Jalen Hurts! For anybody who's confused, this past season of Wheel-A-Mut, my flagship main Madden series, I stumbled upon a new quarterback, a 74 overall gold Jalen Hurts, and he was a God. For no reason, through lasers, didn't fumble, rarely mispassed is the only thing where he lacked was throw power because sometimes I'd burn somebody deep and he just didn't have the arm to do it. Well, guess what? This 90 overall Jalen Hurts, not only does he get escape artists, he has 92 throw power, he has better accuracies. If he plays just a little bit better than his gold, this is basically a golden ticket quarterback in my mind. I mean, clearly, clearly, I'm a little biased at this point.  You know, I don't really know what it was, why that gold was so good, but I hope it wasn't like a glitch in the matrix, you know? Because when I'll be really pissed if this Jalen Hurts starts missing throws, then there's just some glitch in the matrix and gold Jalen Hurts is just cracked for literally no reason. But my mind is telling me this card is gonna be incredible. I can read option, I can throw lasers, I can scramble out of the pocket, I can do literally anything I want to. We've got the other Blitzmaster, Bo Jackson gonna be part of the gameplay. We've got Jamar Chase, DK Metcalf, Randy Moss, Mike Kasicki, you got a lot of studs out here. I can promise you, it's just gonna be a fun one. House Trolls is in, it's College OT, so Jalen Hurts is gonna be able to do a lot here. Randall Cunningham, Alan Robinson, this is an interesting team, King Chaos. Little Rita, I'm sure we got to just do it, Nike jerseys on too, does he bite? He bites! Jalen Hurts has got daylights! Oh, I rounded the corner a little too hot. I'm not used to the speed out of Jalen Hurts.  Oh, Bo is flying!  Okay, Jalen! Okay, Jalen! I would love to get this Jalen Hurts on my Wheel of Mud team, but he had his arrow, he had his goal, Jalen Hurts arrow, I feel like I have to let it die on that pedestal.  But let's go get this two-point, yeah? Oh, too easy for Bo Jackson. Eight to zero, that's a hot start. Randall Cunningham, you wish you could be half as good as Jalen Hurts is. I'm gonna use your Ramsey here. Oh, oh, he ran that play. It's a play I always run. Red Zone Scissors, yeah, that hat background, it's nasty.  Let's see what he likes here. I'm gonna go on Devon White if this is a run play I'm in trouble. That's about it though. All right, I feel good.  I'm up here. Let's go, you're ready! You gotta give yourself a shot, bro. It's what you get for having Matt Nagy as your coach.  Camp Chance at Randall Cunningham, Randy Moss. Easy pickings. All right, Mr. Jalen. Let's see what we're looking at here. Should just be able to step up and get around. Dude, I swear I literally forgot how to just like go down and not jump. Either way, I'm pretty sure this could be a Darren Waller touchdown. Let's get a double team on the right side so that I can get around this edge and laser to Darren Waller. Good, good, good, good, good, good. Darren, ah, he's not there. Oh, I lost yards on that, damn. Okay. Let's make the read. We gotta make the right read, though. It's crucial that we do. Oh! I think both reads technically were the correct read. We're gonna go with one of the sauciest plays this year. Tight end attack. I'm looking for Bo Jackson under. Do I have time? Wow, there was just so much there and I didn't throw any of it.  Oh no, he doesn't have, oh! They were both just sitting there wide open and I fumbled the bag. No bag will be fumbled here. Keeper, keeper, get a joke! Oh, Jaylin! All right, bag might be fumbled. Does he QB spy me? Or is Mac half just a touchdown? Snap, touchdown. Snap, touchdown. Bingo! No, what? Why was that throw so slow? I swear it was there. Jaylin, did you sell or did I sell? I might have sold. Nick's separate responsibility for the sell.  I forgot.  I could have sworn if I had thrown it. I've thrown it low as soon as it snapped. Dude, that's supposed to be urban Meyer. That pisses me off more than anything. So here's what I'm seeing, right? Look at that. Mac half right there, he rifles it low. That ball goes so high. I actually think he sold. I think Jaylin heard sold. Cause look, if that's a low rifle, well I guess if it's too low, Jack Tatum picks it off, right? Look at this, I threw it. Mac half, it has weird. Genoese Jenkins, Charles Woodson, Cam Chancellor. Blue king, wait, let's return it. Let's go. Let's go, Ramsey. One more, one more, one more, one more. Damn, it's kind of sick. I was trying to pitch it back another time though. You know what you saw, he's doing wheel and mud with Jaylin Hertz.  And I'm pretty sure I could do it here for a touchdown.  I still think we can do this. But Danny and Tomlinson is not running the route. Oh, no shot. What? Why can't he make that throw? Are you kidding? Beats set in the pocket. What?  Maybe it was true. Maybe the goal Jaylin Hertz just had this magical juju that is impossible to replicate. Although Jamar Chase could just burn his man over the top and then I don't really have to worry about touchdowns anymore. Yup. Oh, he's not in. Damn it, I got to the one though. Great throw by Jaylin Hertz. And I'm probably just gonna scramble this in. I don't think there's any QB spy that's strong enough to stop what I'm about to do. Oh, maybe there is.  Look at Poe Jackson.  All right, little bit of redemption. We do have to go for two. We are forced to go for two. I think I'm just gonna do the same thing. Straight up exact same. Actually, we could just hit Jamar Chase here on a quick slant if he's blitzing. Let's see it. Nope, same exact thing. Look at Poe. Look at Poe. Perfect pass. It saved his zero. Let's see what we got. Okay. Oh, there's zero effort from him required, but hey, let's see if he can truly get her done. Does he run this to Kamara? It is not. He's passing. There's nothing. Oh, there is something there. It's a manual standards. Now we have to do the back to back two point conversions. We're in triple OT. It is only two point conversions now. Get there!  Oh, Justin, Herbert just barely catches up. And you know what? We've gotten it every single time with tight end attack. We have two straight two points with tight end attack. So why don't we go for one more? Let's see if he's in the exact same defense. He is in the exact same defense. We are gonna come across. I'm gonna throw it. Damn. No, no, no. No!  Oh my God. Uh-huh. And he's gonna do that. Jalen Hurts sold. He missed that deep post that would have ended the game. I mean, we could have kicked the field goal of the win, but that's no fun. I need the gold Jalen Hurts back, man. This one doesn't have the magic. Jonathan Vilma, Mitch Trebis, I'm not losing. No, I'm not losing. Mitch Trebisky, you are going to get sacked. Just kidding. It's a prank, bro. It's a prank. I'm not losing. Nope, nope, not losing Mitch Trebisky. Derek Henry's about to get this ball, huh? Let's get Sean Taylor in there. Yup, yup, yup! Oh!  And he goes out of the one! Again. Again, I make a... Five wide, Mitch. That's what you get. That's what you get for running Mitch Trebisky five wide. Oh, Midblitz, you're very creative. Jalen Hurts! Crispy Corner out to Darren Waller. You know how to throw that. You throw that a million times. Let's go, Jalen. Let's go, Jalen. Let's go, Jalen!  We're going in the end zone one away or another. Bite, bite. Oh, okay, you know what? He actually totally didn't bite. Doesn't matter.  His bow open here. He's gotta be. This is not the Jalen that has the sauce. I'm serious, you guys. It's not the same Jalen. Going Darren Waller here. Man, that's pretty nice. I still like to throw lasers to Darren Waller, but I'm telling you, man, it's a different guy. This should be an easy throw to Randy Moss, cause I think that's a blitz. Ooh, maybe not. Go, Jalen. Uh-oh. Gotta chuck one up. Just don't return it, please. Ooh, he wants to throw Henry. Okay, you know what? We'll just end the game.  Oh, he got touched. Let's go. That starts our hot streak, okay? He said, let's go, baby. I wish I was the same as my gold card. Primetime, Devon White might get, okay, it's a fair matchup too. Let's go. He's got the lion's duties on. With the Lamar. Get there. See what he's looking for here. Okay, that left side crosser's open, isn't it? Shit. I'm blitzing everybody, baby. I'm selling out for the run, so I really hope he's running.  Does he do the same thing? Okay, okay, okay. How? I don't know how that happened. But all right, got scored on pretty quick here. Let's see if he kicks it or if he goes for two. Kicks it. I'll kick it too. If I get the toddy, I'm gonna kick it too. Let's go into second OT. I'm gonna double team the right side and I think we might just be able to take off here. Ooh. No, you didn't. Jalen hurts. Jalen hurts. How did you get around that? I'm gonna send Darren Wall over the middle as well as Randy Moss. Oh, Jesus. They get to mid blitz again. See if we can get around this, yeah? Bo Jackson.  God, this is so annoying. He's taking care of Bo. I think the only thing he hasn't accounted for is Darren Waller. So let's see if Darren Waller gets up here. Ooh. There's a big fourth down right here. Fourth and 11? Here's what I think's gonna happen. He's gonna go to Darren Waller now. So I'm gonna block Darren Waller.  He's not gonna guard it. I think Darren Waller's gonna be open. Oh, wait, maybe not. He might be guarding it now. I'm resetting the play. I'm going to Bo Jackson. Okay. Oh, he's not open. He is! Stay in! Let's go! Jalen Hertz went a laser. There was not a better spot he could have put it, bro. Any lower gets picked off any higher. He's out of bounds. Jalen Hertz came up big, seven to seven. We're taking this into double OT. We had a third and 25. Jamar Chase is in press. And look at that. He brings his safety all the way down. I think Jamar Chase might, oh, he does not have his man. No shot he has his man. But look at Bo Jackson. Why the fuck? Why is that inaccurate? Is it inaccurate because of how far I'm dropping back in the pocket? Somebody was telling me that, but that also makes no sense. That is a basic throw. There is no pressure on me.  That's frustrating, dude. That hurts to see. All right, here we go. Good. Actually got it to Bo Jackson this time and I air truck a little bit early, but gonna make it work regardless. This is really unorthodox, but this is how you counter midblitz in like man 20. You just run read option. You know how far I got to bite. He does not, but oh, this could be there. Let's go. Damn, I'm only out to the two though. You gotta go for it. You know, as much as I believe in Jalen Hertz, I think I believe in Bo Jackson here. For the goal, two yards to go.  Let's go. We have to go for two. I think I go read option. Let's see what he does here. Too easy. This has been such a sketchy game. He's in bunch. I knew he wanted to go back to that. I got to it just a little bit too late. This is most likely a run. I don't want to pull Jeyer too far. Okay. Got the edge.  I'm gonna run commit. If he passes, he has got this in the bag. I just rank him into a whole team. How did nobody get in the backfield? 15 to 13. Let's see if he runs it again. I'm on Keekley. We got to make a play here. Oh, I can't believe it. Bastard. Oh, what a game. An insanely intense W. We got to end on that one. That one was wild. Jalen Hurts.  I'm glad the 90 over else here, but I don't know something so special about that gold card. I don't know what it is, dude. I really don't. Either way, I love you boys. Thank you for watching as always. I'll see you tomorrow with another banger. Peace out.


