Hey guys, I'm Broodly, and today, I'm bringing you part 5 of the top most terrifying backroom's levels. And this is November's edition. Thank you so much for watching, and I'll see you all at the end of the video. So this level is called Backroom's Level Ohio, with a zero on the front and on the end. I'll explain that in a second. And it's classified as a class 5 survival difficulty, with it being unsafe, very unsecure, and infested with an entity. That's right, I said entity, not entities. So the level itself is massive. It's thought to be around the size of our Earth, and it even kinda looks like it. It's got houses, and buildings, and roads, and bridges, and things that look man-made, except it's all abandoned, and cracking, and broken down, and everything here looks like a massive post-apocalyptic war. Like a battle or an end-time event just happened right before you got there. The ground is blackened, and smoking in spots, and there are huge cracks in the ground that go down for miles. The roads that aren't completely destroyed have road signs, and street names that are in English, but with weird misspellings and errors. Like if a street was named Baker's Street, it might be spelled Bay-Kurs Street instead of just Baker Street. Or the word interstate might be spelled enter, like on your keyboard, interstate, and so on. As I said, everything seems like it's completely abandoned, but it also seems like something big just happened. Like the ground is still smoking, and it's still burning in so many spots. And on top of that ground burning, the sky above the ground has an orange, smoky glow to it. Almost like it's on fire. There is no noticeable day or night cycle, and the sky in the ground level is always a dark, deep orange, like a wildfire happening, and you can also see ashes and embers floating in the air, and hear the ambient sounds of destruction and explosions and heavy machinery from the sky. Now on the ground, among the buildings and stuff like that, there are also what looks like military outposts, except they're destroyed and abandoned and crumbling down. It won't take you long to realize what destroyed the society you're standing in, because you'll eventually look up and you'll see them, the tripod entities. Now these are massive three-legged metal entities that have seemingly taken over whatever planet this background level takes place on. They seem to be using the planet to harvest its resources, like minerals and wood and that kind of stuff. They move around really slowly, but they do take huge steps on the way, and they seem to be sentient and like they have a brain because they purposely avoid big bodies of water or big canyons or something, so it seems like they're either being controlled or they're controlling themselves. Interestingly enough, there are actually a few tripods that have been taken down by whatever military used to be here, because there's been some bodies found laying on their sides with huge holes in their metal casings. The only issue is that there's been no planes and no military weaponry or any military vehicle at all found, so either they've all been used or the tripods literally just destroyed what was left. Who knows? The entire level is a post-apocalyptic ghost town that feels like you're the only person in all of humanity left. It gives you the feeling that you no-clipped into someone else's World War III and you got there right as it ended and you're the last person to be alive. Now, as I said, this level is thought to be as big as Earth, but where people normally get no-clipped is near a city and surrounding the city and the countryside. There are some small resources in the houses that are outside of the city, like food and what seems to be some kind of drinkable liquid. It's almost like this level produces its own kind of soft drink or this planet, wherever this is, makes its own different kind of soft drink. It's some kind of flavored water or milk substance called solzats, and it's been found in the broken refrigerators that are here. It's safe to drink and it's described to have a sweet and salty taste with no carbonation, kind of like Gatorade mixed with milk. Now, the food that's been found mainly consists of canned food, except it's not normal canned food like chicken noodle soup or something like that. It's like a turkey dinner in a can or summer dinner in a can. So between the solzats drinks and the canned food, that leads many people to believe that this level is actually an alternate existence of the Earth that we live on. Who knows? And as far as we know, less than three people have ever been sent to this level, and each one of them landed in completely different spots. One started in the city, one was near what seemed to be a beach or bay area, and one was in the deep wilderness somewhere. And because of those three different wanderers, we've been able to get a pretty accurate description of what the place looks like. And it is terrifying. The air itself doesn't seem to be toxic, and nothing is actively trying to hurt you when you're here, but it's still extremely dangerous for a ton of reasons. Obviously, the main reason is the tripod entities that are walking around collecting resources. You don't want to get stepped on, and sometimes they'll shoot one of their legs into the ground, and you don't want to be under that, obviously. But the other reason is the fires that are spreading around the level. These fires can become huge walls of fire and cover the entire parts of the level for days on end. So watch out for that. Also, since the buildings seem to have been destroyed or shot with something, lots of the ones left standing are about to collapse. So that could be a danger, too. You don't want to have a building collapse on top of you. Now, as I said, this level is nicknamed Ohio after the only state sign that's been seen standing. And just like the street signs and stuff, it's spelled wrong compared to our Earth. Now, our Earth obviously has two O's, but this Ohio is spelled with zeros instead of O's, and that's why it was named Ohio. It's a pretty fun nickname for an absolutely gut-wrenchingly terrifying place. Now, to enter this level, you have to have no-cliped through a tile floor somewhere or find a collapsed house and no-clip into the rubble. In fact, the first wanderer that ever came here was just looking through the remains of a collapsed house. So when he tripped any no-clip through the ground, any woke up in the burning city here. To exit, you have to find a body of water outside of the city and outside of the suburbs, like a pond or a river or lake, and jump in it and no-clip through the bottom to get out. And this exit was actually found when that same wanderer that got here first was trying to outrun this massive fire that just blew up. And then he jumped into our river to swim away from it, sank to the bottom, touched the bottom of it, and then was sent to level 11 after. Now, just imagine for a second, if you will, walking along a tile floor level and then falling, and now just, you know, getting back up and walking away, falling through the floor into this desolate, apocalyptic level and then seeing a place just like Earth burning to a crisp with giant tripod entities walking around. I don't know, though. Sounds like just another day in the back rooms to me. Back rooms level 266 is classified as a Class 3E environmental danger and is unsafe and unsecure. And its main danger is not fermentities, but the environment itself. The level actually looks like a giant floating mass of roots and sticks and trees. The trees are really thin and they don't have any leaves on them or anything like that. And the forest area is actually the center of the level. And as you wander further down from that forest, the steeper and more decline the landscape gets. Kind of like if you were standing on top of a giant ball and started to walk down the sides. It gets so steep eventually that it just drops off to 90 degree angles. The forest is also always covered in this fog and it's really hot and humid and it stays around 36 degrees Celsius or 96 degrees Fahrenheit, which is really hot.  