept away by the current. At twenty kilometers in, the leader of the assault teams requested a transport buggy be dispatched to them. One was available at the above ground headquarters. However, it would take some time to move it to cavern headquarters and then remote drive it to the teams. Rations provided to the assault teams were sufficient, so a camp was established while the buggy was moved and readied. During this time, an aerial drone was also sent to explore the vertical shaft. The results of this exploration were placed on hold with the arrival of the buggy at cavern headquarters, and ultimately concluded and documented. The buggy was navigated to the assault team encampment with no events en route, however. Upon arrival and preparation for continued exploration, the assault teams came under attack by a number of large SCP-610-infected lifeforms that emerged from the area ahead of them. Video recovered from the assault team cameras shows them caught off guard as the SCP-610-infected made no sound and were undetectable. In one film, for one to two seconds, it appears that some of the creatures were coming out of the SCP-610 materials on the wall. Not emerging from them so much as being created by the material, and end breaking away to act independently. During this assault, an attempt to protect the buggy ████ members were lost to the water occurrence and contact with them was lost. Contact was regained, however, and was recorded in SCP-610-L6. The remainder of the assault team now consisted of three members armed with a single flame unit. Use of this unit to repel the assault-proofed vital as standard firearms did minimal damage to the infected creatures. These infected creatures show minimal traits to associate with any other known form of life in the region, given rise to the belief they may have been spawned by the SCP-610 infection itself as a form of defense. No further casualties were suffered during the raid and the remaining members managed to eliminate all attacking infected, allowing them to continue with exploration with added orders to attempt to locate lost team members. A further 20 kilometers into the tunnel, the river separated from the tunnel pathway and the team was instructed to abandon the recovery order, given the inability to navigate the waters safely. A total time of ████ past before the remaining assault team reached an end in the tunnel. At the perimeter of the area now known as Site-B, the team came under assault again from a smaller number SCP-610 that were much larger in size. These infected appeared in the tunnel as if they were lying and waiting for the approaching team. These creatures were dispatched using the flame unit, although all fuel for the unit was expanded in its act. The assault team was now limited to standard weapons and short-range personal flame units. A time lapse of 5 minutes allowed the path before the team proceeded further to Site-B. Cautious of further assaults by SCP-610 infected, the tunnel widens out into what appears to have once been a village of indeterminate age. The construction of the buildings in the area are primitive compared to the settlements in Site-A and Site-C, and are of clearly human construction. Many buildings rested at angles or slants suggesting that they were disturbed by a cave in. Of interest is the building that appears to be a church with a working clock tower. This building is built atop the remains of two older buildings that have fallen completely and has a visibly stable foundation. Surrounding all structures in this area is that oppression in the ground filled with a substance resembling a liquefied form by SCP-610 fleshy materials. The pool moves as if acted upon by minute and unseen forces, rippling outward from invisible contact points and rolling in waves from unfelt winds. The team avoids this pool at all times and proceeds through the ruin slowly on stable foundations where possible, making the church their target area. Within the church are pews, as would be expected, however there are only four, one of them shattered when the building could accommodate as many as twenty. The three intact pews are arranged in a two-one formation facing a pulpit. There is no trace of dust on any surface, the entire area appears to be immaculately clean, given the location of believed age. Behind the pulpit is a hole in the floor exposing an area of the SCP-610 pool underneath the building. The church and ruins appear to be uninhabited, an exploration of the church proper is uneventful until the clock tower bell tolls. This tolling triggers a shutter in the building followed by human screens from the ceiling. Lights shown upon the ceiling reveal a large mass of SCP-610 from which to send a series of six wooden circles. Strapped to each circle is a living human coated entirely from neck to toe in SCP-610 but having an exposed head which appears uninfected. This human captive scream as the bell continues to toll and the circles move to the ground. The team begins to move toward one to investigate when an unknown creature cries from outside the building, prompting them to take cover in the shadows near the pulpit. Light sources are extinguished pitching the entire area in the darkness. Night vision is left off to avoid revealing the team's location. Sounds continue to emit from the outside of the church, drawings closer but