Hey there friends! How's it going? My name is Kevin and today we're playing a firefighter game. My only issue is that I can't pick which one because they both look so good. You see, I was pretty set on firefighters, the simulation, which just looks like a very generic low effort simulation game, which I love. And some good reviews too, like once you get past all these negative ones, the... Oh, there's one! Great! But then I saw firefighters 2014. I opened it and I saw this image. And well, I didn't really need to look into it anymore. I kind of knew deep down that this was the one for me. The thing is, it was just his face that convinced me, but now that I'm looking at it again, why is he taking a selfie smiling into the camera when there's a fire burning behind him of an oil tanker? Like shouldn't he be helping? There's one dude over there. But look, it doesn't matter.  But it looks really good. And again in the reviews, ignore all these. Ignore, ignore. Ah, here we go. Three in a row. I like firefighter games. My first Steam game. I am so proud of this game. And all right. Reviews like that. How can you go wrong? I'm imagining it like on the box art IGN. All right. I mean, if the bar is set that low, you probably could do that. You could find a bid in their article where they said, all right, the problem with this game is, and then just clip the, all right, put it in quotes, IGN. All right. Sorry, firefighters, the simulation. I'm going to have to go with firefighters 2014. Why does the developers intro look like a YouTube intro from 2011? All right. I got the game installed. I was just staring into the void, literally waiting for it to install. It kind of clicked and I was just like, huh, I really don't do much when I'm not recording. All right. Let's fire some fights and fire. No tutorial for me. My people need me where there's smoke, there's fire or even worse underage teens smoking. Either way, I'm blasting it with the hose. Okay. These credits are really long and they're just repeating the name Andre Berger over and over again. He's done everything. Oh my Jesus Christ. What is this sensitivity? Oh my God. I'm going to give my own guy whiplash. His neck is going to snap. As I myself have a lot to do, I'll summarize the most important point. What is with the music? Why is it so mysterious? One of the people in this room is a murderer and I'm pretty sure it's you.  Oh God, maybe it's him actually. Did you see that? He just snapped his neck to the left and stared at her. Oh, it was you, wasn't it? Yeah, it's definitely him. He's giving me the old side eye. Who are you? What was that? Oh my God. The music is so dramatic as well. How are you? I was just power washing his face. Sorry, sir. I just noticed that the electricity was a bit dirty, so I'm just going to give it a bit of a wash. Can I turn off this music? It's so dramatic. I hate it. Okay, that's better. Now, can we use our own music? There we go. That's much more suited. Calling Florian 1, Florian 2, and Florian 6.  Oh God, where's the dramatic music again? There we go. It's a dumpster fire. We got to go. I don't even know how to drive. In fact, one step before that, I don't even know how to get in that fire truck. Wait, no. Guys, please. Don't leave without me. Please. I don't know how to drive. Oh, for fact's sake. All right, I got to figure this out. You, sir, I'm commandeering your vehicle. Okay, that was a ghost, actually. This epic music when I'm just mashing all the keys attempting to get in my car. We got to figure this out. We got to stop this fire. Is this the same game? This might be another firefighter 2014. How many were there? One of the first things in a manual teaches you how to uninstall. I wonder why they put that at the front. Okay, well, the time's about to run out. I'm not sure what happens. The shift has been ended. Okay.  Good morning, everyone. I don't think somebody's going to do. I think I actually have to do the tutorial just to figure out how to get in the car. Then I'm fine. Honestly, I think I could only get into the fire truck that left without me. I don't think the other ones were usable. Hello, you must be our new employee. I've been expecting you.  It's just a bit like... Have they just voiced over it?  This is where the action is. He's not showing me anything. This is the tutorial. Oh, great. He's showing me the drink dispensers. That's fantastic. Where do you go? Oh, he's going upstairs. What are you doing, dude?  Oh, I'm going to get a hinge on these things. Let's see. There we go. What is that perspective? I don't even have to do anything. He just does it himself. This is your office. On the wall on the right is an empty shelf. He said there's an empty shelf for all my future awards. I hate to break it to you, Chief, but that's going to be empty forever. Apparently, I just spanked that light switch by the sounds of it. Chief, can you please just teach me how to put out fires? I love how he just walks through all the doors. Something in the kitchen is growling at me, but I'm just going to ignore that. He's literally just giving me the slowest tour I've ever gotten in my life. He's just been like, here's the workout room. Here's the kitchen. He hasn't taught me a single thing about putting out fires. On his sprain with this, he looks as pale as I do. I'm trying to put out fires before they start. I mean proactive, which is the best way to stop fires. So that's it for our little tour. What? You didn't teach me anything. Oh my God. The one tutorial I actually decided to do, it takes me like eight minutes and he didn't teach me anything. He just walked me around here. I don't want to read about Andre Berger again. I'm pissed off at Andre Berger, to be honest.  And it would explain just as much. Okay, yes, I can drive this one. Fantastic. This is the only one I can drive. Open the doors. I called for a joy ride. I even indicated. I wonder will the fire break out in the same spot? Hold on. I'm indicating to go right for some reason when I'm deciding to just reverse. There we go. Indicate. I'm going to put on the hazard lights as I am a general hazard to everyone.  Oh, God, I hit an invisible barrier.  Did I go the wrong road? Ah, okay. I think I did. Hold on. This is why the hazard lights on. Please be careful. Another shift that seems like it'll never end. I got his hating this game. My own protagonist of this game hates the game he's in. It's like I could have been the protagonist I could have been Pac-Man. But he's stuck in this reality. It's stuffed us dead. Oh, that's great. Let me just put on everything. Wait, what? What happened? The game was saved. Why am I upside down? It's due to your carelessness. Your vehicle's in heavy damage. Your shift was set for unsuccessful. It just spawned me upside down for some reason.  The game was saved, but at what cost? Okay. It's teleported me to what looks like a different map. Okay. Where's the fire? Oh, there it is. Nice. All right, guys. Out of my way. Oh, it's just one dumpster. Perfect sake. Anyone with a watering can could have took care of this. What second? Where are the hoses? All right. Here we go. Should I put down a cone? All right, everyone. Stay back. Why is there water coming out of the truck? Oh, yeah, I see. Second I got this. Where do we hook this up to?  But I'm going to attempt to hook it up to something. There we go. Nice. Hooked up. Okay. Now let's just put out the fire. Operation completed successfully. There we go. All taken care of, guys. Good job out there. It's like what a sports team does at the end of a victory. You just throw like sports drink over each other. Firefighters blast each other with a hose. Wait, can I take off the hose for a second? I don't know how to take it off.  Okay, I took it off. All right. Close the door. I think we're ready to go. Sorry, my mirrors don't actually work. So apologies if I back into you. Sorry, again, mirrors don't work. So not really my fault. All right. I'm putting on the siren. There is an emergency. I am hungry. I need to get back to the station. Sorry, my favorite football team just won a game. So I'm pretty excited. What debate do I practice in? I shouldn't reverse. Again, I have no mirrors. All right. This is the one. Poor guy. Turn off the siren. No. Wait, wrong button. My car is kind of blocking this one. Let me go in. Fuck, it won't allow me.  I wanted it to just blast a fire truck out of the way. There we go. Remember where we parked. Good job, everyone. Let's get some shut-eye. The siren's blasting downstairs. Everything okay? Yeah. Despite all the sirens, everything is completely fine. I think I'm going to pump some iron. I think I've earned it. Oh my God. It's so loud even when you're upstairs. Can I go to sleep? I mean, sound aside in general. Can I go to sleep? I am going to sleep. Four hours of sirens wailing. Oh, a fire. Guys, I don't know what way is down. Oh my God. It's chaos. I think everyone's going to freak out. No one really knows where to go. Okay, it's just staring at a wall. At least now I can easily find my fire truck because I know where I parked. Wait, come on. Get in. There we go. No reverse cameras. Watch out. All right, maybe we can take a shortcut here. Yep, straight over the hill. Jesus Christ, I'm dedicated to my job. People are dying, dude. Stop talking about yourself and complaining about how the shift is long when you're on your way to fight a fire. Wait, we can change the camera? Oh, that is pretty cool. You know what would work well for this? Is it Bonnie Taylor's holding out for a hero? I'd play it, but then I'd get copyright strikes. I'll just sing it badly so that it doesn't get picked up. I'm holding out for a hero till the end of the night. Take a nap in the fire truck. I'm fine with it. I can sleep through the sirens. You can, too. Sick drift right into that fox. And I definitely rolled over to something. There was a hefty bump there. He like wakes from his nap and I'm like, I'm sorry. Speed bump. Watch out, folks. Sorry, no mirrors, you know? He covers his eyes. He doesn't want to see that. All right, hold on. Let me pull up to it and I'll get the traffic cones. What is that bench on fire? But nothing around it is. I got a brush here. Let me sweep up some of this fire. Just sweep it up to put it over there with the rest of the fire. And now that I've grouped it up together, I can get my hose. Oh my God, I thought someone took out a machine gun to deal with the fire. All right, let me put down a cone so everyone knows what's going on. All right, there we go. Now civilians will know to stay back. Now let me get the hose. Honestly, I don't know why it takes you guys so long. When I spray the fire, it just goes out. When you spray the fire, nothing happens at all. It's as if you're waiting for the protagonist to do it himself. All right, I'll leave the rest of the fire to you. There's just a little bit. Okay, that cannot seem to even contain that little bit of fire. All right, let me take care of it then. There we go. My shift has ended. You're welcome, everyone. I saved the day. Thanks to your excellent performance yesterday, it is my pleasure to promote you to the rank of firefighter with immediate effect. Everyone? Are you talking to me? Because you're not looking at me. You're looking at someone else. I'm assigning you as the driver of Ambulance Florian 5 today. It's making me drive the ambulance today. Great. Sorry about that. I'm just going to check up on an ambulance and make sure everything's in tip-top condition, especially after the fact that I just smashed it into that wall. There we go, all fixed up. I don't know what I was doing. I have no knowledge of what's going on here, but it's fixed up now. Oh, I hit something there. Just another speed bump, I'm sure. For effect sake, I just got here. Now I got to turn around. Oh, me too. I don't think I need to be taking on boat lanes with my lights and sirens on just because someone is under the influence of alcohol. Unless this world is under the restrictions of prohibition, which honestly would just be cruel because this world seems painful. I think you'd need an escape in alcohol and just drown your sorrows. All right, where is he? We got to take him out. I don't see anyone. Who am I treating? Is it you? I just picked up this child. I don't think it's even them. You're coming with me. I'm going to make this as a danger zone because someone just got kidnapped here. Should I take your school bag? No, it doesn't matter. I don't know how to close the door, so you're just going to have to hold tight, all right? I have no restraints or anything. And I don't think this is even the right person. I just kidnapped the child. Oh, God, she's after flying out the back after that crash. Hey, at least if she does fly out the back and get seriously injured, an ambulance will be right next to her. Why is a firefighter even driving an ambulance? I don't really understand why I'm involved. Like fair enough, it was like related to a fire, I guess. I don't know, but it seems weird that I'm just going out dealing with drunk people when I'm a firefighter. All right, ambulance is up ahead. I'm going to cut through the forest to again save a bit of time. It worked before. A perfect safe. There's invisible barriers.  