The Festival of Coins is brought to you in partnership with the Numismatic Guarantee Corporation and the Royal Mint Museum. Okay, so welcome to our Festival of Coins talk for this afternoon, another in conversation with, and we're very lucky to be joined by Jonathan Callaway this afternoon. Jonathan is a retired banker who has researched, studied and collected paper money for over 30 years. He's the co-author of many banknote catalogs and histories of the money issues of Ireland and Scotland. He's a director of the International Banknote Society and he's also a contributor to CoinCollector magazine, regular contributor with the banknote article we have in each issue of the magazine. So Jonathan, thanks so much for joining us today. How are you? Very well, thank you. It's a pleasure to be with you. Excellent, okay. So I thought we'd start with your kind of background and your interesting banknotes. How did that develop? How did you become a collector? Well, I think I was probably a collector from a very early age. So I had an uncle who started to give me old stamps when I was probably six or seven years old. So I started off with stamps and then we had an ex-door neighbor who worked for the trustee savings bank and in 1961, ancient history, the trustee, the TSB had a competition. Get a penny for every year from 1860 to 1960 and you can get every one. You get a prize and so I started collecting old pennies and then I moved on to hastenies and farthings and then silver throttling bits, etc, etc. So I collected coins from then for probably about 10 years and then somebody showed me an old banknote and I was in Scotland with my parents and we noticed that the money was different up there because the Scots have their own banknote. So I thought, well, this is something different to collect and that's really how it started. Of course, when I first started, I had no money. So it was quite a lot to put a 10-shilling note or a pound note on one side but gradually I built up from that and started with English and Scottish notes and then moved on to Irish and other ones.  So that's how it all started. Excellent. Okay. And how do you think it compares with collecting coins because you started collecting coins and then went on to banknotes? I mean, do you still collect coins as well? No, not really. No, I mean, I still got my old coin collection, which is basically silver from 1816 and copper or bronze from 1860 and that was what I collected. It was all stuff I got out of my change before decimalization. But I mean, I think the reason I got more interested in banknotes is really because banknotes are obviously a much larger piece of paper. It's obviously in size and much bigger than a coin and it gives the artist far more scope to make the item interesting. And I think that's probably why I got more attracted to them than the coins. I mean, for a lot of coin collectors, they're looking at a much earlier era, because paper money obviously came much later, at least the bulk of it did, than paper money and then banknotes. So you're looking at a different era for a lot of coin collectors. So, but I got into the paper money and the earliest note I've got dates back to 1723. And certainly in Europe, you don't see notes much earlier than that. Whereas obviously with coins, they would go back hundreds of thousands of years before that. But I found that the artistic scope and variety of banknotes, something I was increasingly interested in. Yeah, yeah. Okay. So how do you think, you know, that you've got that larger canvas, I suppose, with a banknote? How do you think paper money tells us about a country's history and its culture? Well, I think it tells us quite a lot. I mean, obviously, there is a huge amount. And if you think of the old English white fibres, they don't tell you very much at all, because there's one tiny little picture of Britannia in the top corner. You know, there's no colour. There's nothing on the back of it. So it doesn't really tell you much about England or British history. But the notes from many other countries, particularly the Scottish notes and some of the Irish notes, you've got symbols of nationalism, you've got, you know, scenes of from the country concerned, you've got, you know, images of historic figures from the country concerned, you know, because all countries do take pride in their history.  So if you look at the notes of an Islamic country, for example, there'll be lots of patterns, but very rarely do you see the images of individuals, because that is not something that is preferred in most Islamic countries. So you'll get lots of pictures of ancient ruins and mosques and, you know, historic sites, but rather less of people themselves. But it does vary, obviously. Some countries are quite happy to put, you know, early monarchs or other, you know, historic figures on their notes. But some of them, some Islamic countries prefer not to have any human images on their notes. So it does vary from country to country. But all of the, I think, almost without exception, a country will want to say something about its history and its culture on the notes. And of course, as you say, there are, you know, there is a canvas there to work from. And, you know, a lot of countries take full advantage of that. Yeah. So in your own collection, do you, obviously, you kind of started out with the United Kingdom, Scotland and England, do you now collect any banknote around the world? No. I think there's way too much scope. And I think you have to, you know, if you're going to have a serious collection, I think you've got to, you know, you've got to have some focus to it. Yeah. Yeah, I've got notes from various countries, but most of my stuff is Scottish or Irish or English. I mean, I've, you know, I've got notes from the Isle of Man and Jersey and Guernsey, but for the rest of Europe and for other parts of the world, they're just notes that I pick up along the way that I find particularly interesting or particularly attractive. Yeah. But I haven't made a collection out of those. Okay. So, I mean, the reason I asked that was, was whether to see whether you have any particular favourites around the world? Well, I certainly do. I have to say, I'm sort of coming across new favourites every day, you know, with the articles I'm writing for, for coin collector, you know, going from one country to the next. Yeah. Once you start to really look at an individual country's notes, you think, you know, I could collect these, you know, the French notes, for example, absolutely wonderful. Yeah, that's it. There you go.  