lower than the frantic screams of the captive humans. At least one knows the team as the captive humans often call out to be saved. From the entrance of the church, a candle lights on the side of the doorway, then one on the other side. A figure is seen holding a small torch and moving back and forth between a series of candles to light the doorway. The flame is then applied to a rope coated in SCP-610 which quickly ignites and spreads up to a peculiar chandelier system at the church entrance. The light from this system illuminates most of the crosses but do not reach the team's hiding place. Those captives who appear in the light do not show standard signs of the beige-colored SCP-610 infection, but instead are wrapped in a red variant of it which shows signs of constant motion rippling across itself in waves. From outside the church, a flood of SCP-610 infected shambles quickly into the area, ignoring the man who lit the candles and stands in the middle of the room. They proceed to the captives on the wooden circles and begin to pull at the red SCP-610 masses, resulting in further screams and cries. From what can be gathered from the returned video feed, the red SCP-610 seems to be connected to the captives and is using them as a source of sustenance that it then used to grow and feed the normal SCP-610 infected. Overly zealous infected tear at the red mass too hard, which results in pulling skin and tissue from the human captive beneath. This exposed area is quickly covered over by the red mass, which then grows in size. Feeding like this continues for approximately six minutes, at which time the candle-bearing figure sounds a gong and all infected entities move to the pews. There are several more creatures than seeds, but none move past the frontmost pews. The figure who sounded a gong does not move. Spontaneously collapses as made from hollow clay. From the pulpit area, activity is noticed as the pillar of SCP-610 flesh rises through the hole and extends, directing itself towards the gathered creatures. No sound is heard and no motion is recorded once the pillar stops moving. The silent period persists for ten minutes without even a human captive making a sound, having fallen silent at an unknown point. The pillar of SCP-610 retracts back into the hole and emerge from it without any warning, prompting the departure of the infected from the building. The candles remain lit and the team emerges after all infected appear to leave the area. The descended captives remain at ground level as well. All screaming seem to have ceased, but still showing signs of life with heavy breathing and movement. Upon departure from the church, camera feeds from all three members became erratic. Camera 1 ceases transmitting completely. Camera 2 shoots straight up into the air for several meters, and Camera 3 captures the member with Camera 2 being flung by a tendril that emerges out of the ground itself, swinging them out of sight onto the other side of the ruins. Camera 1's feed is restored and displaced Camera 3's owner running briefly into the direction of the lost team member, only to return and run back as SCP-610 infected poured from between buildings. Combat ensues between the two members and the onrushing infected using assault rifles and personal flame units, successfully driving back enough with the whore to make an escape towards the buggy. Passing by a building, Camera 1's owner is ambushed by a figure resembling the figure who was in the church lighting candles, wielding a large crop scythe. Camera 3's owner continues without pause towards the buggy location, however the buggy is found half absorbed by the SCP-610 mask covering the floor. While turning to find another way to escape, Camera 3's owner turns to find the same figure with the sight approaching. Weapon raised. Two shots are fired and camera feed ends. Five hours later, while final decisions were underway to decide how to contain or eradicate the SCP-610 threat, time delayed video feed from the lost team members who fell into the underground river currents were established and have been filed in SCP-610-L6.


Hello and welcome to this session. Let us understand the following question which says the radius of a circle is increasing uniformly at the rate of 3 cm per second. Find the rate at which the area of the circle is increasing when the radius is 10 cm. Now let us proceed on to the solution. Let the radius of the circle be denoted by r and area of the circle be denoted by a. It is given to us is that radius of a circle is increasing at the rate of 3 cm per second. That is dr by dt is equal to 3 and we have to find the rate at which the area of the circle is increasing. So area of a circle is given by pi r square. Now differentiating it with respect to t, so we get da by dt is equal to 2 pi r d by dt of r by chain rule. This implies da by dt is equal to 2 pi r dr by dt. Now dr by dt is given to us as 3 so this implies da by dt is equal to 2 pi r multiplied by 3 which is equal to 6 pi r. Now we have to find the value of da by dt when radius is equal to 10 cm. Therefore da by dt at r is equal to 10 is equal to 6 pi multiplied by 10 which is equal to 60 pi cm2 per second. Hence area is increasing at the rate of 60 pi cm2 per second when r is equal to 10 cm and this is our required answer. I hope you understood the question. Bye and have a nice day.