There's an invisible barrier, dude. It's so in my way. Hang on back there, patient. Oh, God. If you're still back there, that is. This completes your operation. Yeah, she's going to need an operation after that. And she was perfectly fine when I picked her up. Lord. Good thing I'm filling up my engine's tank that the car sounds really hungry. You hear that rumbling? Trying to pour gasoline everywhere. Trying to start a fire just so I have something to put out. This is a good beat. You could definitely make some music with this beat. We are. There's someone gravely injured here, apparently. Oh, look at her. She's just lying there. Oh, Jesus. All right. I'm going to do my duty and just put down a road sign because this is clearly insurance fraud. She is not hurt. She's stiff as a board. She's faking it. All right. I think I've done my duty here. I think I could sign off for the day. Oh, this game is so funny. I have to give it a good review. My official review is all right. But I hope you guys enjoyed. If you want to see me do more weird simulators like this, please do let me know. I think I have to. It's just, they're so funny for all the wrong reasons. And feel free to suggest some to me as well, either in the comments or over on Twitter. But yeah, I hope you enjoyed. If you want to watch more of me, I post every day. I also stream over on Twitch. If you want to see me there, the link is in the description. Thank you very much for watching. Appreciate it. And I hope to see you next time. Bye for now.


Hi, and welcome to the Alabama Cooperative Extension System anti-gravity cake workshop. So today we're going to be making an anti-gravity cake, and I will tell you what that is in just a minute. Before we start, let me tell you about something that the Extension System is doing to help people that want to start an at-home business. It's actually called the Cottage Food Law. And through the Alabama Cottage Food Law, you are allowed to bake and sell these from your home. So the skills that you're going to learn today, you can actually use those to bake and sell foods from your home, but you are restricted to what kind of foods you can sell. Right now, you can only do cakes, candies, and cookies. To find out more information about the Alabama Cottage Law, go to our website at www.acesasces.edu. slash cottage food business to learn more about the Alabama Cottage Law. Now first things first, kids, it's very important that when you are using appliances in the kitchen that you have an adult with you to help you with those appliances and the foods that you're cooking. It is a safety thing, and we want to make sure that we are doing this in a safe way. So please have an adult with you to help you with the melting of the chocolates. Now the next thing that we need to discuss is food safety. It is very important that you wash your hands before you start to prepare foods that are considered ready to eat. And our cake today is ready to eat because it's already been cooked. So make sure that you are washing your hands before you start. Now, if you received a cake kit, an anti-gravity cake kit, and your kit, you should have gloves. If you did not receive a kit, it is OK. Just make sure that you have gloves when handling food that your hands will be touching because you don't want to contaminate your food with your hands. So we're going to get started. First, what is an anti-gravity cake? It is a cake that gives you the illusion that candy is being poured out of the air onto the cake. So we're actually going to create that illusion today. So what do you need to get started? First thing you need is a dowel. This is a wooden dowel, a bendable straw. I prefer the bendable straw because it does give a better illusion for the candy bag. And I'll show you how to put it all together. You'll need some candies, a spoon and some candy melts. OK, another thing that you could actually use is cotton balls. And I'll show you how to use these in just a second. So to get started, we're going to melt our candies. So if you receive an anti-gravity cake kit, you receive some candy melts. Now what I would recommend is that you take your lid, don't clamp it on tight. Just kind of lay your lid on top just like that and pop it in the microwave for about 45 seconds. Check on your candy melts. See if they're melted. If they're fully melted, you're good to go. If they're not, add about five more seconds each time until you get those candy melts completely melted. So that's what I'm going to do first. I'm going to pop these in the microwave and then we're going to see how they turn out. OK, so let's check it out. We have melted our chocolates. Look at that. See how creamy and smooth it is? It looks good. This is the consistency that you want to do your stick. Now this is what's going to help those candies stick to the stick. Let's set them to the side for just a second while we get our stick together. Now to do your stick, you're going to need a wooden dowel and a bendable straw. So what I've done is I've already cut off about four inches off of the straw because I didn't want the straw to be so tall. But guess what? If you want your straw to be tall, you go for it. Don't worry about cutting the end off of it. But today we're going to go ahead. I've already gone ahead and cut the end and I'm going to take my wooden dowel and stick it into the straw like that. All right. OK, so what's next? Now we need to cut our candy bag. So now it's really important that you cut your candy bag at the right angle if you want your words to look like they're being poured out. But if you like for your words to be upside down, however you cut it, it doesn't matter. But I'm going to cut it at the bottom, the bottom corner right here below the schedule. So we're just going to cut that bottom corner off. And you can actually use your lid to pour the skittles into. So we're just going to empty those skittles out of the bag and to fill it.  This is going to make your bag look full.   So we're going to just set that to the side for now and we're going to start on our stick. Now this is probably the most difficult part to making the anti-gravity cake is getting the stick prepared. OK, so what you're going to do is you're going to take your chocolate. Now I will I will warn you or caution you that your chocolate may actually harden a little bit. So if you need to pop it back in the microwave for 10, 15 seconds, you just do so until it's nice and smooth again because it will start to harden when it sits out. So just keep that in mind. Now using your wax paper, I've already gone ahead and put my glove on because we're going to be handling the candy. So you're just going to start painting that chocolate onto that stick. Now this is where the candies are actually going to stick. So get you a good coating. You can just dab, dab, dab all the way down. Now where do you stop? You want to stop about three to four inches from the bottom because that's the part that's actually going to be sticking into the cake. So just don't go all the way to the end. If you do, it is still OK. Just don't put your candies all the way to the end because you don't want them to be inside the cake. So next, what you're going to do is just take your your skittles and place them on top. Sometimes they'll fall off.  Kind of take them, hold them, oops. There we go. And just keep going. You can create patterns. This is a fun way to learn patterns. Now there are there are not going to stick hard. You it takes a few minutes. So just kind of keep working. Just laying them on there, but try not to move your stick. Be very, very careful and just keep going. The key is to have enough of that chocolate on that stick just so that candy can stick to that stick. So what I'm going to do is just very careful. This takes a steady, steady hand, but you just keep going and keep going. And there we've got our candies on there. So now I'm just going to let it sit here for a minute or you can just take it and pop it in the refrigerator for about maybe a minute or two and bring it out. And then we're going to do the same thing on the other side. And we're going to do that four times. They're going to do it four times. OK, so I'm just going to take this. Actually, I am going to take it just to speed it up a little bit and go ahead and pop it in the fridge and I'll be right back. OK, so I have popped it into the freezer. Y'all, it only took maybe about a minute for the candy melts to harden. So what I'm going to do now is do the same thing on the side of the stick. Here we go. So we've got our second side. So again, I'm going to pop it in the refrigerator or the freezer for just a minute. And then we're going to flip it over and do the other side and then the back and we'll be done. OK, so now I've got all of my candy stuck on the stick and I put it in the in the freezer to speed it up a little bit.   OK, and you're going to put that chocolate on the stick like that. Now this is going to make the stick stick to the bag. OK, we're just going to stick it in that bag like that and then kind of hold it just like that. It's not ready yet, but it's on its way. Now it's time for the fun part or the next level of fun. We're going to prepare our cake. So you may have a different flavor. I have chocolate. It doesn't matter. Cake is cake, right? But to get our cakes ready, they may have a little hump on top. If they do, I tend to cut that hump off.  Now, if you don't want to, don't worry about it. Now, one thing I will tell you about the cakes that you have in your kits. You may want them to just kind of sit out for just a little bit. They'll be a little bit easier to handle. OK, now I tend to just throw that away.  