However, you probably shouldn't come here and you'll figure out why very soon. This level is actually a pretty important connector level because it connects level 166 to level 11. So you could technically be on level 11 and then skip 155 levels, you know, which is pretty cool. It's only problem is that it's hard to get here successfully and you shouldn't come here because of the dangers of this environment. If you walk down the slopes of the forest as far as you can, you'll eventually get to the edge where you can see a bunch of roots hanging down into the void below. And these roots have some pretty weird things about them. First off, they are way bigger than the trees that they come from, which is pretty strange. But the real weirdness is that they can move and can torque themselves in the ground. This movement can cause huge holes to just open up in the ground, which is one of the biggest dangers here, because you could fall in them. And if you do find a hole, you can actually look down into it and see all the roots moving around and constantly shifting in the ground like massive snakes grow. The roots are actually dangerous for another reason too, and it's because if you put an object near or in one of those holes that opens up, the roots will then grab it and close themselves around it and then eventually whatever you put down on the ground will be sucked into the ground by the roots themselves. Like the roots will literally grab something and pull it through the ground into underneath it, almost like they're eating it or something. And probably the grossest thing about looking down at the roots into the ground through a hole is that you can see objects flowing through the roots that got sucked from the surface. Like the people who are no longer alive or entities that have been trapped and pulled under or objects and stuff like that. You can see all those things being wriggled and writhed through the tunnels that these roots create, being covered and wrapped around by other roots. That's terrifying. Some of the items in the roots have actually been pulled out, but sometimes people try to rescue something or someone else and they get sucked in themselves and end up not making it. So don't do that. There's also been some pretty weird things and objects that have been found on the surface of this level, like really cryptic and weird things. Because in a pretty new area of this level that recently got discovered and was nicknamed the outer ring, there has been some really strange things on the actual ground, not sucked under yet on the ground. For instance, this golden locket and this old shear tool. The tool had the word tapiria stamped into the handle and that evidently is some kind of bush looking thing. But why would that be stamped onto a pair of shears? I don't know. And who would leave a pair of shears there? And that golden locket is actually the really cryptic thing on this level. Specifically the things inside of that golden locket. Like these two pictures of random people. One of them is not blacked out and the other one looks like somebody marked the face out. Then there's this picture of a front porch of a house with flowers hanging up and the lights on. Then a really weird looking row of orange trees that are glowing, which I believe might be from level 166. Then a random blurry picture that doesn't even seem to be of anything. Just a blur, unless I'm missing something. Then the last three pictures that are on this locket seem to be from level 266 itself. But the very last picture is extremely unsettling looking because of how blurry it is. I can't quite tell what it is, but it kind of looks like someone being grabbed by roots. Because whoever took this picture, they must have been shaking when they did because it's blurry. So I don't know. No one has any idea who took the pictures or why they did it or what was the purpose in it. But it is very, very mysterious to say the least. Are the pictures of those two people, the family of the wanderer? Who knows? Is the picture of their house, their childhood home? Is the blurry picture and undiscovered backgrounds level? Tons of questions and not any answers. Nice. Now Meg actually says not to explore this level at all because of how dangerous it is. And no one should come here voluntarily. And if they accidentally come here, they need to leave as soon as possible. And honestly, I do not blame Meg for saying that because I don't want to get sucked underground by roots. To enter this level, you have to walk down the path of glowing trees on level 166. And you'll be forcefully no clipped here to level 266. So yeah, I guess that wanderer did take the picture of how they got here. And to exit, you can stay in the woods until you find a random elevator sticking out of the ground, get in it, and there'll be no clipped to level 11. Or sometimes you can find a rusty mirror leaning against a random tree and then no clip through that to be sent to level 148. But yeah, what do y'all think about these pictures? What do they mean and why were they in the locket? Let me know your theories down below in the comments. So this backroom's level as a whole is classified as a class variable difficulty and it's unstable and has varying safeties and varying levels of danger depending on where you're at. And I say that because the level is split up into two different sub-levels so far. And both of them are pretty much fully unexplored. All we have is a few pictures from a wanderer or two that have been here. So first up, we have sub-level one and it's so new that we haven't even named it. We're just calling it sub-level one. But it's classified as a class habitable zone and is very safe. But it is the only safe one out of the two, so don't get used to it. It looks to be a huge grass meadow that goes out for several hundred feet. The meadow itself is green and bright and it typically looks like a spring day. There is a day and night cycle so you do have to worry about getting cold sometimes, but that's pretty much all that's here that's dangerous. And there are only a couple of anomalous and strange things that have even happened here. The first one is that random supplies and objects fall from the sky and land in the forest. Now this forest is what's surrounding the meadow I talked about and it seems like these objects just fall from nowhere, but some of them can be pretty useful. Supplies like tools and almond water and even wood planks to build stuff with. You just never know what's gonna fall. And that's all weird of course, but there is one more weird thing. You actually cannot no-clip out of this sub-level. No matter how hard you try, you can't leave except one single exit, which I'll get into in a second. But the no-clipping effect just doesn't work. And that's kind of like the green mist level that I went over a couple weeks ago. That level also doesn't let you no-clip either. So let me know in the comments why you think that you can't no-clip out of these levels. What does it mean? Is the backroom's breaking? Is it learning and getting more powerful so it doesn't let people leave? Who knows? So further out in the meadow, there is a concrete shack that has an open door on it. And the shack is actually the entrance to the next sub-level. Inside of it, there's a small manhole cover in the floor with one of those manhole great things on top that you have to open to go down. Now, you should not be going here because the next sub-level is easily one of the dangerous places in the backrooms and terribly more dangerous than this meadow area. But if for some reason you want to go, I'm going to explain it now. But around this shack, people have reported that they get weird senses of paranoia and overwhelming fear without even going in it. And when they're inside of it, they're kind of just overtaken with fear and paranoia. Unless you're insane, you shouldn't go in the shack. But if you do, you'll be sent to the next sub-level, which is classified as a class zone and is extremely dangerous. And currently, no one has left, alive at least. Now, this sub-level two area is an endless labyrinth of stinky, damp, dark, concrete tunnels that are dimly lit by old looking lights. Now, the tunnels are pretty much unmapped completely because they're so windy and curvy and they almost seem to change every once in a while. The halls are dotted with entities in some of the spots and lots of them are actually unknown or undocumented entities.  But if you run into any of those that I just listed, then you need to turn around and walk the other way slowly. Not like it's going to help much, but you know, I'm just trying to be nice here. There's also a level exclusive entity here called the puddles.  The liquid is sticky and it seems to be sentient in a way and it seems to be some kind of super creature that literally lives just to eat people. It's kind of like what the symbiotes look like from Venom, that kind of material. But yeah, it literally just attacks anything you see, even other entities. But of course, there are other hazards in these concrete halls like partygoers and Smilers, but typically these are only found deep into the halls in the glitchy warping areas, which eventually the halls themselves will just start to decay and get glitchy and warp and almost like an error message when you get too far into them. Now, it's actually thought that if you do walk far enough into them, there will eventually be no entities or puddles or any dangers actually. And this comes from a user named I am stoppable who posted this image to mega authorities on August 8th, 2022. That user claims that the picture they took is a safe spot that people are currently living in. Now the user has said that since they've got there, the smell in this area has gotten worse and more sour and that the grass seems to be decaying. And even the concrete walls around them are broken and decaying and are starting to show bricks instead of concrete, which might mean that the bricks on the other side of the concrete is how you get to the next sub level. But we don't know for sure. As of right now, there's just two that we know of the metal and the concrete tunnels. No one knows why the tunnels are decaying and showing bricks instead of concrete. But some people think the level is on the verge of exploding or completely decaying on top of itself. So who knows? Let me know what you think in the comments. So yeah, as of right now, all we know is two sub levels.  