You know, they, and they did genuinely recruit established French artists to design the notes. And it shows, you know, when you compare that with a, you know, the Bank of England equivalents of the time, that, you know, the French notes are absolutely splendid. I've never collected them, but maybe I will. Okay. Yeah. But you need to have that focus, don't you? Exactly. Yeah. Okay. So what tips would you give to people wanting to start a collection? Obviously, we already covered the, you need some kind of focus. And what other tips would you give to someone? Well, I think, I think start with, probably start with the country that you're from. So, you know, if you live in this country in the UK, you know, particularly if you live in England, you would start with Bank of England notes, because they're generally quite cheap. You know, you can get old pound notes for just a couple of pounds, possibly even less than that, if they're, you know, a bit sort of worn. But you can start to build up a collection quite easily.  And if you've, let's say you just stick with, you know, 10 Bob notes and pound notes, you could have quite a collection of Bank of England notes, you know, the Scottish, all the different Scottish banks, different Irish banks, et cetera.  And, you know, as they're relatively modern, and if they're low denomination, they won't be expensive. And yet there'll be a lot of interests there. You know, they're all very colourful, apart from the Bank of England.  So that's where I would start. Start close to home.  And, you know, that's another thing you could do. I mean, I was, I had a very lucky to have a trip to Bhutan a couple of years ago, which is, you know, very remote and up in the Himalayas. And I got a set of notes when I was there. And they're beautiful. And it's such an interesting country. And the notes tell you quite a story about the monarchs and the history of the monarchy, and, you know, all the different castles they've got, they've built up in the mountains. So, you know, I started that as a sort of sideline in a way. But, you know, I think that, you know, if people do travel a lot, they'll come across notes of different countries and, you know, something will trigger their interests. And they just, you know, I think you just follow your interests. You know, don't have to be too organised about it. Certainly not in the early days. You know, and I think people's, you know, if you want to develop a specialism, and that will probably come in time when you find an area that particularly interests you. Okay. And would you, would you say you can collect by theme as well? Is that something you can do with notes? Or is that quite tricky? No, it's not tricky. You need to get a good world catalogue. And, you know, the last printed world catalogs are now becoming difficult to find because they're no longer being produced. I mean, everything's online now.  And, you know, you can build up quite a good thematic collection. And some countries have absolutely beautiful notes, just focus on the wildlife, you know, Costa Rica, for example, which has fantastic wildlife.  So, you know, other people collect notes with musical instruments on or with actual musical notation on them. Yeah, it's quite a common way to collect. I mean, I guess that's also true in the stamp world as well, is thematic collecting. But it does happen in banknotes.  I think you just need to have a, you know, a catalogue to give you an overview of what's out there. Okay. And then where would you go, you know, if you've decided on a theme or a particular country, what's your first kind of port of call to get that first item? Where would you recommend? In the modern world, if you can't get a big paper catalogue, then I can show you one of these things. I mean, it's huge. It's sort of A4 size. It's about three or four inches thick. Yeah.  But, you know, it's out of print now, basically. But, you know, that type of world catalogue, and there are others available. But I guess in today's world, you just go online and Google it all. Yeah.  And you can soon see whether there's anything there that would really interest you. You'll also be able to pick out anything for the theme that you're following, whether it's wildlife or whatever. So, you know, a lot of this sort of thing can be done online now to get the information you need. It's a shame that there's no longer an easily available world catalogue. But, you know, that's the way of the world. It was the company that printed these things, went out of business. Somebody bought a copyright, but somebody else has bought the production facilities. So, it's two different companies owning different segments. So, it's unlikely, in the short term anyway, that a new printed catalogue of world banknotes is going to appear. I mean, they're huge. They really are. I'm going to show you one. Okay, great. All right. Okay. There you go. This is one of three volumes, by the way. It's called World Paper Money, as you can see. But all the illustrations in this thing are black and white. So, you only get a kind of snapshot, really. You know, you don't get the real feel to how, you know, how colorful a lot of them are. But, yeah, that sort of thing. But it's not being printed anymore. Yeah. That's the problem. Okay. And then just purchasing the notes, presumably, you know, eBay will be the first port of call for a lot of people. Requiring them, yeah, probably eBay. Yeah. I mean, there are, you know, I think the Stelkampi is another one. I think there's several of these sort of auction sites. And lots of dealers. And again, Google can help.  And you'll soon be able to find their websites and then see what there is available. Yeah. So, it's, you know, it's a different way of collecting. It's not the way I started. I didn't have the internet then. No. Okay. But you still had the dealers there. And I guess they were, they're such a wealth of knowledge, aren't they? Yeah, they are. You know, most of the dealers that I know are very reputable. They're delighted when somebody comes along and wants to learn something and ask lots of questions. Yeah. You know, they'll have stuff in their stock that is at the cheap end of the scale. And, you know, you can work from there. But they're always delighted to get a new customer, basically. Yeah, absolutely. But they do like sharing their knowledge, most of them. And they're very good about it. And they're also very honest. Say, look, don't buy that one.  That's brilliant. So as well as traders, are there any kind of groups or societies that would help? Yes. If you want to research or just get started? Well, you mentioned at the beginning that I'm a director of the International Banknote Society. And that's the obvious place to start.  And in fact, the new issue of the journal has just come out. That conveyor, you can see that. It comes out four times a year. It's in full colour. There's always all sorts of articles. And also, they have a section on new notes. So anything new that's been issued around the world, you've got details of it in here. And, you know, that's a great way to keep up to speed with what's going on. But also, you can just see, you know, the variety of stuff that's coming out. Of course, a lot of paper money now is actually becoming polymer rather than paper. Yes. Over 30 countries, I think now that have moved from paper to polymer and more are almost definitely going to follow. Yeah, certainly. So that's a good start. The IB&S, the International Banknote Society. I mean, we've got a branch in London. It's actually technically an American organisation, but it's got local branches or chapters in, I don't know, 30 countries around the world. So, you know, there's great range. There are also separate societies for specialists as the Banknote Society of Scotland, which occasionally meets. It's not obviously met during the COVID crisis, but they would normally meet in Edinburgh three or four times a year. They've got an online magazine, which is, you know, really, really very good.  