OK, no eating while preparing food. So you should have received a cake board in your kit. So you're going to take your cake, using that flat part and place that on the board. OK. And we're going to start to icing our cake to put icing on our cake. So using your buttercream icing and your butter knife, you're going to take that first scoop and not that much. Don't lather it on. Just put a little bit and just kind of smooth it around just like that. Put a little bit of icing in between your layers, just like that. And then take your other cake. Now, not the part we're going to flip it over. So the flat part is nice and flat on top. And we're going to place it on top just like that. OK, give it a little tug, a little press and seal right there. OK, and we're going to put the icing on the outside of the cake just like that. Now, you're going to probably see crumbs on your cake. Don't worry about it. You just keep going because we're going to cover all of that. So just go through and ice your cake. Put icing on your cake a really thin layer. OK, and I will be back when I'm done icing my cake. OK, so I have finished one trick when you're icing your cake. Use the smooth side of the knife and just kind of do one sweep across and then just rape the excess back into the cup or you can wipe it off with a clean napkin. And you can do the same for the side. Just one sweep across and kind of get it nice and smooth like that. OK, now one other thing is really, really important when you're icing your cake and we're about to work with something called fondant. We want to make sure our cake board is clean. So take a clean napkin and get all of the crumbs pressed down really hard and get those crumbs off of that cake board because you do not want your crumbs to go into your fondants. All right, so we're going to get all of this cleaned up and we're going to start with our fondant. Now what we're going to do is work with something called fondant to cover our cake. It's going to make our cake look so pretty. So this is fondant and there's a link in the description that shows you how to make your own fondant. But you basically would take your fondant. It's kind of like Play-Doh, but it's not. It's actually an edible icing that you can roll out. So this is what fondant is. Now, if your fondant feels kind of like really dry, you can take a little bit of shortening, rub it on your hands like this and work it into your fondant to kind of loosen it up some like that. Now, you should have gotten instructions to use either corn starch or powdered sugar on the surface. And basically, you're going to cover a surface with pristin seal or plastic wrap just to get a nice clean surface to work with. That keeps your fondant from being. It keeps your fondant safe. Let me say that. OK, so take your fondant, your fondant, put it on your clean sanitary surface and you're going to use your rolling pin to start rolling your fondant out. So this is pretty close to it. Then you're going to take your fondant. And kind of roll it. Don't press down. Don't press down on it and make it glue back together. You want to keep it nice and loose. Bring your cake close to your fondant.  And you're going to get it close to the end and unroll it onto your cake like that. Now it's time to get it to stick to the cake.  And oh, look what we have. We have a fold. So to get the fold out, you're going to fan and press. You're going to fan it and press it.  See, that was the purpose of cleaning around that board so that you don't get any crumbs on your fondant. There we go. OK, so we're almost done. We've got another fun part to do, and that is to put our candies on the cake. So the easiest way to do this is to take your icing and you're going to paint a triangle. So let me show you how to do this. So starting about the center of the cake, you're just going to brush a triangle like this onto the cake. Now, don't worry about your triangle being straight.  Let me flip the cake up a little bit and just kind of put a straight line to meet where you started that triangle. OK, all right. So this is where our candies are going to go. And we're going to just start an outline and we're going to place those skittles down that triangle, just like that. So next, we take a little bit more icing and just real careful, try not to get any on the skittles as much as possible, but put a little bit of icing on there and you're going to fill in that triangle. And I will be right back when I'm done. OK, everybody, we are almost done. And you probably have already guessed what the next step is going to be. You can see that I've placed all of the skittles on the cake and it looks like they're cascading down the cake. So the final step is to take your stick and place it inside of the cake. Like, and voila, we have our anti-gravity cake. It looks like the skittles are pouring out of the bag onto the cake. I hope that you enjoyed learning how to make an anti-gravity cake. And I hope that you have a lot of fun making your own. Thank you.


Hundreds of birds fly in a sunny blue sky. The only sounds are their calls and the soft noise of water flowing through tall grasses. Below, dark green alligators move silently, like part of the Earth come alive. This is the Everglades, 10,000 square kilometers of low, watery land in Florida. The area is nicknamed River of Grass. But it also contains forests of palm, cypress, mangrove and pine. And it is home to sweet smelling flowers as well as rare orchids. Animals found here include snakes, foxes and big cats called Florida Panthers. But the alligators and crocodiles are most famous. No other place in the world is home to both.


This is from Beverly Little Thunder, who is a Lakota activist and a member of the 350 Vermont Board, and a wonderful organizer and activist who lives here in Vermont. And here are her words that she wanted to say to you all today. We are here today on land stolen from the original stewards of this land. The indigenous people who have called this home long before settlers from other places invaded were never given compensation, they never gave permission, nor were even asked about the destruction of their homeland. Many indigenous people live here still. They continue to fight for their rights and the rights of nature. Corporate controlled models of environmental regulation only protect business interest. Trading, quote, solutions that continue to use fossil fuels for another fossil fuel is not the answer. It perpetuates the destruction of not only human life but also that of all living beings. It is not only humans that have a right to exist. The humans who will be most affected by these corporate and governmental choices will be the those least able to survive those proposed changes. BIPOC, Debbie Strickham communities and the elderly, deserve changes that are really taking their needs into account. Which, in heat glibly telling everyone, you know, the thing to do with it. Because at the end of the day I see the same consistency within our session progress as I hope more can. Already most impact resources eat equally accessible to ensure that low-income and BIPOC individuals have been training a workforce to work under safe conditions and be paid a fair wage. Incentivizing heat pump technology and solar power in our communities. Public transportation system, starting with electric public transit and school buses. Fair free transit, extended hours of service and accountable transportation management. Transition, our energy away from sources that continue polluting and harming communities under the guise of renewable energy such as trading out of state for Vermont. Scale Bioman, it needs to be better. Greenhouse gas emissions, we can no longer afford fault solutions for the sake of corporate profits that delay the change we desperately need. We know this is not easy, but it is what we need you to do. With hope and resolve, we are your constituents. Thank you very much. And many, many people who wish they could have been with us in person but couldn't make it work on a Wednesday. And we have actually some wonderful, wonderful messages from them. We'll be sharing with the legislators and hopefully reading out loud later as well. Fun to participate is more than welcome. We have lots more props and costumes that we can use. These speakers lined up and throwing some great tables from considering organizations. So that's the plan from here. For this land, for this conflict. Installation in a few minutes. And while I'm speaking briefly about plastics and how I came to this work and the issues of plastics connecting to climate change, I invite you all to please come. There's many plastic turfs. There's many drop cloths. These are going to be transformed into waves. So we were free the illusion of rising up and over, over the state house to help make visible the issues of climate justice and climate change. The weather is certainly weird, but we're going to help show that to our legislators to see that they have support to take action. So please come on over and grab something while I say a few words. The marriage for direct action and change. We have this petition that over 300 people signed to modernize the bottle bill to give us the right to repair our goods. So they're truly good. And to make producers responsible for the pollution that they are creating. Yeah. So this will be one of the many words that lift us. Please come on over and get something. Um, so let's see. The issue of plastics in its options, pollution and climate change with the petroclimate chemicals they need from polluting and poisoning us and our neighbors and relatives of all species. Packages to move our hands and are reaching out into our landscape and make sure the wealth disparities and racialized injustices of the current system where they're made mostly in this country in black communities in an area that's now known as cancer alley. And in where plastics end up often overseas and in the seas, both eyes and making into micro plastics, moving up our food chain and disrupting health. So we are here to inspire Vermont to keep going. We know you have that plastic bag and the straws, but we have way more work to do. With business as usual, we will see a three-fourth increase in the amount of ocean plastic by 2040. That's just 18 years. So when today's babies graduate from high school, there will be three times more ocean plastic. But that's only if we allow it. And we don't allow it. This is why we are gathered here to plan, demand and region. We are responsible for the mass of plastic packaging and waste. And to serve us, let's modernize our bodies as it works, but keep it strong. So we're going to make new laws to tackle interconnected issues of health, climate, economy, racism, poverty and climate. For our regenerative, circular economy, we are creative and we are supportive. Many more people wanted to be here physically, but they are with us in spirit. And we're supported by this earth, holding us in so many ways. Illusion of the wave won't work without you all. So, all of these tasks depend. What I'd like to be is a circle. I'm going to help you produce the climate just so you can join in, harmonize and get an idea here. Can you hear us? This climate crisis now, can you hear us? This climate crisis now, can you hear us? This climate crisis now, making climate justice now. Can you hear us? We have a mighty will. Make them hear us. We will not be still making climate justice now. Can you hear us? Can you hear us? I hope you guys have too. If you know the words, if you have the words there, you want to sing, join in. Otherwise, do it your way. Start over. Can you hear us? This climate crisis now, can you hear us? This climate crisis now, can you hear us? This climate crisis now, making climate justice now. Make them hear us. We want to bother them. Make them hear us. We have a mighty will. Make them hear us. We will not be still making climate justice now. Can you remember? Hurricane Irene before a while now. It was so unseen that you remember. Hurricane Irene making climate justice now. Can you hear us? You have some rolling, and then once you pass inside the side and rolling, you get the shots of the people trying from the back. Especially if you have time with words, be sure to come up and come and send there to get your best documented. And if you have a clean tarp, then head to the back. And it's just going to be interesting. Can't we just turn around and go that way? So, yeah, we're going to come under and over right here. So I don't know if turning around won't work. So you might have to drop the tarp and let people walk over it and then take off. Justice. And you can definitely start moving as you go. And then also, we'll pass you some more. And I think we're off right over. We want the bottle bill. Make them hear us. We have a mighty will. Make them still make it. We'll show them.