But yeah, that was Backroom's level 1069. Hope you enjoyed it. So Backroom's level insulation is classified as a class four difficulty and it's pretty dangerous to be honest. It's listed as an enigmatic level, which is pretty fitting because as I said, makes no sense why it exists. The level is very large and it's split up into several different areas. But overall, it's a maze of concrete floors with walls made of insulation material and wood slats. The entire place smells musty and dank, not like dank memes or whatever, like dark wet smell, like kind of like an attic after it just rained or basement after it just rained outside. Some parts of the level are light and some of them are dark and the places in between the light and dark is referred to as the limbo and I'll get into all that in a second. The most common thought is that the insulation is between levels three and four because some of the pipes sticking out of the floor or ceilings here look just like the ones from level three. But there are also sections that are tied to levels zero, which I'll explain. And as I said, there are several different zones, which we'll get into right now. So area one A is what we call the light areas. These areas have a similar shape of level four and the walls are made out of insulation with wooden slats holding it back. The floor is concrete, but it's not smooth. It's very, very rough and coarse and cracking and even broken in some spots in this area and in other areas. There are dusty particles from the insulation floating in the air and everything just feels itchy. Now, the next area is area one B, which has no life, but it's very similar to area one A in this zone. There are pipes that are jutting through the wall. They're also sticking out of the floor and the ceilings and pretty much random places and they don't really have a pattern that makes any sense in the roof of this zone. There are holes that lead to other strange parts, which I'll talk about later, but this zone is pretty much more unfinished and darker than the first zone was. Now, the next part is called area two A and this is really where stuff starts to get strange as if it's not strange already. This part has lights like zone one A did, but the shape of this area is almost exactly like level zero. Even the insulation in the wall is yellow and not pinkish red like the other zones. So it's literally yellow just like level zero's wallpaper. However, this zone also has random almond water bottles on the floor and it's the only place in the entire level with any supplies. Now, the zone after this is called level two B, which is just like two A except it's dark and it's more dangerous because the walls and the floor and everything else here is disintegrating and cracking. Now, as I mentioned earlier, the parts in between those light and dark zones are called the limbo spaces and these zones are very strange. They're glitchy and buggy and they don't seem to be normal space and time like it's not it's not like you're walking through a dark hallway. It's like you're walking through thick air that kind of glitches you around and moves you places where you're not walking like you can start going straight and then glitch to the left or to the right kind of like you're in a game lagging. There's pretty much no information about this part, but all it's known is that it's just weird and you should avoid them. Now, there's actually two more parts of the level that you're going to want to hear about because these are the strange even more enigmatic ones. Now, the first one is called the crawl space and this place is so big that it could honestly be its own level, but it is connected to the installation level. The only way you can get to this area is by crawling through the holes in the floor of zone one B. The area itself looks like a crawl space you'd see from real life. It's got concrete block pillars holding it up a dirty floor and insulation in the roof above you. It's thought that the area is infinite because no one has ever found an edge or anything that suggests there's a barrier. The crawl space is like the rest of the zones in that it smells damp and wet and it feels dirty and gritty, but there's actually an entity in this zone, unlike the other ones, that is extremely dangerous to human health and should be avoided at all cost. It's called the crawl space creature and I'll explain what that is in a couple of minutes. The last zone was actually just found a few weeks ago and for now it's been nicknamed the unknown. There's literally no information about it except for one photo that was taken by the wanderer who found it. If more comes out, I'll let you know, but all we can see now is that it looks like a claustrophobic space in an attic with lamps and candles. So who knows what that means. Now I'm going to explain the crawl space creature. This entity is a kind of humanoid thing that's seven feet tall. It's got tiny back legs and two extremely long clawed hands on its front. It uses these long hands and claws to drag itself on the ground in the crawl space to chase and spray. Now most wanderers are slashed with the claws before they can even see what happened. So it's hard to get a detailed description, but from what's known so far, it's thought that the entity can't see very well in the light, but it can in the darkness and it kind of seems to navigate using sound kind of like bats with echolocation except a seven foot tall 10 foot long creature with huge claws chasing you. Now it's thought that this creature can harvest supplies from somewhere and place them in dark corners of the crawl space to lure you there. So it's like it reaches up to the floor of the crawl space to the supplies above, grabs them, brings them down and makes traps so that you would go there and get attacked. That's totally not terrifying. To enter this level, you have to crawl through a vent on level four and it's also thought that you can find an entrance at the roof of level three, but that's not confirmed yet. There are three ways of exiting that have been found to work pretty reliably. The first and easiest is by just going back the way you came. You can also find a different vent in the wall or floor which might lead to another level and the last way and the most hardest way and the way that I would never tell you to do is to go down into the crawl space and no clip through the floor, but that's not worth it because there's a monster that lives down there that wants to eat you back room is level and negative three or of light and darkness is a very, very dangerous place and dangerous is an understatement. It's classified as a class. Mirage difficulty for having psychological tour reality warping geometry and deceptive influences and I'll explain what all that means in a second, but pretty much it means that nothing is as it seems. The level is located deep into the back room somewhere and it physically might be the smallest level ever found cut up into a bunch of parts.  Each of these cubic rooms has four walls except the walls are not just material. They're mirrors. So all four walls in each room you're in will be mirrors and the mirrors are facing inwards towards each other, which is creating an infinite reflection on all sides. Now it's not the mirrors themselves that make the level creepy. It's actually what you see in the mirror. When you're in the first cube, you'll see your own reflection pretty normal and you'll see that for the first few rooms at least. And the good news is you aren't stuck in one room forever, but that's also bad news because it just gets worse. Now to exit the rooms you'll need to look for a part of the mirror that doesn't look completely solid. It kind of looks like it's waving water and then you can just walk directly through it. And if you do walk through the mirror, you'll be sent to an exact copy of that same room except each time you do this go from one room through the mirror to the next room. You'll notice that the mirror will become more cracked and more imperfect and you'll also notice something creepy looking back at you in the reflection and it's not your own reflection at this point because as you get deeper into this labyrinth of cubic rooms you'll start to see a more mangled abomination of yourself like a decayed zombie or skeleton looking back at you instead of your normal reflection each time the image will get more and more distorted and gross and kind of like you're looking into a fun house mirror from a carnival except it's way creepier and creepier. It also doesn't really make any sense that you can see your reflection because there's no light in the cube rooms. Instead, the light comes from the reflection itself and since there's just infinite reflections you can hardly tell where anything is. It's hard to find any depth perception.  So yeah, that's not fun. You'll eventually get so far deep into these small cubic rooms and these mirrors to the point where the reflections of you aren't even reflections. They act like their own entity and kind of move on their own. They almost kind of shadow what you do except they don't move exactly when you move and they look gross and disgusting and they seem to just move around behind the mirror as they will.  