You know, and it's not all about Scottish notes. It's other things too. But, you know, so there are quite a few of these societies around, you know, and generally numismatic societies will focus on coins, but a lot of them will have people who collect banknotes either as a sideline or as their sort of main interest. You know, I mean, in Ireland, I mean, I know the people in the numismatic society of Ireland, which is based in Dublin and Belfast. It's a sort of cross border society. You know, they produce papers from time to time and they have currently online meetings.  Physically, one of these days, I hope we'll all have physical meetings again. Certainly, you know, meeting online is the next best thing. Yeah. So there's quite a few of those around and, you know, I don't know whether you list them in the magazine, but maybe it's a good idea to have a list of societies and we could we could build one up for the banknotes as well as the coins. So, you know, that would be my suggestion. Okay. And just thinking about banknotes, you know, the history of them is relatively short compared to coins. I'm just wondering, do you think there's there's a lot of scope for further research about banknotes? Do you think it's kind of all being covered and written about, or there's there's a lot for us to still to explore? Well, I showed you the catalogue, one of the three catalogues. So, you know, most banknotes have been catalogued. But that's, you know, that that's just a list in most cases, you know, with pictures. It doesn't tell you anything about the background, you know, why it is that this bank was issuing notes in a certain period, why things changed from this to, you know, this style to that style, you know, etc, etc. So, on a country by country basis, local numismatic societies will sometimes have done some of that research. And in case, you know, in some cases, there are specialist catalogues available or particular countries, paper money, you know, obviously, I've done the one for Ireland and the one for Scotland. But, you know, there's a lawful lot of countries where there isn't anything like that. And the research is just sitting there waiting for someone to do it. You know, the research, which I do more, I do more research than I do collecting nowadays, because my collections, you know, the gaps to fill the gaps in the collection is now an expensive undertaking. But, you know, the research is for those who do it, I think, extremely enjoyable, because you never quite know what you're going to discover. I mean, only today, I had an exchange of emails with somebody in the Bank of England Museum, and they have discovered that they've got a ledger there, full of old Irish banknotes, and they've been sending me pictures of these things and stuff there that I've never seen before. So, you know, it's only a casual question to them, by the way, do you have any Irish notes? Because they did say in the past, they didn't have any. Well, they were always there, they just didn't know it, you know, in some sort of anonymous ledger at the back of the cupboard. So, you know, there's new discoveries all the time, there's a huge amount of research still to be done. I mean, the second edition of my Irish catalogue is now in the works, it's going to be probably twice as big as the first edition, because of what we've learned in the last 10 years. And that's just one small country. So, yeah, there's a huge amount of research to be done. And, you know, whatever area it is, you'll probably find one or two experts who really know it, but you'll also find there is so much information that's just never been pulled together and nobody has the full story and that sort of thing. So, yeah, that's, you know, it's not like philaterally, I mean, philaterally, you know, there's been so much academic work done and certainly early coins, the numismatic research, you know, because a lot of academics have involved themselves, far less so with paper money. It's not a virgin area, but it's never had the same rigorous academic attention in a lot of cases. I mean, one of the interesting things I find about banknotes is that it's tied up with banking history, obviously, economic history, you know, social history as well. You know, if I look at, take the Irish notes just as an example, the early Irish notes, if you go back to the earliest ones, which was also in the 1732, it's the earliest one I'd come across, you know, in those days, there were all small private local partnerships. There was no kind of national bank, no, you know, equivalent to the Bank of England until much later.   And that's true equally, it's not just Ireland, I mean, that's certainly true in England, Scotland, and probably, you know, right across Europe, you know, in the beginning, there were no national banks. It was all just little private local enterprises. Yeah. And there were no regulations that they wanted to set a bank up and start issuing bank notes. The only thing that stopped them was if people wouldn't take the notes. Yeah, of course. You know, there was no, you know, no regulation about it. And if people took the notes, it's because they knew who was signing it. And oh, yeah, I know him, he's a local squire or whatever, you know, yeah, we can trust him. And of course, you know, he might have taken advantage of that and issued far more notes than he could ever actually honor. You know, a lot of the early banks went bust because they weren't, you know, professionally managed. But again, that's part of the history. Yeah, absolutely. So really, you know, as a collector, you can delve into a particular topic as much as you want, can't you? You can, you know, just collect the bank notes, have a nice collection where you can really research and even come up with something that maybe hasn't been discovered before. Yeah, it's quite possible. I mean, you know, if you look at the early English notes, you've got you always had the Bank of England there, at least from 1694, you had the Bank of England. But there were always these small private banks around. And nearly any town of any size right across England would have had its own little bank at some point in its history.  Yeah. You know, as one, I mean, I went to school in Macclesfield in Cheshire, and there were three or four little banks there. And one of them was owned by a local industrialist and, you know, the Macclesfield used to be known for its silk factories. And, you know, they ran the local silk factories and they ran a bank on the side. Right. You know, so the two histories sort of combined. Yeah.  