Hello everybody and welcome to another hobby cheating video and today we're going to talk about painting to display quality and or competition quality I should say we're going to go ahead and paint this guy up he is one of part of one of my submissions for Golden Demon and I'm going to show you the whole process so unlike in the past where I've done some videos like this I'm actually going to show you the whole process that is say I'm not going to show you every brush stroke but I'll show you everything I do and narrate over the top etc so there's going to be lots of little parts to this but I wanted to start here by saying that I started with the miniature by doing a standard zenithal prime and then what I did was I took a little bit of agrax and druchy violet and thinned it down a little bit added some flow improver and just gave it a nice soft wash over the whole thing and you can see when you add like the extra flow improver to a wash you notice how it didn't really gather at all in any of the on any of the flat spaces it's basically not present on any of the flat spaces and it's just very lightly gathered in the recesses and that's just more for my eyes and anything else it helps to give me those deep shadows it's a great way to get a map so this is very much like what I did in my planning for your best paint job video which ironically was the same figure so we're gonna paint this guy up as always I just want to kind of talk about strategy and what we did first so of course I did go ahead and assemble him all the way because he doesn't really have anything that blocks he's a very open figure this is one of the things that makes him really solid for competition when I say he's an open figure no part of him is really crossing over another part of him in a big way he doesn't have arms in front of his body like this axis and held down in front of his legs he's very open in his stance he doesn't have a big cloak blocking off his back or anything so there was no real need to do anything here with with sub-assemblies I also made sure I set the direction of the lighting so it isn't just from above it's actually slightly to the side you'll notice that this side of his face and this side of his sort of body is a little more highlighted than this side so the his left I should say is more highlighted than his right and that's important I think when you when you initially do your your zenith on map things out it's good to have a lighting scheme in mind the next thing I did was pick my colors and kind of where I wanted you know what to be and what we're gonna do here is go with an alternating warm cold tone throughout so the he's gonna be framed by some cold because all this steel is going to be very cold so that'd be his sword his axe and his shoulder pad here are main sources and he'll be very warm on the inside with his flesh and then we'll cool out the the tabber or whatever this piece is as well to kind of then give us a nice a nice transition of circular colors throughout the thing so that's basically the plan at this point we'll see how that survives impact with the figure and in the next part we're gonna start we're gonna work from in out as always we want to do that way if we make mistakes we're not it's much easier to correct our work because if when painting the flesh I get some paint up on the shoulder or something who cares because I haven't painted the shoulder yet I can go back in and do that later obviously we did all our initial prep work of scraping and gap filling and stuff like that he's nice and smooth now that's just all standard prep stuff so assuming he's ready to go which I think he is we'll start on the flesh and then we'll start slowly working our way out to the rest of the miniature and I'll go through each of the individual parts the way I tend to paint all especially a competition miniature is to go you sort of part by part so in other words I've the flesh being one part and you know then we do the next level up and so on and I bring each of those to about 90% done and then once I have everything in place I go back and do the last 10% which is adjusting colors correcting highlights all those sorts of final steps so that's where we're gonna do I hope you join me for this entire process this is gonna be lengthy as this is for for Demon and this is a competition piece this will be the sort of a very involved project even for a normal 28 mil figure but I do hope this is explanatory and sort of shows you my process and how I go about it so this is our starting point and from here we're just gonna jump into the flesh so back in a moment all right so let's get into the actual painting of the figure we're gonna start with some bugman's glow some black leather and some black art brown you can pause the video if you want to see the paints as a quick note all this is going to be at two times speed I don't actually paint this fast it was just sort of essential otherwise this video was going to be exorbitantly long even with the shorter segments they're just if you really want to see the brushstrokes and you know see me actually work guess what this stuff takes a while and even as it is just as a note you know obviously everything you see me do here this is one application of it keep in mind in any of these cases I went back in and did this all you know two more times at least so I started by applying a thin layer of bugman's glow over the flesh area then I started while it was still wet I went into my black leather and started working in some shadows with skin tones I usually find it's good to start with a nice deeper mid-tone color in this case I knew I wanted his skin to be rather ruddy and tan this guy's a barbarian he spends time outdoors so we're gonna go for some very warm highlights because I want him in a warm setting and we're gonna go for some very deep sort of purplish shadows to bring in a little bit of cold hence the black leather which has a lot purple in it so all I did was just wet blend of the two of those out now I've added some ice yellow and Mojave white to my palette and so what I've done is with the black or brown which is the black or browns a scale 75 color from their fantasy and games range I basically wet blended all that into a nice loose rough sketch again I was working very thin because I don't mind the you know I'm gonna put so many thin layers over this there's plenty of time I don't need to cover all of the zenithal I'm gonna keep letting that sketch show through for a while so now we're working with a mix of the ice yellow and the black or brown and we're really gonna set our high highlights now this isn't gonna be as high as I ultimately go we will eventually it looks very stark right now because because it's set against these deeper colors but right now I'm working on mainly the face chest the area that I want you to pay attention to so the center of his pecs and up into his face I get all those set kind of smoothed out and then I'm just gonna repeat all of this over and over again the goal here is I start with the higher highlights and then I slowly work into the black or brown and then I slowly work into the bugman's glow to smooth it all out and reset it so now you can see I've got some high highlights set there we go thumbs up okay so now we've also added some Indian shadow from scale 75 to the palette as well as some flesh five which is a nice desaturated shadow skin tone color and these I'm gonna work rather thinly so the goal here is to start adding some color tones into the skin skin is naturally transparent and as such you want to make sure it shows a lot of different color tones in it skin is fantastic it has so many different elements to it it shows reds and purples and whites and yellows and oranges and that's without any kind of weird light pollution going on or OSL effect so as a result here I just take those I start with the thin Indian shadow and I'm just kind of working that around to add that sort of sunburnt sun tanned feel to it now it's gonna be rather strong so here I'm taking the flesh five and you'll notice I'm focusing on the parts away from the light the light on this guy is I've set the light to be coming from about 1 p.m. you know the word slightly off-center from a standard zenithal which is generally what you want to do you want it to be at kind of an angle especially for a competition piece light from directly above is boring light from a slight angle just feels more realistic and visually interesting so now I'm taking some of that flesh five and I'm just working it into the various places to desaturate where there's a shadow once I've done some thin glazes of all of that then my next step is to go in and continue pushing the highlights so much of working with skin tone is building your contrast so once I've taken the red and desaturated down or shouldn't say desaturated I'm sorry and and added all the hue into that skin tone there you go that's what I'm trying to say the goal is to go back and reinforce all my highlights now I feel this is a good time to talk about the general way I work on competition pieces which is I think of it like a pyramid an inverted pyramid I start very broadly so I'm working with you know my brush in a big sweeping fashion I'm trying to set general tones and highlights across the whole miniature thinking about where light is placed in general and getting things placed as time goes on and what I'm doing a lot off-camera is just zooming in into the little detail stuff that's very hard to record but very important for a competition piece which is yes that's my symbol for I repeat this now about three more times and I zoom in and I really focus on every little detail did we get the eyebrow right is each muscle exactly highlighted that's what we're doing so now I took some brown glaze from war colors which is I love their glaze line it's so wonderful for a purpose like this and brown glaze is just such a wonderful tone for this when you want that lustrous tanned look to skin taking a thin knife I've thinned the brown glaze further by the way anytime I say I'm thinning in this I'm just using water and generally like a drop of flow improver and a little bit of occasionally a little bit of master medium from green stuff world which I really like but this is such a good way to just add in that that warm tone that tanned tone it's like it's hard to really explain but when you when you add this step in it's magical the brown glaze over a sort of standard Caucasian skin tone just really gives you this wonderful tan pop of somebody who's been out in the sun it just smooths all your blends out gives you this deep impression of of a nice tan color and and really enriches the whole paint job and it's one of the last things I do because it needs to go over everything else laying this brown color over things like the red and the deep purple also helped to sell the effect of you know blood under the skin the reason when I'm working skin I'm working in so many multiple thin layers is because skin itself is naturally translucent and shows lots of stuff underneath it okay all right so now we've got some Abaddon black on the palette quickly and that's because I'm gonna black out the hair now why am I doing this I'm not gonna actually paint the hair I'm just gonna black out the hair and the reason for that's very simple I need to check the intensity of the highlights on the skin and that's very hard to do against that zenithal prime of the hair so I take some Abaddon black which has a nice little satin sheen and will give me a good sort of map for where I'm gonna go later and I just very quickly apply the paint color to the hair still a nice thin layer of it a little bit of the under shade is gonna show through but it's gonna give me an idea for comparison as to how bright my skin actually is colors only look right when set against other real colors this is why I only ever take the entire when I work areas I work them to 90% stop do the next area and then come back and adjust everything at the end so you look notice how much brighter the skin looks that that high highlight on his forehead against the black of the skin or sorry the black of the hair okay so now we've got a little gray this is some secret weapon rubber which is just a great color for doing like