But as you keep going deeper and deeper you'll start to accept that they're not your reflection and that they're trying to hurt you. And at that point, these reflections will start to talk to you and verbally to you. They'll sling insults at you. They'll give you false information. They'll scream at the top of their lungs and keep in mind, this whole time you'll be trapped in different rooms with each wall being a mirror. So it's not like you can go anywhere. And sometimes these entities in the mirror will even convince the wanderer to walk to places in the floor that aren't solid and can be fallen through.  And if you do that, guess what? You'll land in another mirror room with more reflections. If you don't find the exit to the level then you could be stuck in this infinite loop of small mirrored room with monsters looking back at you from the mirrors. So you're probably going to want to listen to the exit section. And this is a quote from a wanderer that came here that they jotted down in a journal. The voice beckoned me to free it, repeatedly and desperately telling me, please, you're making a mistake. Don't just sit there. Let me out of this prison. Don't end up like me. When I opened my eyes, I saw my reflection persistently slamming her blood fist into the wall to my left. The glass was cracking more with each successive punch. And I stumbled back in fear, unprepared to confront whatever could step through that wall once it broke. However, I must have backed up too much such that I went through the wall into the same room, in fact, though my rogue reflection was gone. My nightmares are not in there, unfortunately. All around me, I saw some mirror walls gradually fracturing. Even when my reflections on those walls displayed my same panicked expressions and conformed to match every move I made. What an adrenaline rush. I traversed this maze of mirrors for what seemed to be several minutes running towards mirrors that lack visible cracks and just closing my eyes before I made impact. Was I escaping my own self? Or was it something else? So yeah, as you can see, this person is crazy. They're running away from their own reflection and this will happen the deeper you get to this level. To enter, you have to walk through a mirror that's not made out of glass on level 365. And to exit, it's pretty hard. You have to find something to break the mirror that you're staring at and hope that behind the mirror is a tiled bathroom or tiled room behind it. And if you see that tiled room, it'll be some kind of bathroom in a random backroom's level. And if you plan on walking through it, you better hurry because the mirrors heal and fix themselves. So you have to be careful when breaking them because you don't want to hurt yourself and you don't want to be trapped. Just make sure you jump through it after you break it. Sometimes the mirrors can lead to nothing, just a blank void. And if you go through that, no one knows where you go. So that's fun. So the broken backroom's level is classified as a class death zone and it has multiple environmental hazards that make it dangerous to even be in. The level really can't be considered a level because it's so fragmented and shattered and glitchy that it expands outside of what we would normally consider a level.  Even though it's hard to describe, I'm gonna try it anyway. So the broken looks like a kaleidoscope kind of and it's extremely unstable everywhere you look. The architecture and the shapes here don't make any sense to our brains and they don't follow the normal shapes and patterns that we know of. The terrain itself of the level is made out of broken, swirling matter and you can actually walk on this terrain even though it's glitchy and warping. But who knows how that's even possible. The level is very colorful and very vibrant and the further you walk into it, the worse it'll get for you. Just looking at the spaces around you will make you start to go insane just from seeing what you're looking at. Just seeing everything crumble and warping won't help your sanity either. Now some people call the broken a splintered plane of existence. Kind of like a reality that went too far and became so corrupt that you can't even tell what it is anymore. It became so digitized that it's not even real. The strange colors and shapes and movements and reality-bending things are not the only dangers here though because there's actually a noise that's constantly blasting full volume on this level. The noises are coming from literally everywhere but it's like this amplified, disturbing bass boosted sound that you could probably think of what it sounds like. I mean just look at the picture of this level and listen to what you would imagine a noise would sound like there and that's what it would be. There are also objects in this level that float through the ground and the sky and they come back up and go everywhere. It doesn't make any sense. The WikiDot describes the level as a place that you can't even fathom or begin to understand because of how corrupted and how laggy it is. Ironically, there are actually structures here in the level as well but the only problem is that they can change shape and are devoid of any actual material. They're just warped atoms, I guess. So you might see a pyramid or something but then you can go right up to it and walk directly through it or glitch beside it and you won't even see it again. It'll just disappear. On the horizon of the level you can see an effect that is kind of like that one from Minecraft when you're loading in new chunks of the world. So if you keep walking you'll see the world build on itself which must mean that this level has the ability to load new and infinite parts of itself. Which is crazy. The newer the location the more chaotic and broken it'll be. And for that reason it's said that you shouldn't wander into this level at all unless you're insane. Some people think that this level has some kind of relationship with the back rooms as a whole. A sort of symbiotic relationship like the back rooms might feed off of this place's unstable and hostile energies and it might use those energies to create entities or other levels that we know about. Who knows? Now some of the places found in the broken kind of resemble other locations and levels and landscapes from other back rooms levels and from real life except these are non-linear gross conglomeration glitchy things of that real thing. So there could be what looks like a city but it's just warping and glitching and floating around. But again that's all just a theory. A back rooms theory. See what I did there. Others who don't believe in that theory that I just talked about believe that this place is just a bizarre, random, meaningless plane of reality that doesn't have a purpose or a meaning. So they pretty much think it doesn't mean anything. Personally, I like the first theory that the back rooms draws this dark, magical energy from this level to make other levels itself. But let me know your theories in the comments. Pretty interested to see which I have to say. If you for some reason want to come here you want to avoid one thing specifically and that thing is touching or making contact with any of the glitching fragmented structures. Because if you do that your existence will literally start to crack and rupture and then you'll start fading away. Like you could touch one of those pyramids or one of those statues there and just start decoding and not exist anymore at all. In any way, it's happened before and it's terrifying to think about what that might look like. Entities that we normally talk about here on the channel like hounds and that kind of thing. They're not seen here as themselves and it's thought that they wouldn't be able to survive anyway but there actually have been glitchy prism and shape looking things in the sky that kind of resemble entities. Maybe those prisms are like cocoons that entities are made in for the back rooms? Who knows? Now it's said that entities have been seen no clipping here by accident. Just like people do. But those entities have seemingly transcended and melted together with the broken's environment and it become these glitchy, warping, broken things that aren't bound by the laws of physics that you can see glitching around everywhere and they'll just float and warp for the rest of existence. As of right now, no one knows the entrance or the exits to this horrifying level which honestly makes it more terrifying because you have no idea how to avoid being sent here and you also have no idea how to leave if you were sent here. Nice. But yeah, let me know your theories about this level in the comments. Is this level some sort of power location that the back rooms pulls power from to make it to decent levels or is it just another random glitchy, corrupted level? Who knows? Thank you so much for watching this video. If you did enjoy, make sure to leave a like. Let me know which levels you want me to go over next. Check out my second channel, Broogly2 and my third channel, Spooogly for SCP videos. I love and appreciate each of you. Have a great day. Tell somebody you love them. Peace.