And of course, there's local archives that you can dig into and you find more about the family and you find more about the bank notes they issued and, you know, and all the rest of it. And it's, it's, you know, there's an endless amount of research like that that can be done. Yeah. Fantastic. Okay. So I've got one more question for you, Jonathan. Yes. Probably quite a difficult one. But can you pick one favourite banknote from your own collection? Well, if you had to save one from a fire. I gave a talk once, which I called my 10 favourite banknotes. And there were 55 illustrations. So you can see how difficult it is. But if I was going to pick one out, I would say it's going to be one of the so-called story notes. So in other words, there's some particular story around that note. Yeah. And I've just written an article on a Portuguese banknote from, it was issued in 1922 for a few years. And some forgers, they thought, you know, they wanted a forged note, but they didn't forge the note. What they did was they forged instructions to the printers of the note and had hundreds of thousands more of the notes printed and delivered to them. Wow. The notes were printed in London. It was an English waterlose who also printed stamps, by the way. And they were completely taken in by this scam. And they followed instructions. Yes, we'll print the notes. And it looked as if it was the Bank of Portugal giving the instructions, because it wasn't. And yes, yes, of course, we'll deliver them in a trunk to Liverpool Street station, you know, to the, you know, the sort of left luggage area.  And it was an incredible scandal at the time. And, you know, I've got one of these notes. And the big mystery is how do you tell the difference between the notes that were printed for the bank officially and the notes that were printed for the fraudsters? Because they asked, and they convinced the printers to print notes with the same numbers on as the ones they'd already done. So there were two of every number. The idea being that they would never, you know, it would be a very distant coincidence, given there were hundreds of thousands of these things, if somebody picked two notes up and they had the same numbers on, but that's how they did it. And eventually, the Bank of Portugal saw, hang on a minute, these two got the same numbers. And then they started to gather them all in and realized that they had a huge problem. But they got away with it for a time. And they made a lot of money before they were caught and arrested. The note itself, it's a beautiful note, but boy, is that a great story. So I have to say at the moment, that's my favorite note. But there may be a different one next week. Yeah, that's brilliant. Okay. Well, thanks so much for your time, Jonathan. It's been really interesting. And as I mentioned at the start, you write the article in each issue of Coin Collector. So we're going around the world, aren't we? And looking at the different notes from different countries. So do you have a look at that if you can get the magazine? Yeah. France. Last one was Germany. Next one. Can I say what the next one will be? Yeah, please. Okay. The next one is H, which is Hong Kong. Fantastic. And then I, I will be India. Yeah. And then, yeah, we'll carry on through the alphabet. Yeah. Fantastic. So no, I'm working on those at the moment. Brilliant. Okay. So if anyone's interested in, in that, just come to the website at allaboutcoins.co.uk and you can buy the issue there or subscribe to the magazine as well. So Jonathan, thanks again so much for your time. And we'll speak soon. Okay. That was a pleasure. Thanks very much. Thanks, Jonathan. Bye. Bye for now. Bye. Don't miss the festival showcase for more supporters of the festival


Hi, everyone. I'm Kadeshia, and I have a new GitHub feature for you to check out. We've been making a lot of changes to GitHub projects, and today we have Product Manager Josie here to tell us how we can power up with fields in GitHub projects. Josie, over to you. Hi, today I'm going to show you how to power up your project with fields. Fields can be a really great way to organize and get things done quickly in your project. Here, I'm going to create a new field by clicking on this plus sign, creating a new field, let's say size, and it's going to be a single select. And maybe sizes for issues include small, medium, large. I'm going to add those, and then I'm going to click save. From here, I can go to the settings, and I can see that size is here. And let's say I want to edit the colors. I want to add a little description. These issues can be resolved in a few hours. Now, what I can also do here in the settings page is reorder them. So let's say, status makes sense as the top field, then priority, and maybe I want to bring an estimate up. What this will do is on the issue itself, when you open the side panel, it'll rearrange the custom fields that you've created in projects right here. I can also sort by multiple field options at once. By clicking on this arrow, selecting sort by, I can sort maybe by status. And if I want to select a secondary sort, I can hold option or the alt key on my keyboard and select priority. Now you can see that these issues are sorted by status first and then priority second. Now let's say I want to update all of these issues. They're not exactly urgent. Maybe they're just high. I can drag and update multiple cells at once. You can also update multiple cells at once by selecting the command or the control key. So let's say I'm going to copy this assignee and I'm going to assign them to these three issues. So that's control C or command C for copy and control V for paste. And that's how you power up with fields. If I wanted to rename a field, how would I do that? If I want to rename a field, I can go here and say, maybe this is not priority, but this is super priority. And that's how I would update the field name. I can also do that in settings. So how many custom fields can we create in projects? Is there currently a limit? There are limits. You can create about 20 at this time. Okay. Last question. Are we able to sort by more than two fields at a time? For now, you can sort by two, but we're looking into whether folks would like to be able to sort by more. Thanks so much, Josie, for showing us all about how we can use fields and GitHub projects. If you have questions about this feature, be sure to check out our GitHub community discussion board or you can leave a comment down below to let us know what you think. Be sure to like this video and subscribe for future videos and stay tuned for more checkout videos coming your way very soon.