creative zone. My guest today is someone who has done multiple acts across his career from being a hockey player to having a journalism stance and now being the star creative that he is. We are pleased to have Russell Barrett the managing partner and chief creative officer of BBH India. Hi Russell, how have you been following up amidst the lockdown and everything that's happening? Not bad. Yes, not bad. Like I keep saying to people on calls, I could be better and I could be worse. So that's more or less the situation in last year. You know, not as bad as it could be for you personally and you know, obviously isn't an ideal situation of any perspective. You know, an attempt to make the best out of what's going on around you, both personally and professionally. So tell us about how creatively satisfying this experience has been, you know, creating amidst the remote captivity because the ad world, the agency world is used to a lot of banter, a lot of team chemistry, cups of tea and coffee and a lot of fun creating very differently than they do right now. Yeah. Yeah. No, absolutely. I mean, so, see, before, before today, there was no other way of working that any of us knew or didn't see right before the pandemic hit us before we were before it, you know, led to the kind of life that we're doing today. This was the only life that we knew and therefore we felt, you know, this was the only way that there was to do things. I think the pandemic has taught us a lot of, you know, a lot of new skills that we didn't realize we had. And it's also, you know, it's also shown us the mirror in many ways of where it is that we could be a lot better. I'm not necessarily, you know, I'm not, again, like I said, I would never be thankful for what it is. But I do feel that it's important to be positive and sort of look to see what you can learn from every situation. So I think that the pandemic has allowed us to do that in a way that we've never had cause to learn in the past. So you're right. When you say, you know, the chemistry in a room, especially when you're, you know, when you're meeting a client for the first time or you're pitching for the first time, the chemistry was really has always been really important. And it's extremely difficult to capture the chemistry over a Zoom call or a Microsoft Teams meeting or a Google Meet. It's difficult to capture the chemistry.  The way that we interact with work has also changed, you know, personally, I've never been a fan of the brainstorm. I don't think great work comes out of a brainstorm at all. I think good or slightly average work comes out of a brainstorm. That's just my perspective. Of course, there'll be people who disagree with me because I feel that ideas come from an individual and then others collaborate to make them better. And that can still happen remotely, you know, an idea necessarily, and if you have to be honest with yourself, an idea will come from an individual, the germ of the idea, the seed of the idea comes from one person.  You know, it's still possible online, so it's still possible to do it over a call. But, you know, the banter, the cups of coffee, some of the time that we need to sort of like, you know, to break from the, you know, from the pressure of work, that is not there. It's, I think, in a sense, made us a little more mindful about time. And that's a good thing for the world of advertising. I think we've, you know, we've got that to learn and to take forward with us when we go back in whatever way we go back to, you know, to work, be more mindful about time, our own time, and others as well. You know, because I think that that's been a really important learning, especially, you know, when you're running an agency and running up the creative department. You need to understand that, you know, people's time, the work from home aspect, sometimes you forget that it's from home and then you have to work for the home. So, you know, you have to, you can't expect people to, you know, have the same kind of hours that they would have had when they were in an agency. So they will have to cook for them, they have to clean the care of their families. So you're a lot more mindful about time, I believe, and I think that's a good thing. It's a good thing for the advertising world as well. Being mindful about your time and other people's time as well. So how is this entire thing of remote shooting being? Because we are used to flying, we are used to a lot of wreckies, we are used to being there and seeing that there is proper light. So what has come out of that experience? Yes. Yes, so again, it's not like we've done a lot of it. I don't think anybody has done a lot of it, but I have a personal perspective on shoots as well. You know, and I feel it's something that I've learned over a period of time. Some of the greats in advertising who I've worked with have, you know, had this point of view as well. So it's not like my unique perspective, but I've come to accept it's wisdom more so over this period of time. You know that if you have a really locked down PPM as a creative person, there isn't that much for you to do on the shoot. If your PPM is slightly loose and it's slightly unstructured and there are decisions that need to be taken, then being present at the shoot is super important. So I think it puts the pressure on both the production house and director and the agency to have, you know, to have a lockdown PPM because, you know, thinking on the fly at the shoot, hey, what if we do it this way, etc. That's not going to be possible, especially in this situation where, you know, you're sometimes in another time zone and sometimes very often in another city. And even if you're in the same city, not present at that shoot. So having a lockdown PPM where every element of the film is thought through is super important. And I think that, you know, it's a good, again, it's a good thing. It's a good thing to go into a shoot prepared. It's a good thing to go into a shoot knowing exactly what you want out of it.  