Hello, everyone. So welcome to my first open source graphic class. I'm Boris Brezion. I'm working for Collabora for nine months now. And today, I'm going to teach you our GPU's work. Actually, no. I'm not in a position where I can pretend teaching you our GPU work because I only started working on GPU's like six months ago. Yeah. What I'll do is instead share my understanding of these things. And of course, if I'm wrong, then it's safe to interrupt me and correct me. And also, don't blindly trust everything that's written in those slides. If you have to use that, then go check on your own and make sure it's correct. So what is this talk about? Maybe I should first start by telling you what it's not about. It's definitely not about teaching you how to use a graphics API. So no OpenGL, no Vulkan in there. It's also not about teaching you how to develop a driver. Both of those things would take much more than 40 minutes. So what I'm trying to do here is trying to explain our GPU's work, how to interact with the GPU from the software stack, and what the Linux GPU stack looks like. But before we go look at the software stack, let's first have a look at what a GPU does. So basically, a GPU is here to display 3D contents. You'll pass the old things to the GPU, like the model you want to display in the scene, the textures you want to apply to those models, some extra information like the transformation you want to apply to those models. And then you put that to the GPU and you get a nice juke's box. But in the middle, it's like kind of a black box. Actually, it's a blue box here, but that's the same thing. So let's have a look at what's inside this black box. We actually have two main stages. The first one is the geometry stage. And it's where the coordinates you will pass to the GPU will be transformed into a geometric shape and split into basic primitives. So here, you can see that we chose triangles, but it can be quads or it can be lines or whatever. And then this geometric shape is passed to the Rasterizer stage, which has also passed textures or multiple textures. And those textures will be applied to your geometric shape. And you end up with some 3D content you can display on the screen. So of course, that one is pretty basic. But when you look at a game, you actually have n-reads of models with complex textures. And those models are much, much more complicated than cubes. So yeah, that's what a GPU does. So let's have a closer look at both those geometry stages and Rasterizer stages. The geometry stage is here to turn those vertices, those coordinates, into this geometric shape you want to render. The first step is passing those vertices to what we call a vertex shader. It's part of the pipeline, which is programmable. So the user will be able to define how those vertices will be transformed. So you have some basic transformation, which happened almost all the time, like putting the model in some complex scenes, or placing the camera somewhere in the scene, or doing some kind of projection. And then you have some things that are completely application-dependent. So you can do any kind of transformation on those vertices that you want, because it's completely programmable. Then you have two stages, which are optional. So depending on your GPU, it will be supported or not. And those are the geometry and the solution shaders. Actually, I didn't put any diagram on those, because I don't really understand how they work exactly. But the idea is that, based on a set of vertices, you will be able to generate new ones. And so that instead of passing a thousand or millions of vertices, you will be able to generate them from the ones you already passed. So it saves some memory bandwidth when you use those tricks. Then we go through some fixed function steps. The next one, after the geometry and the solution shaders, are the primitive assembly. So it's about taking all the coordinates and linking them so that you can form basic primitives. Here, we are creating triangles. And so you have a cube, six spaces, 12 triangles. Next step is about clipping. So the object you want to render might not be completely inside the scene. So you will have to move it to one of the sides of the scene. And so this step might generate new vertices and then new triangles. Then you go through the back-face tooling. This part is about optimizing the rendering. So everything that's not visible should be hidden. And so you will, during this phase, drop some of the shapes, some of the basic primitives. So if you look at this diagram, you'll see that all the faces that we don't see, we just discard them. And finally, you will have to place this shape inside the window you want to display it in. So you will have to scale the shape and then move it where you want to have it displayed. So that's how you end up with your geometric shape. Then what happens is that the GPU passes this shape to the next stage, which is called the rasterizer stage. And here it's all about filling pixels with some colors. So the first step is trying to determine which pixels are covered by all of those simple primitives. So you will pick one triangle, then put it on the pixel grid, and then determine which pixels are covered. Once you have done that, the triangle setup, you will try to fill all of those pixels with some colors. And those colors are usually taken from a texture, but it can also be a pretty fine color. And finally, once you have done that, what you will do is look at what the previous pixel was, and then determine what the final pixel value will be. So if you add a triangle on top of another triangle, and the new triangle is above the old one, then it will completely hide the old pixel. Or if you determine that the triangle is partly transparent, then you will have to do some blending. But the basic idea is that the merging stage is here to determine what's the final color you will have displayed on your screen. So that's basically it. You have this complex display pipeline, and you end up with something like that we've seen on the first slide. But that's great. Now let's look at what's actually inside a GPU, otherwise I mean. So we've seen that in the pipeline, we have some fixed functions and some programmable function. The fixed functions are all in red in this diagram, and you will have the texture units, the triangle setup, the riserizers, the blending units, and a lot more. Basically, everything that takes a lot of time is optimized and put in a fixed function. And then you have the programmable parts, which are called shader cores. And inside those shader cores, you actually have one or multiple ALUs. And those are where all the processing happens inside the GPU. And next to those cores, you also have some blocks that are here to optimize things, like caches, because you want to hide the memory latency, or a shader because you want to parallelize a lot of things, but still don't add too much cores. But the basic idea behind GPU processing is going massively parallel. And why do we want that? We want that because when you think about it, you have a lot of vertices. When you think about a game, you have a lot of moles. The scene can contain like 1 million moles. Each model contains a lot of vertices. And then when you want to display the final core role, you think about the resolutions, like 1080p or even 4K now. When you think about it, you just have a huge amount of things to process. And luckily, all of those things can be processed completely independently. So it really calls for parallelization there. And the last thing is that we want things to be rendered in the sentiment of time. So we can't just serialize things. We have to do things as fast as possible. So how do we do that? The first trick is using CMD. So CMD is you take a single restriction, and then you apply it to multiple data. In the case of GPUs, that means that you will take a single restriction, and you will apply it to multiple vertices or multiple fragments. Another way to optimize things is to use fixed function units. So we've seen that we have a lot of them in GPUs. And the last thing is putting a lot of cores. But when you put a lot of cores, that means that you have somehow to reduce the size of each core.  So no fancy stuff like we find in CPUs, out of order execution, smart perfection, branch predictors, we don't have that in GPUs. Or not as smart as we have in the CPUs, at least. So yeah, we have a solution. CMD, a lot of cores, and that's perfect. Well, actually it's not, because it doesn't work in practice. Yeah, just two problems that we have. And I guess there are many more than that. The first one is, when you want to access memory, you have to go through the memory bus. And usually it takes like 100 cycles or even 1,000 cycles. And that means that during that time, you can't execute anything else. You have to wait. So we have to somehow hide the latency that is incurred by all memory accesses. We have a solution for that. I mean, in CPUs, you have a lot of caches. And that works great, because you want to access some piece of memory. You access a bit more, and then you put it in the cache. And then the next access, which is close to it, will just hit the cache. And you get the memory almost instantly. But when you do that in GPUs, that means that you have to add caches in all the cores. And then L2 caches and so on. And as I said, we try to not use too much space, not use too much gates. So the other approach is to instead use multistrading. That is, you will try to prepare a lot of things to do, pack all the frameworks, pack all the vertices, and then put them on hold until one of the threads is executed and is blocked, because it needs to do a memory access. When that happens, then the GPU just put this block on hold, put this thread on hold, and then pick another one to execute it. And since you have a lot of them waiting in parallel, then you can somehow hide this latency, because you have a lot of things to do in the meantime. So that works great. The other approach to help optimize the parallelization is SIMD. But with SIMD, if you want to use the GPU efficiently, that means you have to keep all the ALUs busy as much as possible. And that means that when you execute a shader, you have to avoid punishable branches. Because if some of the fragments or vertices goes in one branch and the other goes in the other branch, that means that part of the ALUs are idle for some time. So you have to find a way to pack all those things so that you get a good use of your GPU. Those are some complexities you have to deal with. And the hardware can help with that. But you also have to deal with that from a software point of view. And that's why GPU compilers are so complex. Because you have to think about all those things when you want to optimize code for a GPU. So that's it about the hardware. Now let's have a look at how you actually interact with this hardware from the software point of view. The CPU is here to deal with all the apps which are running on the machine. But it's also here to ask the GPU to do something. And when it asks the GPU to do something, it has to pass a lot of data, think about vertices, think about all the textures, and all the stuff that actually represent the huge amount of data. So how do we do that? Well, the simplest way is to just put everything in memory, then tell the GPU, OK, everything you need to execute this is in memory at this position. And go, do what you have to do. And let me know when you're done. And that's basically how it works. What you have is what we usually call a command stream. And this command stream contains a few blocks. Each block