This is the continuous visual integration talk. Thank you for being here. We got to go, go, go. We have a lot of things to get through. So just a little bit about me to start. My name is Mike Fotinakis. I'm currently the founder of Percy, Percy.io, which is a tool for visual testing. So I'm really excited to share with you some of the things I've learned over the last year about how to test apps pixel by pixel. I'm also the author of two Ruby gems, JSON API serializers and Swagger blocks. If you use either of those, I'd love to talk to you after, or if you have any questions. OK, so let's jump right in. So this will come in like three parts, the problem, a general solution, and kind of how it works in architectures and methodologies, and all the problems that come along with that. So let's start with the problem. So the problem is basically that unit testing itself is kind of a solved problem. We have a lot of different strategies and techniques and technologies for testing the data of our systems, for the behavior of our systems, for the functionality of our systems, and the integration of our systems with other systems, and end-to-end testing our systems, and smoke testing our deployments. And we have a lot of tools and technologies for this, right? But how do you test something like this? So I guess the color of the text has become the color of the button, or the button is now, or the text is now, you know, has zero opacity, or something's happened, right? And this was fixed by an issue. Or another example, here's a 404 page of an app I used to work on. This is just what it's supposed to look like. It's pretty simple, pretty straightforward. We launched a feature, and then four weeks later, we were told that our 404 page looked like this. Right, you've all seen this, right? And of course, nobody caught this in QA because no one QA is the 404 page. And, you know, this was a simple change. Somebody could just like move to CSS file. Everything else worked, but the 404 page was the one that was broken. So then it got fixed, and then the fix looked like this. So, you know, the CTA is totally covered up, and it didn't QA the fix on mobile.  And then I went and pulled slides for this a while back and looked at the 404 page, and it was broken again, right? So I reported to this to my old team. So this, in the business, this is what we call a regression, right? And specifically, this is a type of visual regression, right? So, how do product teams fix this today? Shout out the answers. Hire more people, okay. How do you fix these kinds of problems? What? Interns. Interns, okay. What are the interns doing? They're clicking a lot. They're what? They're clicking around a lot, right? What's that called? Behavioral? Exploring. I'm looking for a specific word here. QA, thank you, QA. So QA is the big one, right? So, and this can be developer QA, this can be you doing QA on your apps, this can be you have QA engineers, right? QA can mean many things, but part of the job of this is to find these kinds of things before they hit production, right? Or, you know, that you get issues from your customers and you fix them after. But QA is very necessary, but it's also very slow and manual and complicated, right? And it's also pretty impossible to catch everything, right? Even in like a medium-sized app with just tens of models, you can have hundreds of flows and thousands of possible page states and permutations and constant feature churn, right? There's a lot of development that's happening in these apps and you can't catch all of this stuff all the time. So it's also very expensive, right? QA, you're spending manual, human, often engineering hours paying for fixing these kinds of visual regressions. So let's go back to this button problem and let's, you know, my standard fix to this would be like, can I write a regression test for this? Right, I'm a big TDD person, I love testing, I write tests for basically everything. So like, let's go try to write a test for this, right? So here's like an RSpec feature test that tests this part of the app, right? It does simple things like it visits the home page and then it fills in some text box with a title and it clicks a button, right? And then you expect that the page has new content on the page. So there's a problem here, right? Like this test didn't fail, the button still technically works, it's just visually wrong, right? And this manifests in tons of different ways. So what am I supposed to do here? Am I supposed to assert that some like CSS computed style of the color of the thing or maybe that it has a CSS class applied but that's not really testing the right thing so I'm just not gonna do this, right? And no one's gonna do this because no one wants to write a test that's this like fragile and inflexible, right? Especially in a developing product. So my normal approach is very useless here. So the problem fundamentally is that pixels are changing, right? But we're often only testing what's underneath, we're testing all of our abstractions on top of those pixels. But this is an important problem because the pixels are the things that your users are actually touching and seeing and interacting with all the time. And to go further than that, even with all of our current testing strategies and methodologies, we still lack confidence in deploys, right? You can have a million unit tests for all the different data changes in the world but if you move a CSS file or change your CSS you're gonna have to go look at it, right? You're gonna have to go check that and test it. So let's move on to the solution to this problem. And I don't like to say that this is the solution, I like to frame this as a solution. This is not the be all end all of all testing strategies that will make your life perfect but it's sort of a new tool in the toolbox. So the question I like framing is what if we could see every pixel changed in any UI state in every PR that we make, right? So that basically is like, what could we do if we could test our apps pixel by pixel? So in order to do that, I'm gonna introduce a new concept. You may or may not be familiar with these. And they're called perceptual disks, they're called PDIS, they're called visual disks. This has been pioneered many times. Brett Slatkin at Google has done quite a bit of work on this on the Google consumer surveys team. You should watch his talk, it's about how he accidentally launched a pink dancing pony to production and then they ended up having to do this style of testing in order to prevent that from happening. So what is a perceptual diff? A perceptual diff is relatively straightforward, right? Given two images, what's the difference between these two images, right? Like compute the delta between these two images and that can be this, right? So all the red pixels are the pixels that have changed between these two images without any context about what the image is about, right? So you can compute this basically for any kind of image. So how do we compute these, right? Let's try another example. So shout out the differences in these two side by side and then we'll show the PDF and see if you're right. Background color on the top. Lost the link. Capital