And I think you can still do that to a small extent, but it's not as, you know, it's not as hands-on as it used to be in the past. But I feel that if you lock down your PPM really tightly, it shouldn't be that much of an issue. We are about to get into a fairly big production now. And so I'll be able to give you more learnings, you know, post that project. But the conversations that I've had with the clients as well, and to reassure them about, you know, the supervision and the kind of shoot that we need to have has been worked really hard on the PPM to ensure that all the questions, all the people that we need, we'll have a much more fluid shoot. So PC, a lot of work in terms of, you know, a lot of ad campaigns being shot on the phone because obviously we have limited resources and all that. And also there's a lot of UGC format work that's going up. But don't you think that, you know, there'll be a saturation soon in terms of that, in terms of consumers? Yeah, yeah, I mean, yeah. Again, this may not be a widely shared opinion, but I'm not a great fan of, you know, of the person in the first film that did it. Great, fantastic, which, you know, they did something that people had not done before. And subsequent to that, I don't, I'm not impressed with another, and I don't think the audience even forget about me. I'm not the most important, the audience is the most important. You're not that impressed anymore because it's not new, you know, there are lots of people doing it. You come back to the heart of the matter, which is how compelling is the idea? How, you know, how touching is that piece of filmmaking? And whether or not it's been shot at home, it becomes less relevant.    And how well is it being told? I'm sure you're doing it from home, but you can still do it really well. And sure you're doing it from home, but you can still have a sparkling idea. And I think that, you know, that initial first mover advantage is now done. You know, what's the idea? How well is it being told? So if you can take us to, you know, some of the work that you've done at BBH, I mean, the lockdown, that'd be very interesting. Also, the lockdown took us all by surprise.  How was, how was all of that? Tell us about that. Yeah. Yeah. So I'll talk about the second part of the question first, because I'm sure that, you know, you know, we can, we can share the work that we've done. You know, with you as well, through links, et cetera, and you can see that. But the second part of the question, I think, is, it's fairly interesting because, you know, my, so my son was, and I'm digressing a little bit here. My eldest son was, you know, his 10th son, he was getting admitted into this 11th grade in the school, high school, junior college that he was going to, had a meeting with the parents and talked about, you know, what do you think is the most important skill that your child should have for the future?  And, you know, all of the parents were going, like, hard work and perseverance and, you know, all of those things. And he said, yeah, you know, that's all good. But what do you think is the most important skill? And we kept going back with, like, you know, it's, it's this, it's that, it's, and his, his answer to us really actually, you know, I kept thinking about it through the pandemic and through the, through the, through the different reveals and different stages of the pandemic. And his answer really was the biggest skill that we need for the world going forward is adaptability.  So being adaptable is, is really key.  And, and if I look back at the early stages, the people who are more adaptable and adapted faster were the people who's, you know, were better at it. And that's, I think, that I think is going to be more key than ever going forward. Having adaptability both as an agency and as a, as an individual in advertising on an individual, especially in the creative business being adaptable is both far more important than it was before. And it's also going to be the difference between success or, you know, catching up. Right. So, so to answer your question, back in the day when, you know, when, when lockdowns were announced and extensions happened and then, you know, different things happen around it. Being adaptable and being adapting to that and saying, okay, fine. So now this is the new reality. How do we, you know, how do we move from here? How do we react to this? How do we, you know, how do we change some things that we were doing earlier into, into another thing? And having that mindset, I think is going to be extremely critical going forward, extremely critical. And if you're, yeah, like, you know, if you're, if you're going to be kicking and screaming against the changes, you're going to find it a lot tough because change is going to change is the only constant. It's the only agency model of the future, like, you know, one that's continuously changing. And if you're not going to accept that, you're going to be battered by the, by the changes that life and the world are going to throw at you. And so, yeah, coming back to that educational, that education I received at my son's, you know, junior college interview, I think that that is, that is absolutely true for all of us today. Being