gray leather belts we talk about why I picked this color for this because I think that's the interesting part here especially as I'm just base coating this all out so I wanted this guy to be concentric circles of sort of warm and cold and the skin is very warm right like it's naturally these orange and yellow tones and so a lot of it is going to be very warm the gray rubber color has a little bit of blue a little bit of green in it it'll really chill out and it'll pop against the skin if it's a cold color if I had used say brown this is one of the things I want to impress upon people you decide the colors of your miniature always and for every element you are not forced to to make some decision just because a thing looks like leather suddenly I have to make it you know brown leather no no no no no no you get to be the decider and in this case like a nice neutral gray I didn't want drawing lots of attention but I did want it to stand out so once I got the base gray down I mixed in some Mojave white a lot of this you're going to see I use the Mojave white and the ice yellow as highlight colors and the reason for that is because I want to use a singular universal sort of highlight color as much as possible to draw the piece together using similar highlight colors and shadow colors can actually quite help the overall miniature feel more unified like it's in the same light if you use a bunch of different colors to highlight different elements the miniature won't feel like it's in a singular light so in this case where I want things to be warm I use ice yellow and Mojave white okay things where I wanted to stay cold I just use Mojave white so now what I'm doing you'll notice is adding texture to the belt so I started with a nice little edge highlight and then I'm going in and very very lightly just making tiny little hashes you see how my brush strokes are chops little like chops into the side of the thing to add that texture to the leather I'm going to zoom in a little bit here sorry for the camera shake because this is we're painting really small now I mean this is the width of my you know the white part of one of my fingernails so I'm then going to take a darker color so here I'm mixing in some paints gray which is a good blue-black cold shadow color and I'm just going ahead and you'll notice like picking out some of the deeper shadows it's very thin I'm not using it straight out of the pot of course but I'm going to I am managing to go off camera like a genius but when you're zoomed in this much it's difficult and I'm I'm just reinforcing those shadows I let it dry it's a nice thin glaze of that shadow color to again make the outer part pop what we want to do is start these concentric rings of light to dark light to dark light dark light dark light dark right so that was the goal there once I've reset my shadows I come back into the hilt and I just pick out you know other little details now I'm into pure Mojave white instead of the mix like you saw last time I'm reinforcing the edges especially where light would catch so notice it's the top edges there where the light would actually catch on it I go in and reinforce those sides with just the pure Mojave white now comes an interesting part the his tabard this is always very challenging because it is a singular piece of cloth lots of miniatures have this challenge there's not a lot of other places to put the color so what I ended up doing was making a mix of purple five from war colors and blue green from Vallejo to get this wonderful violet color again it's cold right which is what I wanted the reason I did both of those things instead of just using some kind of violet color is because then it let me push into each each color for the highlights and shadows this is a fun trick you can do so I took two very different colors like this that mix very well purple five which is a very red purple and blue green which is a very cold blue green it's pretty obvious on that one I suppose and by mixing them together I can push into the blue green for my highlights and I can push into the purple five for my shadows this means my shadows have more hue than just being dark and my highlights have more color than just being white now I'll still use a little pains gray for the shadow and a little Mojave white for the highlight you know mixing them in as I really push up to the extreme edges but it gives me a nice opportunity to not just rely on that anytime you can bring in real colors you know real hue it makes a huge difference things are white and black are visually boring they aren't interesting and they just desaturate they don't add visual interest to your piece especially alone so by bringing in a real color this is why you see me using ice yellow most the time instead of say white it just increases the visual interest so what I start here is just doing this is all wet blending I mean it's very simple I'm just pushing into you know a basic value sketch of the thing but again we want to separate the cloth from the other elements on here as such it's now time to do some texturing so going mostly with that blue green and then adding in a little bit of a white highlight I go ahead and you'll notice again we're doing a very this time we're being very striking with the hashing method so this is the same method you saw me use in a recent video if you saw me do the textured cloaks video this is maybe two videos back three videos back something like that you'll see exactly what I'm doing here but what I'm essentially doing is just hundreds of very tiny very thin lines just hashing across just and this time I'm traveling the whole surface I'm focusing on the highlights and then here I'm adding in a little Mojave white and you'll notice this time I focus on the very tippy top the edges so those edges that will catch light those areas that will be the most lit and Mojave is a very weak white it's very desaturated it's really nice to work with but you have to let it dry it dries a lot duller than it looks initially so now I'm just going ahead and making a thin glaze out of a little panes and my purple five color and I'm just glazing that softly into the shadows over the edge of the texture that I did and the reason for that is so it smooths all that texture down makes it feel like it's more a part of the miniature okay all right so now we're on to our on to our next task so we can see how the cloak looks there or tabbered or whatever and now what we're going to focus on is we're gonna start working out into some of the additional elements and here I'm going for the fur so let's talk about warm and cold again that skull that's right next to his skin and the all the other bone I want to stay relatively cold I'm gonna do that in a cold bone color because it's unexpected it's different a lot of times bones warm it's fun to it's fun to subvert expectations but if I'm gonna do that I need the fur to be very warm as a result here I'm using these very warm colors and I begin by laying down a base coat of this color again working very thin because I'm gonna do many many many layers of paint and you'll notice how it looks nice and warm I mean fur can be any color that's the wonderful part about it right I mean especially in a magical world full of you know nonsense like it can be whatever you want I'm also gonna do these leather straps in the same color because you'll notice that the cloth underneath his little leather straps I did that same purple which is nice because he does have a little bit of a color triangle with that purple but I mean the the the cloth bracers he's wearing are so much smaller than the tabbered they don't do a super great job of balancing hence why I went for that very desaturated violet color but to break those up I want to again warm cold light dark contrast against each other over and over and over and over again right that's the goal so here we do those little leather straps in it and we we want to make sure that that's nice and nice and complimentary and contrasting to all the cold things that are going to be around it now because this is warm ice yellow is going to be my highlights so that's what I've worked in here that's what you see me going in and picking out each individual fur piece with so I'm going through with this ice yellow and just doing some nice soft layers with the ice yellow it looks rather strong here in this zoomed-in version when the paint's all wet it does dull out when it dries but at the same time I'm gonna also knock it back a little more later now with things like little bracers it's important that each of them has an edge that they have a light edge against the deep shadow of the cloth that's trapped underneath them so you can see how I went in again and edged both of the little leather straps again we will re-control those one of the things you can do if your edges like that on such a small space gets a little it gets a little fat it's not a problem just go back to your base coat color and then trace a nice thin line in the middle and bang bang boom you're right back where you want to be you'll get a nice hyper-thin sharp edge so now what I did because I didn't show this color on the camera so I do apologize but I grabbed some calahari orange one of my most favoritist colors alone and I've just turned that into a thin glaze and I'm glazing back over the edge in between where my previous highlight layer was and the highlight right so you can see here how how each of those gets to be nice and contrasting so now we're going to move straight to the bone and as you can see I just went through a bevy of colors there but all of them were cold and this is all colors I've already used so this is the gray rubber Mojave white the gray rubber and the Mojave white are gonna be my main sort of things but then I also have some white ink I also have some blue green to glaze in some interesting colors just very lightly I also have some Payne's gray for my deepest shadows you know that kind of thing I want all the bone to be this gray white blue cold color so like you see me here that has a little bit of that blue green and you can kind of see it there now I'm gonna end up highlighting back over some of that and getting rid of that intensity but that's still important it sets the overall color tone when you put a cold color under something like that it shows through it you don't need to play in spaces that are so bright a lot of times when I talk about contrast what I see people end up doing is then going all the way they put some hyper bright blue next to some hyper bright orange and you don't want to necessarily go that strong you can do a lot of work with soft implementations of the color okay we can be very gentle with it and that will actually tell a better story because we don't want it to be a there are ways and models you can just make a riot of colors the scene just pretty famous for just you know you hate go nuts go crazy right but with a miniature like this that's much more naturalistic like this guy is clearly a barbarian who's out there in the wilderness chopping and changing stuff up right he's not he's not done in these like if he's done in these pastel hyper colors it's just gonna ring falls so we want to use that cold warm contrast we don't want to be a total slave to it where it's just like overwhelming and drawing attention in places we don't want it so there you can see how I keep glazing back and forth layering back and forth using paints and different thicknesses to set the tone of this skull to be something cold but still feeling like bone one of the great parts about bone is that you can use basically any color you want as long as your highlight color kind of feels bone ish in that general area of of a warmer cold white you'll get it like people will get it and that was just my symbol for repeat because I ended up repeating a lot on this bone but with the bone completed guess what it's now time for metal and of course when we go to metal we're only going to trust one metal above all else and that is the lejo metal color steel and silver are my main go-tos I started by already laying down off camera by the way a base coat of the steel because I didn't feel you needed to watch me base coat metal a bunch places it's just literally that and what we're going to focus on