on and thumbnails. Danger button's gone, right? You got all of them. So this is the PDF, right? And you can immediately see all of the changes in that image without having to sort of sift through it, right? All these pixels that have changed, these are the things that have changed on this page. So PDFs in 30 seconds. Let's go like do a PDF. PDFs are pretty straightforward, right? Okay, so I have these two images, just new and old, right? So let's open new and old. Okay, so here are the two images, right? And this is just from the skeleton demo site. So you can see there's some differences in them, but let's go like make a PDF and see what that actually is. So I have image magic, the library installed, and I can just use the image magic compare tool and compare old and new and I'll store the image in diff.png and I'll open diff.png. So cool, we have our first PDF, right? Like those are all the pixels that have changed and by default it applies the images underneath and makes it translucent and you can turn those things off, you can pass a bunch of different flags to this command to like fuzz factor if you don't care that pixels have changed within a certain amount of colors or those kinds of things, right? So computing PDFs themselves are actually relatively straightforward. So here's a couple of PDFs in real life, right? So if you try to figure out the difference between these two, it might take you a second, but the difference in this PDF, you can kind of immediately see that the, do you agree to the terms of view section of this page is gone, right? It just no longer exists. And I kind of love this because this is a test for an error condition but it's basically like a back end change manifesting as a front end failure, right? This is a rails form object that somehow has gotten into a weird state that is manifesting as this sort of front end failure and you might have a test for this but this form probably doesn't submit now, right? You probably can't actually submit this form. So here's another example. Here's like a normal visual changes to a visual change you might want. Like a new person got added to this page so the visual diff is, okay, a bunch of things shifted around and like got reflowed and you can sort of like go back and forth and be like, okay, I understand that this page has a new thing added to it. So you sort of have to learn how to like read PDFs because they can be a little bit noisy, right? So for example, this one, they look the same but in the footer, and you probably can't read that but it says like if type of jQuery, not equal undefined slash something. So this one was somebody added a gem which happens to inject some scripts into the page and the gem was in a broken state, right? So all of their tests are probably passing, all of the everything else is passing but their footer has some junk in it, right? And you often can't catch these kinds of things without visual tests or looking at it. Here's just a PDF art, like I found this in some diffs that I've done and an image got shifted over just perfectly to create this like nice PDF art. Totally useless but kind of cool. And also a pretty strong signal in PDFs is if there are zero pixels changed, that's really important for you, right? Like in a classic refactor of your app, in a pure refactor, you're not changing anything that somebody's interacting with. All the plumbing's shifting around, you're changing architectures, you're upgrading something but the actual thing that people are touching or the API that you're touching is not actually changing, right? So having a zero pixel change PDF can be a really strong signal because you get visibility into knowing that nothing has changed in this page, right? I can safely upgrade this thing because everything is remaining the same. And as your app gets bigger and bigger, you wanna be able to do those kinds of refactors for your code health, right? So let's go write a visual regression testing system in two minutes. Ready, go. Okay, so I have this app. This is Giffindor, which is if you went to Brandon Hayes' Talk at RailsConf two years ago. This is his app. And Brandon, I don't know if you're in the room but you probably didn't expect that anybody was gonna go back and write tests for your demo app from two years ago but we're gonna do it. So here we go. So here are some feature specs I've written for this app.  This app has just basic behaviors. It's just a stream of posts, right? And you can upload GIFs.  So these tests for this are relatively straightforward. So let's just go like save a screenshot at the end of this. All I'm doing here is using the Capybara screenshot, save screenshots capabilities. And this works with basically every web driver that you have except for rack tests. But most web drivers support this. So let's save that and let's go run the tests. R is just my bash alias for bundle exec Rspec. So don't let that throw you. And you should all have that, by the way, because it's really, because you type that all the time. So wait, great, we've run the tests. Let's see, there's a change here, right? You can open old.png. Great, so we have a screenshot of like what our test looked like in that state, right? Or what our app looked like in that test state, right? And this is kind of what I call a complex UI state, right? You've clicked a button and some jQuery animation is fired in order to open up that top dialog. This is not just like a static page that you visited, right? But you'll also notice it doesn't quite look exactly like the page we were looking at, right? This border image is all messed up and there's some other things going on here. So we'll talk a little bit about that later, like why that's actually not totally the same. Okay, so great, so we've saved our old image. Let's change it to new for the new one. Now let's go change the background color of this app. So here's the CSS, let's just change the background color by one pixel, right? And we'll make sure that this other one is saved. We'll go run our tests. Great, so we have an old and a new. Great, let's compare them and store it in diff.png. Open up diff.png. Cool, here's a pdiff, right? Like all the background pixels of this page have changed. And you might think of this as just noise, right? But why would anybody care about a background color that you can't see? But I guarantee that there's a designer in this room who actually would probably want to know if this changes, right, and they want to guarantee that there's a consistent color palette being used and that we developers aren't sort of arbitrarily changing the background shades when we think that that's a new color that we should use, right? There needs to be some consistency there. So I kind of don't discount these kinds of changes as just because you can't see them at the eye that doesn't mean that they're not important. So great, right? Awesome, let's all do this. So simple uses here are catching visual regressions, right? That's the kind of obvious one. But