adaptable to the changes that will occur and are going to continue to occur. So now if you can just take us through some of your most creatively satisfying bump that we've done at DBH. Yeah, yeah. I'll start off with actually a film that, you know, a film that an ex DBH has made, and we, I collaborated with him. It came from a very personal space, you know, where early on in the lockdown where, you know, people were trying to trying to change the narrative or shift the focus of the narrative to the wrong, you know, to the wrong or distract people with the wrong information. And, you know, WhatsApp was being used in lots of, in lots of dramatic ways. A lot of hate was being spread. And was, you know, the attention was, there was an attempt to divert the attention to people. And we saw that happening at the early stage of the lockdown and it's something that this, this ex colleague of mine who I worked very closely with for, I think over 12 years, a young, a really young filmmaker now because he's just started making films called Kunal Sawan. And he and I have worked together across three agencies. And so he reached out to me with this idea that he had, and he asked what I thought about it and, you know, how it should be, how we should end it, what should the lines be. And I really liked where he was coming from with the idea. And I said, you know what, listen, we'll help you produce it.  This is what I think you should say.  And the learning from that idea, besides the fact that it came from a very real place and it's something that affected him deeply and me as well, which is what immediately, you know, resonates with you when you see that film. It's a very real message that talks to what's happening in culture around us at that time. And the other thing that I wanted to say is that that really for me is creativity at work.  But telling the story, okay, let me put it to you this way. If you had this idea and you could go out and shoot, or you could do it in this way, it would still be better done this way. You know, so it was an idea devised and created for the skills that you have at hand, not as a compromise because you couldn't shoot. I thought that that was the beauty of that idea. You know, it was beautifully crafted. There was no, you know, there's nothing that you'd want to change with it, even if you could go out and shoot. This is the way that you should actually be looking at that film. So I liked it for that reason that it used the limited tools that lockdown gave us, but used them in the most dramatic and the most creative way. So if you see the emoji film, you know what I'm talking about. It is the language of forwards. It is the language of social media.  So that was one film that, you know, we did at the early part of lockdown.  And so we launched this whole, you know, building the showroom from your, or having a showroom experience from your living room, right.  So that was an interesting project, which I thought was quite cool. Then I think we did something really, really interesting on Taco Bell, where it's probably India's first outsourced menu, you know, menu selection where we got, we actually put the idea was the first supper, quite unlike the last supper. It's the first supper back after lockdown lifts, what would you want to eat, right. And we created this whole, sort of this whole activity where, you know, items from the Taco Bell menu competed against each other and the people chose which one would be more to their taste.  So, you know, arguments and sort of interactions and voting that happened online to then be revealed as the, you know, a crowdsourced first supper meal, which we thought was like, you know, really cool and really interesting and really different. Using, again, using the place that people were in and using the motivation that people were looking forward to, like, you know, we've all fantasized about that meal that we're going to have once lockdown lifts. This is what I'm going to have. And actually using that idea for a brand itself was quite fulfilling. Then, of course, we did a lot of, we shot the films on Vivo, the new Vivo campaign before lockdown, but we did a lot of the post production and a lot of the putting together of those films during lockdown, etc. And they're doing quite well. The new Anurkan films, it's a campaign that we've done, we've made four films to have been released. Two others hopefully will come out soon. But that was another campaign that's done really well for us and has got a lot of traction in the market. That was done by Adele office and headed by Vasuda. But yeah, that too, again, was quite a challenge because as you'd know, you know, post production is where a lot of the big decisions get taken. You know, you've got the footage and now you're putting it together and a lot of flips could happen. And again, done remotely and heavy files being sent across computers, decisions being taken late at night, etc. I think we were able to put together a really nice campaign. And like I said, really happy to hear that it's doing really well out there in the market. Those are a few, obviously we're doing like, we did a really interesting, you know, social campaign for Tata Suns, which is the numbers of hope. Again, at the time where we were just getting heavily sort of depressed with the wrong kind of numbers, we did this little video that talked about the numbers of hope. Where Tata talked about all of the positive numbers of this lockdown. The amount of people coming forward to help, the numbers of doctors on the streets, the amount of PPE kits that were being sponsored, the amount of money