is describing a specific operation. Like for example, if you have a vertex shader, usually you have a vertex descriptor. And then it points to another block of memory which contains all the vertices. And also another block which contains the byte code for this shader. And you have the same thing for the fragment job. And you also have other kind of job which I don't describe it, but it's highly GPU dependent. So yeah, the driver basically has to describe that and pass this piece of memory to the GPU. Great. So we have a good idea of how we interact with GPU, what's inside the GPU, and so on. Now let's have a look at the graphics stack. When you look at the graphics stack, you actually have sort of components. The first one is the application. This application interacts with a well-known graphics API. You have several of them. OpenGL is probably the most well-known one. You have Jack 3D for Windows applications. And you also have Vulkan, which is quite new and probably taking over OpenGL at some point. And then behind those APIs, you actually have drivers. Those drivers are splits and two pieces, one which is running into space and one which is running into space. But let's first have a look at the graphics API. So why do we need that? When you look back at the graphics plan and at the command swing stuff, you can't imagine how complex it is to actually get it right for a specific hardware. So what those graphics API do is abstract those other specificities. Yeah, you might have this choice. It really depends on your hardware. So if you use Intel GPUs, you can use OpenGL, Vulkan, and also even directory now, thanks to the Mesa drivers. And as I said before, part of the pipeline is programmable. And so you have to somehow describe what you do in those shaders. So what this part is actually done in separate language, which is called GLSL or HLSL. And when the user space application wants to pass this program to the GPU, it actually has to pass it first to the graphics API. The driver has to compile it in some other specific bytecode. And then it can pass it to the GPU through the command swing. A few words about the main ones actually in the open source space. So we basically have the choice between OpenGL, which is the old API and Vulkan. And they actually have two different approaches. OpenGL is about hiding as much as possible the complexity about what's happening in the GPU. And that works pretty good. I mean, when you want to develop a 3D app, you do it in OpenGL and rather simple. On the other hand, that means that the driver has to do some guessing about what the user wants to do if it wants to optimize things. While Vulkan tries to expose as much as possible the hardware complexity so that the user can take the best decision for its specific workflow. And of course, when you write Vulkan application, it's likely to be a bit more complex. But on the other hand, it's likely to be much more efficient because you get full control over the GPU pipeline. So yeah, if you have the choice, I guess it's a pretty good idea to actually try writing application in Vulkan. There are two reasons to do that. The first one is that it will probably worry better than an OpenGL app. And the second one is that you will actually learn about how GPU works internally. And that's a good thing to understand how things work because then you can take the appropriate decisions. So now let's move on and go to the drivers. The drivers are quite complex. And that has to do with the GPU complexity, actually. So we could have put drivers directly inside the panel. But since they are complex and actually not all of the code needs to run in privileged context, it's actually better to move the part that can be in user space into the user space and then have the part that deals with hardware interaction in the space. And also, the beginning in user space is much, much easier. And the last thing, but I know sure it's a good reason, is that when you put something in user space, you don't have all those licensing issues. And that's probably a good reason for all closed source drivers to deal with it, to deal with drivers like that. So let's have a look at what's inside a kernel driver. The kernel driver is responsible for three things. Memory management, so allocating buffers, freeing buffers, passing buffers, and so on. It's also responsible for taking a command stream, executing it, and also doing the multiplexing when you have several applications accessing the GPU. So it's also here to schedule all the command stream it has received. And finally, it's here to signal when the GPU is done executing the command stream. For all open source user space drivers, you have a kernel space driver, which is normally in mainline. So usually it's in driver's GPU, DRAM. And for closed source drivers, we don't have kernel drivers in mainline, simply because it's a policy that DRAM maintainers want to enforce. They want to have user space drivers which are open source before merging kernel space drivers. And that actually makes sense, because we want to push for an open source solution. So that was for the kernel space driver. What about the user space driver? So that one is the most complex one. I mean, it's here to implement the graphics API. It's here to compile shaders. So all the compiler complexity is put in user space. It's also here to create the command streams, pass them to the kernel, do the synchronization with the kernel space drivers. And it's also here to interface with the windowing system manager. So all the interaction between your Wayland compositor and your GPU is also done in the user space driver. So we have a solution for open source drivers in Linux, which is called Mesa. And depending on the API you want to implement in this library and in this middleware, you will have two different approaches. The one for GL is try to abstract the GL calls and then define a standard driver interface and then pass all the calls to the specific driver. And for Vulkan, actually, it doesn't work like that, because Kronos has its own driver loader and own a driver abstraction layer. So all that's implemented in Mesa for Vulkan drivers are actually just the drivers. And nothing abstracted for the API itself. And then for code sharing, they just used leaves. So a few helpers which help factorizing some code, but there is no abstraction. Regarding the implementation of drivers, you actually have several choices. I want to tell the pre-Galium one, because it's not supposed to be used anymore. But there was a specific interface which drivers were implementing before Galium. Galium is about trying to abstract all the state matching specificities and make the driver only deal with hardware specificities. So what they do in the Galium abstraction is that they take calls from a specific API. It can be OpenGL, it can be Direct3D, or there are also other state trackers. They transform that in some kind of generic calls, and then they pass the call to the specific driver. And depending on your hardware, it will go through a different driver. So if you have a GL call and only have a Mali GPU on your platform, then it will go to the Benforce driver and pass it to the Cannot Driver counterpart. And so that's how the abstraction is done inside Mesa. For Vulcan drivers, it's a bit more complicated. You actually have no abstraction at all. That means that currently drivers are kind of duplicating a lot of code. Even if part of it is put in some libraries, common libraries, most of the code, I think, could be shared a bit more. But the idea is that the layer between the graphics API and the actual driver is much, much sooner than with Galium. And part of the reason why it's done like that is because you don't have a state matching anymore in Vulcan. So you don't have to deal with all the state trackers seeing that it's done inside Galium. Or at least that's my understanding. So yeah, it was pretty quick over you. I won't pretend you will be able to develop drivers based on that, but that gives a pretty good idea of where to look at and how PCs are interacting with each other. Keep in mind that GPU topic is super vast, and you won't be able to get a grasp on all those concepts in like two weeks. At least for me, it's not possible. So if you want to start developing a GPU driver, what you should do instead is focus on a specific feature or focus on a specific bug and go digging into this direction. And keep digging until you actually understand the underlying concepts. And the most important thing is don't give up. Keep reading stuff about GPUs and keep learning about that. A few useful things if you want to learn about GPUs. There are quite a good blog post about that. Our GPUs work. And of course, you can search in Google and you'll find plenty of them. Also, if you want to dig into the MESAC code source code, you should probably have a look at the documentation because the source tree is a bit hard to follow. So yeah, you should probably have a look at that. And the DRAM subsystem, the genocide of things, is pretty well-documented as well. So yeah, you should probably have a look too. And that's all for now. I hope you were able to understand a few things. And if you have any questions, maybe I can answer them. Is anyone working on the PowerVR open source slash free software driver? Because I know that the other GPUs have now a free software driver, which is the PowerVR. I'm pretty sure no one is working on that, unfortunately. And I heard that the architecture of the GPU itself is quite hard to deal with. And so it doesn't really fit in the model we have right now. The modeling we have right now in MESAC. So no. Hi there. So I was wondering when you want to do general purpose computation on a GPU. Do you know if there are any significant changes to the hardware or architecture or anything that needs to happen to make that possible? Or is it just a case of using the graphics pipeline in a more non-graphical context kind of thing? I guess the compiler can help optimizing things for your specific workload. So it has to do with the driver side of things. The MESAC driver will try to optimize some specific workload for, I guess, you're talking about OpenCL or this sort of thing. General purpose GPU. It's the responsibility of the driver to try to optimize something. OK, thank you. And you have some tools to help you with that, especially in MESAC. You have the NIO compiler, which is helping a lot with all kind of compiler optimizations. So yeah, you have some tools. No more questions? The question is, what's the OpenCL supporting MESAC? I'm not so sure about that, but I think Clover is about supporting OpenCL and MESAC. And so I guess there's a state tracker dedicated to OpenCL and sign MESAC. Yeah. Not entirely sure, but I think this is the case. Is Vulkan only working with one specific driver, slide 32? Sorry? On slide 32? 31. Sorry. OK. Vulkan is only MSM driver or test? It's the Qualcomm one. So Friderot is the open source driver, and MSM is the kernel side of the open source driver. Can you shortly explain what a state tracker does? What is it? So a state tracker is about maintaining the state of the graphics API. If you look at how OpenGL works, it's actually a huge state machine. And so every time you do an operation, then it changes the state. And the state tracker is here to help you keep track of that. So that drivers only focus on executing things and nothing else. And so you can have the same state tracker for all drivers. And that's actually what Galiom is designed for, factorizing all those state drivers and making them come onto all GPU drivers. Thanks. OK. Thank you.