then if you start thinking about this more, there's a lot of advanced uses for this kind of stuff. Like CSS refactors and deletions is a big one, right? You're all terrified to delete CSS. Yes or no, right? Because it's scary, you don't know where that CSS is used. You don't know what legacy parts of your app are using that CSS. So what if you go add a visual diff test to a visual regression test to your top 50 pages, now go to delete your CSS and see what happens, right? And if you've deleted it and nothing changes on the pages you care about, great, you can probably delete that CSS. Testing style guides, especially testing living style guides is a pretty cool use of this. Safe dependency upgrades, so often your libraries, they're backwards compatible but they're adding new features. So you wanna be able to upgrade your libraries. But upgrading libraries and dependencies is also kind of scary sometimes. And you wanna be able to, especially if those libraries are providing front end dependencies of any sort, if they're providing JavaScript behaviors, if they're providing, if your style guide is in its own gem and you're importing that and you're upgrading style guide versions, like upgrading dependencies safely and having these kinds of visual checks can be really useful. Visual regression testing for emails is an awesome advanced use case I've seen. Testing D3 visualizations is something I've sort of started experimenting with recently because testing D3 is actually kind of hard, right? Like you can kind of test, I'm not like a D3 expert by any means, but you can sort of test like the data transformations you're making, like how your inputs transform to your outputs and sort of how you expect that D3 is going to be able to visualize that, but wouldn't it be nice to just be able to be like, this is what it looks like, I know that that's right. Oh look, it's changed, is it still right? That's kind of what you really wanna test with those visualizations. And then going further, what I really want here is a visual review process alongside code review. And we're gonna talk a little bit more about that. So if this was all so easy, why aren't we all doing this right now, right? And definitely somebody has said that if it wasn't easy or if it was easy, it wouldn't be hard. This is, it gets really complicated, right?  So on the tooling front, it's kind of hard, right? There are some open source projects that do this right now. Phantom CSS is a great example of one, right? But it sort of presents all of your visual changes as a ton of individual test failures, right? And that's kind of a lot of information and a lot of failures for things that are, it just sort of, it confuses the line between like something being flaky and, or a change that you want it to be and like an actual test failure, right? Or for example, you probably shouldn't have to require that you're manually storing these baseline images like in your Git repo, right?  That's a lot of work, right? The performance one, I think this is the big one across the spectrum of all the open source tools, all the proprietary tools, all the everything. This is the big one that probably prevents us from doing this right now. The examples I showed are somewhat contrived, right? They're pretty simple pages. But in the real world, I have some pages that are, when you render a full page screenshot of them, they're 30,000 pixels high, 40,000 pixels high, and that's not crazy, right? So rendering and screenshotting that kind of page and uploading it, storing it can take 15 seconds just to render it and another five to diff it. So if you have 100 of these tests that you want to do and they're all run serially, that's 30 minutes you're adding to your test suite, right? And none of us want to do that. Your feature specs, if you're writing feature specs already, they're already too slow, right? And they're already too flaky. So that's a hard one and I think the performance is actually the biggest problem here. And then non-deterministic rendering, which we'll talk about. So I'm sort of hand waving over the other problems if you want to talk about this more, I would love to. So on the non-deterministic rendering front, simply like there's a bunch of things that change in browsers, right? We're not just doing static pages. So animations is the big obvious one, right? So take this like pure CSS animation, right?    So for example, in Percy, what we do to do this is we actually freeze animations by injecting this particular CSS style into the page that tries to stop all of these animations from happening so that you can just say nothing has changed, right? And if you want to know more about that, I have a post on blog.percy.io about how we actually do that. Or another one, dynamic data is a big problem, right? If you have anything on your page that changes in your tests, especially, you're going to see a visual diff from those. So like a date picker is a good example, right? And you can sort of fix these with like fixture data instead of faker data, you can sort of move in a direction where you're having more static deterministic things that you're using in tests, which I think is a relatively good fix. But this is still a big problem and I have some ideas about how to address this kind of thing. So old test browsers, so like we talked about before, this, what you see on the right here is what was rendered by Capybara WebKit and what you see on the left is what's rendered by Firefox, right? And these are not the same thing. There's like, not the border image doesn't work and the web font here is not a web font in this one and the problem with this is that often the browsers, the old test browsers that we're using underneath are not really modern in any fashion, right? Like Capybara WebKit is an old fork of WebKit that doesn't support these things. If you phantom.js all the way up until the new like 2.0 version doesn't support these things too. It was a fork of Chrome 14 from five years ago, right? It doesn't render the modern web. It also has 1700 open GitHub issues that are like basically untree-aged, so go for it. So that's a really hard problem, right? And then some other problems like you can't really control for is this sort of like sub-pixel anti-aliasing problems. The way that text is represented on a page is not totally deterministic, right? These things might shift by one pixel. GPUs don't actually guarantee in some way is that like floating point operations will always come out to be the same thing, right? So if you have a gradient that's rendered on one machine and you try to render that same gradient on another machine, they may not be pixel perfect. They probably won't be. If you compile some code with different optimization flags, GPU floating point operations will be non-deterministic, right? So we look at pages as if they are the same all the time, but actually getting them to be pixel perfect is a big problem. Some tools attempt to solve this with some sort of like open