here on camera is the sword so this is my standard and this is going to be just an absolute bear to keep on camera because I have to flip it around so I do apologize I'll get better at this in a second when it when I realize what I'm doing so you can see how I worked some of that blue black ink into the steel paint and I'm now placing the deepest shadows this is a tough thing to record I warn you right now and just because like holding it upside down like this now I mix in a little bit of the dark sea blue because I want to mat out those shadows a little bit while also adding a little more of the blue tone to it okay and so that's just kind of creating that that it's just like as though I was I was painting non-metallic metal I'm following sort of a similar strategy here right so now I've worked in the turquoise ink into the silver and steel I'm always using some metal paint in every layer none of these layers are the just the map paint or the ink I always have some of the metal paint in it and less because you know like it's I want the other stuff to win but now we go to the steel or sorry to the silver and now with pure silver I'm doing the sort of centerline of the sword as well as edging it as well as hitting my highest highlights I'm just making sure that that's that all mapped out there you go way to go Vince way to figure out where the camera is when you're working with a square inch of space where you can film and needing a miniature that unfortunately have to flip back and forth over and over again this one gets real tricky but at any rate you'll see how now what I'm doing is just working through all the colors thinning them down now that I've got the basic sketch done of where I want my you know highlights and shadows and stuff like that now I'm just mixing lots of thin versions of these colors in between a little bit of turquoise a little bit of silver it's tough with true metallic metals because they will look different depending on how you rotate the miniature depending on how much light is exposed to them your blend will look smoother or worse so you need to make sure that when you're working with TMM which I really do prefer working with true metals in this kind of a tactic especially for Golden Demon Golden Demon itself tends to which is what this piece is for Golden Demon just as a competition I think tends to prefer true metals unless you can absolutely nail non-metallics right so and I mean I I like true metals better anyways so there you go so it's just fun to work with that okay so now let's do some gold here we have a mix of I've base-coated this in a mix of three to one Vallejo metal color gold to one copper so three gold to one copper that gives you this nice warm tone gets rid of the greenish tint to the gold those colors are like that for a reason it the the gold is very cold because it's meant to be mixed with the copper which is very red and when you mix the two guess what you get to die you get brown because that's how you that's how those things work so I also have some brown glaze again from war colors I have some sepia ink and I have some our buckles brown which is a great tone with a lot of brown purple in it perfect for gold shadow because warm gold wants some purple tone in the shadows that's how it gets nice and rich-looking okay so here I've just started placing my shadows I'm gonna focus mainly here on the sword hilt so I placed the initial shadows now I'm going in with a little bit of silver mixed with my gold mix to start creating highlights when I'm working here silver pale burnt metal those are my go-tos for for highlighting pale burnt metal is just a little naturally thinner and weaker so it's a question of what you want to achieve often times with gold I'll use pale burnt metal because not only is it weaker but it also has a little bit of brown in it which again obviously then works well with gold which yellow brown are really nice with gold so you can see me just sketching in the highlights and again once I have my shadows and my highlights placed now it's time to play the glazing game let's play the glazing game so this is the most popular game when you're doing a competition mini the glazing game goes on for a while so it's just me rotating the miniature a lot checking my various reflections and then smoothing it out once I'm happy with that tiny area I go back I'm gonna do my edges again so this is me carefully with just the pure silver edge highlighting when you're working with true metals I like to use a pure silver or pale burnt metal to do my edges on gold because it still reflects pure white light right like what you're trying to catch with gold especially highly polished gold is the reflection of pure white light and so you want something that is as absolutely bright and reflective as possible to be that light reflection you know these are the areas that would be darn near white if I was doing non-metallic metal they probably wouldn't be actual white but they'd be you know something real close and I you achieve the same thing with pure silver in your in your true metallic metal okay so now that we've got all of that done it's time to come back and really look at some finishing steps so there's not that much left to do we're gonna specifically start working on all the little things like hair and again I'm gonna use the same cold tone so Abaddon black the original hair color blue green little Mojave white stuff like that because ultimately we want to have those same tones in in the miniature all over where it feels like he's in some kind of you know established ambient light so we're gonna do that for the boots and we're gonna do it for the hair so we'll start with the leather boots and you'll see similar color structures going on both but they'll be highlighted differently because the boots are gonna be much duller than the than the hair so with the leather boots I took some of that blue green mixed it into that Abaddon black and got this nice sort of really cold gray mixture and I just applied that all over as a thin and quick layer now what I'm gonna do is just work very wet on wet I take some pure Abaddon black start working it up into the shadows I'm not worried by the way if a I'm trying to be clean but a couple times a tiny amount gets up on the fur that I already spent a lot of time on Do I do I worry about that nope not even a little I mean I try to be careful of course I'm not gonna splatter all over it but like I hit a couple hairs and who cares because it's two hairs I go back later and clean it up it takes let's say three minutes right it's it's not worth the frustration and the stress when it takes up just a tiny amount of time to clean up later so now I come in with the Mojave white and again you'll see I'm using a sideways sort of hashing pattern to create my highlights what I want to do here is create the illusion of textured reflections leather boots like this will often be stretched over the foot they'll be sort of scuffed so hence that's the area I want to go again still working very wet on wet you notice I haven't touched the other boot I'm doing one boot completely and then going to the other boot and I'm doing that so I can work very wet on wet and then once again once we get all those placed and I'm kind of happy with my general structure of the highlights then it's time to come in and play the glazing game yet again so I'm just resetting my tones making sure I like where everything is and smoothing it all out right so there you can see both the boots are done we've got that nice building reflection along the center of the boot same colors we're gonna go in and this time we're gonna hit his hair so his haircut is is dumb it's real dumb he has like the dumbest haircut this guy has Hawkeye's haircut from Avengers Endgame I didn't realize it until I was painting the hair really closely and really looking at the kind of folds of it but yeah he's got Hawkeye's hair and that's well known to be one of the worst haircuts in movie history so it is funny to me that this guy also has it because he's got the the business in the front party in the back kind of thing going on but the shaved side heads it's it's a crazy haircut anyway so the first thing we wanted it makes it difficult to highlight because it's not a very standard thing so I actually did go look at pictures of Hawkeye he has a very different hair color but once I realized this again if you can ever reference a real-life subject for what you're painting do it always do it so in this case yeah I went excuse me looked at pictures of Hawkeye and kind of from the movie and looked at like where light was falling in his hair and then sketched out the same places here I will say our brain has a slightly longer ponytail which makes it even dumber but hey who are we to judge this guy's lifestyle he would kill me with an axe so what do I know so we're just kind of sketching in highlights now with the hair I take a very different tactic with black often especially something like this that has sheen then I do with other things the boots were a little bit of an exception but with hair where I want these nice thin tiny strokes and layers I'm actually just very slowly building up so I start with a pure black add a little bit of that blue green and I just build it slightly I'm also going to use a little bit of that dark sea blue you saw me use earlier in the metal here as well to just soften some of the black and make sure that the only true black is in the shadows the deep shadows and I'm just gonna I slowly work layer after layer after layer always in the direction with my brush strokes you notice how my see how my brushes I'm like reaching around the miniature and like pulling up that's because I always want to be moving the brush in the direction that his hair is moving little brush strokes like that are going to create the impression that there's actual hair there and that's really important we want to create in every way we can the illusion that this isn't just like a mass of plastic which is what it is because this is just big chunks of plastic there's no there's no actual follicle or thinness to this right so by making our brush strokes move in that direction we can we can really help in the subconscious way sell the illusion now with black hair there's always a trick black in general it's it's the 50% rule 50% of your surface has to be the color you're aiming at the other 50% can be anything and it will still read is that think of a shiny black car hair black hair is very often glossy black cars are very glossy really look at a black car and see how little of it is black okay there's these bright glossy light reflections and light lines it's reflecting the environment around it there could be green grass if it's parked out in a driveway or something you know whatever right so as a result I over highlight it and then I slowly glaze back in the black I let it dry I make sure that I like the way it's sort of set there how much my tones are coming through underneath and then I repeat right and yet again here this time I decided to show you some of the repeating because I think this is kind of a hard thing to grasp with hair why wouldn't you just do it once and the answer is because it just helps to sell the illusion if you have lots and lots of different times you're attacking this and repeating the same process especially it's a hair is often the same thing as skin we're trying to represent something extremely complex in a very small space right so as a result that kind of repeating is very valuable okay alright so yet again we're gonna move straight into another section instead of breaking things up so here I have some are buckles brown and some black leather and now it's time to hit a bunch of final details this is a really really important element of any kind of competition figure and by the way not the last time I do this but you don't want to just go through and stop like I said I only took everything to like 90% so there are little things I painted off camera here that I couldn't capture like the gems and his eyeballs and stuff like that which are so teeny tiny baby small in this guy it is insane how teeny tiny his eyes are but you want to relook at everything and make sure is it all working and here I looked at that