Dates are one of the healthiest sweeteners. That's what we use in the how not to die cookbook. You can blend them with water and make date syrup, or use date sugar, which is a whole food, just dried dates ground into powder, and as such is packed with nutrition. Ending up with as much antioxidant power as blackstrap molasses, but without the strong taste. Though not all brands are the same. For example, Bob's Red Mill may have twice the antioxidants compared to now foods, though they only tested one package each. OK, so dates are healthy compared to other sweeteners. That's not saying much. Do dates have any special medicinal properties? You'll see papers like this in the medical literature touting the therapeutic effects of date fruits and the prevention of diseases, anti-inflammatory, antioxidant, anti-tumor activity, complete with figures like this of the purported pharmacological activities of date fruits in disease control. But what they don't say is some of this may be based on studies like this, where they feed dates to rats. That sounds nice, but then induce testicular ischemia by twisting their left testicle clockwise 720 degrees, so like two full rotations to completely kink off the blood supply. So did the dates help? Who cares if the dates helped? We're talking about rat testicles. It's like when researchers test the nut-on-nut effects of pecans. What relevance does that have? Though ironically, perhaps the strangest assertion here that dates helps with labor and delivery is actually supported by randomized and double-blind placebo-controlled trials, as I've covered before. So let's keep an open mind here. What about the purported anti-cancer effects? Researchers studied the impact of dates on our good gut flora and colon cancer cell proliferation. Our gut harbors about 10,000 billion microorganisms and is considered the most metabolically active site in the human body. All sorts of crazy stuff is happening down there, and we can reward our good gut flora by feeding them prebiotics like dietary fiber and polyphenols, a class of antioxidant phytonutrients, and dates have high levels of both. So let's blend up some dates with some gut flora and fecal slurries donated by volunteers. You've heard of green smoothies, more like a brown smoothie. Well, what happened? Both the whole-date extract and just the date polyphenols were able to significantly increase the growth of beneficial bacteria. And then they also assessed the ability of mixtures to inhibit the growth of colon cancer cells in a petri dish. Even just the polyphenol fraction cut cancer cell growth by more than half in the whole-date extract nearly blocked cancer cell growth completely. Together, these data suggest that consumption of dates may enhance colon health by increasing beneficial bacterial growth and inhibiting the proliferation of colon cancer cells. It would have been nice if they actually studied the effects of dates in the actual colon, but there's never been such a study until now. The impact of date consumption on gut flora growth and large intestinal health at randomized controlled crossover human interventional study, volunteers were randomized to either a control group or seven dates a day for three weeks. And there were significant increases in bowel movement frequency, not surprising, eating the additional fiber, but also significant reductions in stool ammonia concentrations after consuming dates. I have a video on why that's important. Furthermore, date intake significantly reduced genotoxicity in human fecal water. What the heck is that? That's like human stool tea, a water extract of feces from someone eating seven dates a day, causes significantly less genotoxicity, meaning is significantly less DNA damaging, which is good, since that's what's coating the insides of our colon on a daily basis. Dozens of different date varieties have been pitted, no pun intended, against a variety of cancer cells in vitro, not just colon cancer and stomach cancer, which the dates might actually come in contact with, but also prostate cancer cells, lung and breast cancer cells. But, of course, we'd have to first show that the active components are actually absorbed into the bloodstream and end up in those organs.


Similarly, the former Deputy National Chairman of the People's Democratic Party, PDP Chief Bodej Jhaj, and a group called Omokwata Ki, have endorsed the Rhodes Viva of the Labour Party as its governorship candidate ahead of Saturday's elections. Addressing members of the PDP in his office at Lugad Road in Iqoyi Lagas, Bodej Jhaj called on supporters to vote massively for the Labour Party candidate in the forthcoming election. The PDP chief team, alongside some top members of the Omokwata Ki Forum, disclosed that their decision to be born out of desire to free Lagas and eradicate selfish governance from the states. We know that them, which one will be able first to represent the interests of the states, secondly, will be the reflection of what we believe as Omokwata Ki. So please, go out, vote, and vote for my son here. He's here. He has plans for us. Let's go out, vote, and vote for my son here. Chief Bodej Jhaj, who also touched on the issue about purported appointee and surrogate all the presidential candidates said to be presently in charge of information technology at INEC, appealed to all security agencies to ensure protection of voters and that all Miraldas and Thugs must be arrested and treated according to the laws of the land. In his response, Bodej Jhaj and the forum for adopting him as their governorship candidate in the forthcoming election. If we fooled that what we have in Lagos, which is Tokyoism and politics, which is a government that will commission a blue line, but nobody uses it yesterday, nobody uses it today, and nobody uses it on the day of my inauguration until I come in and start to make it and make it work, I am very, very happy to be endorsed by this forum because even if some people don't say I'm an iPhone leader, they will say all sorts of propaganda and stories.


Hello and welcome back. In my roadmap video, I introduced six steps that help you to move from traditional to digital teaching and learning concepts. According to these steps, you first select a course, then a learning unit and eventually a content section from that unit that requires roughly 10 minutes in class time. Once digitized and delivered to your students, you can reuse the 10 minutes in class time for other purposes. Central to these steps is step 4, the digitization of the content itself. That is, the development of a website, allowing the learners to apply their own content acquisition strategies. And to satisfy the different learner types, we need digital text, in our case 10 to 15 lines, maybe further information, for example images via hyperlinks and, if possible, video. And eventually, we should also generate a few questions for quizzes about the topic. There are two options to arrive at such a website. We can use open content if there is any, or we have to apply the do-it-yourself principle. My recommendation, before we do it ourselves, let's find as much open content as possible first. But what exactly is open content? And how can we find it? Well, open content, or more precisely open educational resources, are freely accessible educational media, that is text, images, video, etc. These media can be accessed with simple search engines and specific filter options, but can also be found via particular websites. Let's see whether we find some text first. With a simple text search, we quickly find several thousands of websites far too many to look at. My suggestion, start with Wikipedia, and if scientifically adequate, modify that text in such a way that you adhere to all copyright regulations. And when you construct the text, whether from scratch or on the basis of your web sources, keep a balance between modularity and thus reusability, and cohesion, that is, linguistic connectivity with other texts in the same learning unit. Let's look at images next. The number of images associated with a search term is normally overwhelming. However, most images are copyright protected and cannot be used freely. But if you activate the tools menu and apply the special filter labeled for reuse, you can confine your search to those images that are hot candidates for free usage. But even these images might not be ready for use and need to be checked carefully. So whatever results you get, make sure the copyright is not violated. Last but not least, video. In YouTube, for example, our search term will retrieve hundreds of videos that may be relevant for us. All these videos can be shared via their hyperlink, and if the channel owner has activated the embed option, they can become part of our websites. The result, in our case, where we embedded two videos looks like this. There is one problem though. If a video is deleted from its channel, your link is broken, and the website looks like this. Not a desirable option for a smooth content acquisition process. My suggestion in such a case, contact the channel owners whether you can use the video. They surely will like it and will look forward to receiving your clicks. By far the best option are those videos that have been given the Creative Commons license by their developers and can now freely be used. Even though the YouTube search filter Creative Commons will dramatically reduce the number of videos, we can now be sure that these videos cannot only be shared and embedded, but can even be downloaded and remixed. The only condition the original author has to be mentioned. By the way, an important option that gives you full video access control should also be mentioned. If you embed a video like this one here, and you use the standard code for embedding, it will normally be played from the beginning to the end. However, an extension of the source attribute in the HTML code allows us to specify the start time and the time where the video should stop. I will come back to these details in another video. So in summary, open content is available. And we have a variety of options to access and control it. However, there may be cases where we have to produce the content ourselves. In such cases we have to make sure that we can produce elements beyond plain text. For example, images using imaging and photo editing software, audio files using audio editing programs and even video with the help of video editing tools. And we need the necessary technical infrastructure and a considerable portion of media know-how. So my recommendation is clear. Try the open content search before you start on your own or use external help. But whatever option you choose, the digitization of content is not an easy task. It involves creativity, new ideas and requires a lot of support, technical and scientific. And it is, in any case, a team effort. So these are my ideas about the digitization of linguistic content and thus the realization of step four of my roadmap. I hope that some issues are now clear. If not, do not hesitate to contact me. Until then, have a nice time and see you again soon.