that was being given willingly and freely to help fight and combat these horrible times that we find ourselves in. And the great thing is like, you know, the BMC retweeted that video and pushed that out even further. There was a lot of traction that that video had for us as well. So like I said, I think there's, and of course there are tons of work that we're doing on a daily basis on social for all of our brands and a bunch of innovations that we're working on as well. And we've developed a lot of work, you know, we've used this time actually to develop a lot of, you know, for many of our brands, a ton of work that will hopefully now start to come out. So the thinking and the hard work from the creative, you know, from the creation part has already been done, already been approved, already been like, you know, we're now talking to directors and we are getting into production. As as it opens up. So the some some businesses that had the ability to sort of like, you know, give it a break, use that time to create. And have timed it so that now that as things are opening up slowly, we are going to be able to produce. So we've been working extremely hard, extremely hard.  But actually, it is, has been that there's been a ton of work, a lot of creative development has happened in this period of time, so we hope to see like a year's worth of work start to come out as we as we open up more and more. Right. So last thing, so COVID-19 is, is a humanitarian crisis. And a lot of what shows all over are talking about not factoring work created for these times. And also tricky for clients these days to, you know, kind of understand what to say and how much to say, because you know, the idea is to know how do you not be very exploitative or opportunistic and still make a conversation, rather than using it as a mere marketing ploy. So what would be your advice to creatives and brands when making a conversation on COVID-19? Yeah.  You know, you cannot ignore this because it is part of culture. It is part of the life that the audience is living. So to ignore it would be, would be a travesty of sorts, you know, because you're just imagining that this never happened.  So I don't think ignoring it is the right answer to your other question. And I think it's an important question for each individual to answer is, you know, how do you, how do you say stuff without being exploitative? And how do you say stuff without being, my point would be the point that I would make to any market or any advertising person be honest, be honest about what it is that you're doing. You know, and if it feels like it's dishonest, don't do it. I mean, it's really, really very simple. Don't be, don't say stuff that's untrue. Don't say stuff that does not have, you know, some element of honesty attached to it. I think it's important to talk about and it's important to consider the world that we have been left with because of this pandemic. So you can't ignore it. But you know, you'll be, you'll be eventually caught out if you're, and people aren't forgiving of brands that try attempt to fool them or attempt to, you know, pull the wool over their eyes and it's and most importantly, it's visible from, from a, from a mile away, you know, especially if you're, if you're paying lip service to, to the world that are, you know, you're trying to be exploitative, it's very visible from, from, from, you know, from everybody's perspective. So it will, if you probably do more damage to the brand than good, be honest about what it is that you want to do, be honest about what it is that you, that you hope to achieve, be mindful of the fact that people have, have had a really, really tough life right now. And, you know, create messaging that keeps that keeps that in mind, I think it's extremely important to, to carry that forward, as opposed to, you know, either a ignoring that this has ever happened and carrying on like, you know, like nothing is, nothing has changed, everything has changed. You know, you have to, you have to accept it. But, you know, yeah, but don't, don't pretend to do things that you're not doing. The good thing is a lot of brands have stepped up and done amazing stuff during this time, you know, from contributions to actual initiatives, a lot of brands have actually done things because I feel that it's an, you know, it's something that has affected every single person from, from the CEO of that company down to, you know, down to the distributors, everyone has been affected by it.  I think a lot of brands have genuinely been moved to do, you know, to act in really positive ways. And, you know, it's important to communicate that without being, you know, without wanting to give yourself a pat on the back or anything, but it's important to, it's important to go out there and talk about, you know, issues that actually affect people and what you might be doing about it. Right. So, I think the positive part of it, if at all, you can look at a positive is that a lot of sensitive marketers and a lot of sensitive brands have taken it upon themselves to make a difference in some way or the other to the world out there. And I think the audience recognizes that you don't have to, you know, you don't have to make up stuff to tell them the audience is already seeing what it is that, you know, some brands are doing and some individuals are doing and some, you know, groups of citizens are doing even. I think the audience is aware of it and yeah. Beautiful. Thank you so much Russell for your time and for sharing some amazing creative insights. Take care. Stay connected. Thank you so much. Thank you. Thank you so much.