gray hilt on his axe head and I was like not that doesn't work because it was too much cold all next to each other so I had to go in and actually change it over to be a slightly different color still neutral right but not just stuck in that in that sort of gray tone that just it wasn't doing anything for me it was too much gray there with the axe head and his bracer and all that kind of stuff we needed a little more visual interest so moving it to that contrasting warm color made it much more interesting but it's a very very very desaturated color because ultimately I don't want the axe hilt drawing a lot of attention right that's not what it's there for it's just there to exist and be a functional thing so you'll notice I also don't take the highlights and the shadows very high on this again I felt that was really important it shouldn't be eye catching you want to make sure that your highlights across the miniature match to what ultimately the purpose of that thing is the skin where we're drawing a lot of attention his face that has very contrasting colors because we want to draw attention there so that has a purpose the metal is very shiny the material needs to be very bright hence that has extreme highlights when we're dealing with a softer material like this and one that we really don't want to focus a lot of attention on we go to something like this okay so hence why you see me being much more gentle and soft with it so that's the end of the narration all right well that brings us to the end of the road so cue the boys to men but that is the the model there all done and you know ready to go we've sort of touched everything I want to talk about the importance of final steps as I mentioned in a recent video you know one of the most important things you can do is go back over everything so there's a couple little touches I did off-camera like I hit a little bit of brown just very lightly down in the dense of the armor I did the gems here that is way too small to actually see on cameras there wasn't really much value to me recording it like that is even at a million times zoom I just I you wouldn't be able to standing a value go over make sure everything smooth look over it set it to the side look over it again take a picture of it look at it again you know one thing I noticed when I had to look at it many times but was this tiny area right up here at the top of his hand right there where the top of the sword hilt is showing through I hadn't noticed that for a while so just little things like that make sure that you're you've touched everything one of the other important pieces of advice I can give to you for competition painting is once you think you've got something to finish to where you're you're happy with it and you're pretty sure it's where it's going to be for the foreseeable future set it aside work on your competition stuff well enough in advance that you can set it aside for a week or two or longer and then before the competition come back to it and look again and make sure that with fresh eyes there's nothing you don't see that needs additional attention or help or stuff like that but that's pretty much how I paint a figure like this for Golden Demon I mean as you know that you saw through the tips and as I was mentioning in the narration it's really a case of refining you know a lot of these little clips are recorded were three minutes or six minutes or ten minutes or something like that and then you have to understand I just repeated that exact same process that you saw me do with successively thinner paints and slightly more accurate strokes and getting very careful for another hour so you know when I'm working on something like the blending on this sword which you saw me do with the gold you know I went back in and successively thinned down those inks and those shades until I had this nice transition throughout when I was working on the skin it was repeatedly tiny little corrections right of just slowly working areas and checking the blends and turning the figure around and looking at it in different lights and making sure that all my reflections were caught properly and everything looked you know good and smooth and nice and it's just successively thinner paints repeating the process over and over and over again it's the exact same stuff you saw me do on camera just with thinner paints just over and over again from the beginning so that's basically it he's ready to go join his base his base will actually be its own whole separate video so look forward to that as we've got to sit him in a nice environment where he'll where he's where he's doing his his dirty work here mr. chaos mr. mr. dark oath you know our champion of war here he's ready to be the chieftain ready to be the chief hail to the chief so at any rate there you go that's how I paint a figure you know literally every step on here except like I said like the gem and just some final touch-ups that were very very very very very small that I did off camera by correcting side reflections and things like that but I hope you enjoyed that I hope you got an idea of what it is to in the process I go through to paint a figure like this to this quality and why I would never do this for an army because if I was painting every model to this level I would go insane that's pretty simple but if you liked this give it a like subscribe for additional hobby cheating in the future if you've got questions comments or suggestions for future videos feel free to drop those down below always appreciate that but as always I very much appreciate you watching this one and we'll see you next time


delicate arch. With the possible exception of Old Faithful, this is the most famous feature, symbol of the parks. This is one of the very many more than 2,000 arches that are in Arches National Park and it shares with them the same origin. These are not carved by running water shoesting underneath them nor are they carved by wind blasting a hole through it. They're carved mostly by some very odd processes. Down below there's a layer of salt that was deposited in a sea a long time ago that was drying up here. Salt, one is down deep and there's something sitting on top of it is soft and it flows.  And that mound has warped the rocks. And if you take rocks and sort of warp them up, they crack. And so there are these cracks that have made standing vertical walls of rock. Well the next thing that happens, if we look at that, running along towards the bottom, there's a line on both sides of it. That's a soft layer and it weakens things.  And enough pieces fall off that eventually one of the pieces breaks through and then it's an arch. This arch is not long for the world. We see on the left about halfway up how thin it's getting. And we also see at the top a whole bunch of cracks that are developing. That layer across the top is trying to sag. And as it does, there's cracks are forming. And some of those cracks sort of look like Pennsylvania Keystones sitting up there. And so it might last thousands of years. It might go in the next big storm. But it is not terribly long for the world. We know that many of the prominent and famous features in the park have changed in the time people have been watching. It will be a loss but an educational one when this very famous feature of the park service also changes.


Hi everyone, Joe for jaspyscasebreaks.com with a quick little 20-20 prism football Cellopack rig number one one six. This is not I know it says sells out the mixer This is not the one that sells out the mixer. You can see I crossed out one one seven that sells out the mixer That's already on the site jaspyscasebreaks.com, but this is one one six big. Thanks to everybody here for getting in on it There are the teams right here So let's do the break first and then a different dice rule for the giveaway at the end four and a six ten times For names and teams one two four and a six ten times four teams two and 10th and final time All right, there's the first half of the list right here And there's the second half of the list right there. I guess a very very quick trade window Trade windows now closed Let's flip back over here. There's Yannick and Gakue who's on the Raiders right now I'm pretty excited about his edition This Kyle van ois silver That beyond bell and Gabriel Davis the red white and blue Peyton Manning Jimmy Garoppolo and Trayvon digs. All right, so nothing too insane there, but The whole point of this is who's gonna win those spots So let's flip back to this list over here. Let's grab everyone's names again. There's some new dice. There's a new list And it'll be the top six after After seven top six after seven will be in that flawless hip parade mixer one two three four five six and Seven in final time after seven so from seven on down sad times but Sorry Chris had a very close, but guess what? As you saw if you're watching live we've got one more of these packs to do to unlock that break I have it on it's over there Just a quick little two box break Give it another shot if you'd like jasky's case breaks calm and If you're watching live next you got about 10 minutes Let a little under 10 minutes to try to take advantage of the 15% off Another spot if you want to give it another go. All right, congrats and happy times for Josh Jose Adam ASA Ryan Hines and ASA again Congrats to the top six you are in. I'm Joe. I'll see you next time for that next break. Bye. Bye


So now let's consider time dilation. So Alice is on a train traveling at speed V, and she's carrying a stopwatch. Now at time ta equals zero, she starts the stopwatch and then turns it off at some later time. So we're going to be very specific here. We're going to pick two events. The first being when Alice turns on her watch in her frame, and the second when she turns off the watch in her frame. So the time interval between these two events. So Alice measures delta ta, and in Bob's frame he measures delta tb. So here are the Lorentz transformations. What is delta xa? The space Alice measures between these two events. And then using this and the Lorentz transformation, how do delta ta and delta tb relate?


Election Day is a month away and tonight Lakeland PBS continued its tradition of providing you a look at your state legislative candidates. Our two debates tonight were broadcasted from our Brainerd studio where Republican State Representative Dale Lewick squared off against DFL candidate Phil Yetzir for the House 10B seat. Tonight's debate covered many topics like the issue of gun control. I don't think we need any more big changes in gun control. Strong defender of our Second Amendment is particularly here in rural Minnesota. We've already started doing a number of things particularly to do things for our schools. As far as the Second Amendment goes I am a staunch supporter of the Second Amendment as well and the reason is the Second Amendment protects the First Amendment and if our government chooses to eliminate our freedom of speech or our freedom of religion I think we need a well-armed militia. Bate of the night Republican State Representative Josh Heinzman faced Dale Mink in the House 10A seat race. One of the many issues debated was the question over abortion. Number one I'm a man I can't have I can't get pregnant I can't have an abortion I don't think I should be able to tell a woman whether or not she can choose to have one um whether it's because of quality of life whether it's because she's not ready whatever I can't have an abortion I shouldn't be able to tell a woman she can't have one either. And I'm saying we absolutely have to consider that human life we can't we can't look look somewhere else to try to figure out a way to justify ending that life in the case where you're having to choose between the life of the mother and life of the baby that's a different scenario but if we're talking about a abortion of convenience no. If you missed tonight's debates you can set your DVR to catch the rebroadcast beginning at midnight or you can watch it on Lakeland Plus tomorrow evening beginning at 7 p.m. If you'd like to see any of the debates from the past week we have them posted on our website at lptb.org. If you enjoyed this segment of Lakeland News please consider making a tax deductible contribution to Lakeland PBS.