Hey everyone, and welcome back to the Broogly Channel. I'm your host, Broogly, and in this video, I'm gonna be explaining Backroom's Level 60, or the Baywalk.   With all that said, let's get into the explanation, shall we? Well, go check out my second and third channels, Toogly and Spookly, because if you do that, well, you're pretty cool. Now, let's get into the video. So, Backroom's Level 60 is classified as a Class 5 difficulty, and is unsafe, unsecure, and very dangerous, due to its environment and other things, which I'll explain in a few minutes. The level physically takes place next to the ocean, and it's made up of different segments of a pathway. That's why it's named the Baywalk. Now, the pathway itself is well-kept in some spots and broken and destroyed in other spots, and it's all slightly lit up by dim street lights. Some of the lights are broken, and some of them are just off or collapsed, so there's not much light here, so don't expect to be able to see much. On top of this, the level is always dark. It's always nighttime, and the sun has never been seen here, which means that this is a perfect place for Smiler entities to be. And trust me, they're here. But more on that in the entity portion of the video. The pathway along the water gives off a very relaxing feeling to anyone walking on it. And overall, it makes anyone who comes here pretty calm, even though it's very dangerous. There's a light sea breeze blowing and the sounds of waves crashing probably helps with you feeling relaxed. Although this relaxed feeling isn't good because it's the level trying to make you let your guard down. If you're chill and not stressing about anything on this level, then it leaves you more open to entity attacks, which apparently is what the level wants. Now, as I said earlier, the level is split up into a couple of different segments. The first segment is called the upper area, and this place is the main part of level 60. The pathway here looks pretty new and well kept. The floor is concrete, and it doesn't have any cracks or any breaks or anything. And most of the lights here don't work. There are huge swaths of complete darkness. And this upper area is also the most dangerous part of the level due to those big parts of darkness. And it's in those dark areas where the level tries to make you feel calm by having a nice breeze and a nice calming sensation from the water. Not effect has been nicknamed the painless death. And since there's less lighting, there's more smilers. So good luck. Next area is called segment two or the lower area. Now this is where most people who get sent to the level spawn. This pathway is made out of dirt and is physically located below the upper area. In this section, everything is unfinished looking and kind of grimy. This part also is way closer to the water. So if you aren't careful, you could fall into it. In some rare cases, you'll be able to find a staircase that leads up to the upper area. But these aren't common. So yeah. And even if you do find a staircase, you should not go up them because of the smilers and the darkness up there. The good news about the lower area is that there aren't any creatures down here hiding in the shadows. It's pretty safe. But you do have to stay on the lookout when you're walking so you don't trip over something and fall into the ocean below. Speaking of the ocean, it's got some pretty strange behaviors to say the least. Now the ocean for the most part is like the ones from real life. But instead of it being miles deep like the ones we have, it's only four feet deep, which doesn't seem bad at first. But trust me, it's bad because this ocean area is pitch black. Like literally no light comes down from the lamppost here, which means of course, that smilers have infested this shallow ocean. So if you fall in, you pretty much fall into a smiler pit. The ocean also seems to be able to be no clip through sometimes because people have been seen falling off of the lower level into the ocean and then just disappearing. So that's pretty cool. But this no clipping effect doesn't always happen. On top of this, sometimes this ocean will randomly and unexplainably disappear. And the only thing that will be there is the black sand at the bottom where the ocean used to be. To enter this level, you have to get into any body of water and drown. That's right, drown. And you'll have a chance of being sent here. Although I don't think I would come here and risk literally doing that just to be here because I like living. And to exit, you can either jump into the ocean and hope it's in a no clipping phase where you can be sent out. Or you might be able to no clip through the upper level to be sent to the next level, which is 61.  Who knows? So yeah, this is a level of a nice liminal boardwalk next to the beach. Some spots more dangerous, some spots less dangerous. But overall, I think it gives off pretty good vibes and I enjoyed it. It's levels like these that are actually my favorite kind of levels in the back rooms because of the juxtaposition between the level looking safe. You know, this level takes place on a boardwalk next to a relaxing beach and ocean. But it's actually not safe because you know, the factors of the ocean teleporting you away or there being Smilers in the shadows, those are the things that makes the back rooms great to me. How it's so unpredictable and how you can't ever see what's about to happen. Even though you might think you're safe, you're probably not safe. In fact, you're not safe. But levels like these are the ones that I do enjoy a lot. And I hope you do too. That was the explanation for this level, back rooms level 60. Thank you for watching till the end. Make sure to check out the links below that you need and to check out my second and third channels, Stoogli and Spooogli. It would be greatly appreciated if you check those out. Also this channel, Broogli is getting closer and closer to 500,000 subscribers. So if you wanna help me get there, drop a sub, it's free. And I'd really appreciate it. Thank you for everything you do and for your support. I love and appreciate you all. I say that every video, but it's still true every single time. Also make sure to let me know down below in the comments which levels that you specifically wanna see currently filling out my schedule for November and Brugmas. So let me know what you think. I'm tossing up the ideas of either doing levels 51 through 75 for Brugmas or maybe something different. I don't know. But you all seem to love the daily uploads in December. So I'm glad to bring those to you. But if you have a specific level from the fandom, Wicked Out Anyplace, custom level that you need to go over, drop it in the comments below. I'll check it out. I'll go over it. Thank you so much for everything you do for me. I am seriously. No joke, no bit. I'm so thankful for all you do for me. I'm so thankful for the support you've given, for the content you've interacted with, for the likes, comments, for the suggestions, for the interaction. Thank you so much. You all are amazing. I really appreciate you. You've changed my life. Like, unironically, it's crazy. Thank you so much. I'm really looking forward to growing and continuing to grow and hit new milestones and break new milestones. And I'm just hoping you're gonna be there alongside the Brugli channel the whole time. The journey's been crazy so far. Let's keep going. Thank you for watching and I'll see you in the next video.