Dude! This is the JJK I love! Guys, let me know down below. Who do you like better, Jujitsu or Kaizen? Alright, um, yeah, that's the intro. That's all I got today. I just wanna watch the episode, to be honest with you. Let's start. What is this? What is this? Why are they scaring me like this? Who is this supposed to symbolize? Stop, stop who? Did we get, like, an animation buff? That's a really good shadow. This is a really good... Opening.  I was like, go... Oh, that was great, that was great.  Alrighty, you got me. Best episode ever. 10 out of 10. Gojo sensei is not over there.  Toki!  Oh my God! Did he just wall bounce?  Why don't we just hate signs in Japan? What was that?  I know that vocabulary. Ro. I should have known too. Who else says ro?  Nah, man, that was awesome. I know DOSOX. That's May. Where's a Chozo? Do I know DOSOX? It's Chozo socks. I think I know DOSOX. Beautiful, man. No, it actually looks more beautiful in person. Only Japan could make somebody say that. It is Chozo. I knew it, man, May. Why'd I say May? I know my JJK feet.  It's so quiet. We're gonna have a battle now. Yeah, man, they got a budget increase for this episode. God damn, this is insane. Shit. Oh, yo, instant anger when he saw him. And y'all told me in the comments that his brothers were murdered, like from season one.   It's gonna be so sick, man, with the budget increase. One whip, man, that's so cool. It's a goi. Ooh. A first-person shooter with Chozo. Imagine this, man. They're showing us what it could be like. Called it, like, Chozo's Galaxy. Man, we're fine. Come on, we know this, bro. We know this, we know he's fine. I wanna see a toddler. He's snap right now, man. They owe us. Brothers. You bet a flashback to them. It's the guy that said, don't look at my back. Oh, those were his brothers. I think that was him. Wait a minute. Yup, oh my God. Thank God they showed that. He cried. You should not have said that. Those were his brothers. See, I wasn't supposed to know that till now, you fuckers.  Oh, the colors with the, oh my God, with the neon lights behind him look so sick. This camera view, they've been doing this episode, man.  Wow, he was able to just knock it out of his hand. This is such a cool move, man. Blood manipulation. He's a blood bender. Okay, these neon lights behind him look so sick with this animation. And you can actually see the fight right now. I think they're getting better.   This fight's still nice, yeah. The way he takes the blood. Oh my God, like if he inflicts you, he can lift that blood off of you and now use it as his weapon, man. That's so sick.  Dude! Hollow Red. Shit. I didn't even know that was him talking for a second. His voice was so deep and like, distrusted. Is he Gojo now? Oh my God.  I love the sound they chose to go with this season, man. This cyberpunk vibe. Supernova, the way you... My God. Now he's gonna draw the blood out of him again. It's Audrey! Shit! I could really use Toge right now. Delighting, man.   You just learn what that word meant. Doesn't matter. If I just learned yesterday what the word murder went and 30 people were murdered today, what does that mean? I can't say anything about murder now because I just learned what the word meant yesterday. No, what the fuck, bro? I was a little annoyed that I couldn't see the episode the way that it should be seen. I wasn't complaining that the episode was bad out of the 100 compliments I said.  I'm over here coming over this, over this, which sounds wrong, man. We're looking at a picture of each other, eat a dory, but still, incredible, man. The lighting. The animation of this episode in general. Sick, bro, with the lights on the signs. Going off this episode with the colors. You don't wanna see any character looking like that with his eyes glowing or his eyes hidden. It's a bad sign. What have you been doing, Nekumaru? I don't know, he's dead. As who? Wait, as Kamo, Kamo, let me Google Kamo real quick.  Oh, Megumi's brother. Where's that Chozo's brother? His real brother. I forgot who Kamo was, bro. It's been a while.  Nekumaru's more useful than ever dead. Isn't that crazy? It's like Mirror's Edge, a first-person shooter. Bro, y'all gotta make this game. These guys just walking with these red orbs. Oh, God. Chozo's being smart right now.  Just like your dead brothers. Calling them brotherless. Oh my God, bro. Nekumaru was...  Y'all are snapping right now. JJK, man. Nappa? Shit, bro. Wappa.  He's on the Xbox mic. He's not there. He's a keyboard warrior right now, man. Shit. Let's go.  I can't say it enough. Don't do that, bro. He's dead already. Damn it. It's like Logan and Dylan Danis. I'm starting to love this narrator. I'm starting to love this narrator.  What are you doing? The esmotic pressure causes my jaw to feel a bit business-class.  Oh my God, the water. Washing the blood. Nekumaru's telling me to go in the bathroom so we can break some toilets.  He's gonna lose.  Yo, eat torturi. Eat torturi.  So damaged. The voice actor's growing. Do you think I'm back?  These angles. I can't get enough of this. Mappasen, you see our budget? Neer, multiply it by 10 this episode. I can't believe it.  That they did this fight justice like this. They gotta do this with every fight, man. This is the eat a torturi we know, bro. No, don't say that.   Oh, my God, now what? Oh! Se-ket-sou-jutsu.   Rikai-shita. Ore no yaku-wari. Fushiguro ga. Koko-to-te-ko-jo-sensei-no-tokoro-e-ikeru-yo. Shinde-mo-itsou-sen-to-fu-no-ni-seru. If I get my diet, take this guy out with me. Ore-chan-akute-iii-kuu. Sombatsu-no-tontoro-sombatsu. Shit. I got it, man. This is one of the better fights of this series. And these narrators make it that much better. Is this gonna make Sukuna come out? Is this fight gonna be the one that brings him out?  Damn, they're that close to each other right now. The water bouncing on them with the lighting, the red and the blue, the good and the bad, on opposite sides. This is the- it's a part of Kaisen, right here. Come on! Hand to hand combat, top notch right here. Oh, God! What are you doing?! I'm talking a map!  Dude! This is the JJK I love! This is the craziest bathroom brawl I've ever seen in my life, man. God, I think I can say that. This is number one, the biggest bathroom brawl of life. Could we all agree in the comments? Watch like this, man.  Oh, God! Manipulate my blood, bro. That's what they're doing. We need a game like this! We need it! This was a fair fight? Choso put up a fight? I'm saying that because I know he's gonna lose. He's not gonna die, I don't think so. Oh! Oh! Didn't they do that in season one with the- What?!  Did he just beat him one on one?  Dude, is the episode about to end?  No, no, don't do it, don't do it, don't- I know it's gonna end. I know it! Sorry. Would you let him go if she said sorry?  God has arrived! Oh, my God! Dude, what is that anime?  This is insane. Oh, you were fucked.  Oh, my God.  Oh, God! He got in his head. In the studio, Ghibli, am I looking at right now? Just a family dinner. Is he wearing overalls?  God, this is the best episode. I feel like I'm missing something right now, man. I feel like I should be realizing something, but I'm not. They hired a new cameraman this episode because that was just next level. Dude, I don't understand, but if the series continues this way, I can't imagine, but you gotta give it up, man. The quality of this episode was just at its best. It was at its peak. This is JJK at its peak.  That was better than last week. That was the best episode of the season so far. I don't want to say the series. I gotta watch the series again, bro, but that was the best episode of the season. Goddamn, that was great.  Now I respect him. I want to see his character development. I want to see how that affected him right there. He has potential to be a good guy. You know what I mean? He's fighting for his brothers. His brothers were destroyed, but then you got a glimpse of that.  Memories that weren't real, that didn't exist. Sukuna, Sukuna, Suk-Sugruma. Oh my God, man.  Where is this going? That was epic. The animation was something else when they showed him. Where is it? Like, right. Yeah, man. Oh my, like that. Look at the shot right here. Look at that.  I can't wait for next week.


The amphibious landing dock ship USS Ashland recently returned to its home port in Sasebo, Japan, after completing this year's cooperation afloat readiness and training or carrot exercise. We combine with our partner nations of Thailand, the Philippines and Malaysia for bilateral as well as one multilateral exercise of both Navy and Marines ashore. They also set aside a time to foster relationships with the local communities they visited. What better example than our own blue-green team with the Navy Marine Corps and very proud of what we did in carrot as well as our operations in the South China Sea. The completion of the 22nd annual carrot exercise marks another year of improved cooperation and enhanced interoperability among partner nations. FETI officer Claire Farin, Fleet Activities, Sasebo, Japan.