CV computer vision researchy things where you try to say like, oh, is this a button? Has the button moved? And you sort of try to derive the page back from the image, right? So that's, that's hard. So PDIFs are only half the battle here, right? So back to our main goal, like what if we could see every pixel changed in any UI state in every PR, right? And this is really what I think is the difference between like visual regression testing sometimes and what I frame as continuous visual integration, right? In the same way that like your unit tests are not the entire thing you're doing to test your system and you need processes to like be doing continuous integration. You need to be merging changes with all of your other developers all the time. You need to be testing them instantly in CI as fast and as parallelization, you know, as parallelized as possible. There's a difference between like doing visual regression testing sometimes and continuous visual integration. And these are sort of the big problem spaces that create that. So that would require, being able to do this would require that things are really fast, right? There's basically as fast as your test suite. You can, you need to be able to handle complex UI states. You can't just test a static page. We're not just here to just like look at all of our static pages. We need to be able to test components in all the different component states. You need, and it needs to be continuously integrated into your workflow on basically every commit, right? In my mind, this can't be saved until you're either in production and even staging is like a little bit too late for me, right? Like I want this to happen basically all the time. So I'm gonna talk a little bit in the last part of this talk about how we sort of architected Percy to try to address these problems. So here's like, here's how Percy integrates into like an RSpec feature spec. It's basically the same thing that we created, right? You have a feature spec, it visits some page, it does some action on the page. And then what you do is you just drop in, you know, Percy Capybara snapshot the page. Given a name, say this is the home page, right? So what's that actually doing underneath, right? When these things get pushed up to Percy, like are we pushing up images? And I say that with question marks because those will come along with all the problems that we noticed before, right? So we don't wanna do that. So what we actually do here is we push up DOM snapshots. And if you think about this, like it makes a lot of sense because the most efficient, the most like lossless encoding format for a website is not an image of the website or a video of the website, it's the website, right? It's your assets. It's your DOM state that you've created. So we actually push up the DOM and HTML snapshots and technically we push up SHA-256 fingerprinted versions of those assets. So we actually never upload things twice. So the first thing might, the first run might be slow, but then after that it basically, my goal is basically to say like, you know, zero time is spent in your test suite after the first run, but it's not totally true. So then we do a bunch of like hand wavy magic underneath that to actually say like, you know, we push that stuff into storage, we can talk to GitHub and commit statuses, we can coordinate work with this like Percy Hub and actually this is the big part that actually addresses most of the performance issues is we can parallelize this, right?  So we can actually totally out of band of your test suite be parallelizing and running and rendering these DOM snapshots in a deterministic rendering environment and then be able to like, you know, show those to you in a nice way. So this was the sort of like main innovation that helps I think this thing come to fruition. So as of yesterday, actually I wanted to like talk about this, we have hit a million visual disrespected in Percy as of yesterday, so I was really like proud of that milestone. So here's a couple of quick Percy examples. I talked to some of our customers and got permission to show you just a couple of pages to see just like what Percy the product looks like and how I've sort of been trying to address this problem. So here's Charity Waters build CharityWater.org and they have some amazing, they're very design-centric team, they're big, big Rails apps. They've pushed 162 total snapshots on every build basically and this particular build which is called footer updating the new footer markup had 96 visual diffs, right? And you can sort of like go through each one of these pages and just be like, oh look, look at all these footer changes. And then this is the diff and I can click that and say like, oh great. So I noticed that this footer is different on all of these pages. And this is a lot to go through, right? So I just recently added this like overview mode where I can just like see all of my pages all at once, right, and be like, okay, and just confirm, like really quickly do a visual review and just confirm that all of these changes are the ones that I want, right? These are the visual changes that I've, that I have actually like, you know, we want to make as part of this PR. So here's another example. So this page is basically like we're updating, you know, the PR is new press page and we're trying to like update our new press page, right? And this one is just the first iteration of that PR where like they've removed some CSS styles and like, oh look, this page is totally break and it is totally broken, right? And they would never want to like launch this page but it gives them this sort of like iterative review process where they can go here and they can say, oh look, this is what our page looks like currently in this PR. And then also the important signal of none of the other pages have changed, have changed based on this CSS change, right? And then you can go through and you can sort of see like, what are the other pages here in this app? So on the like workflow and tooling problem, so this is the last thing I'll show you. So we just provide this as like a CI service, right? We just like as your tests run, they actually push information up to Percy and then Percy marks this PR with another CI service right here. Percy, visual diffs found, right? And we can just click details, jump right to the page and be like, oh look, this is the state of this PR, right? This is that background changes that we made. And I can go through and I can decide like, yes, this is the right visual change that was intentional for this PR. Let's go ahead and mark it. So I'll do a little, this is the one HTTP request that my demo or that my talk requires. So let's hope that this works. So okay, so like I go here and I'm like, great, this is, I'm doing a visual review right from GitHub. I looked at these things. This is what I want. Click approve. And then GitHub will mark that status as green, right? So now this sort of gives you like a lightweight visual review process for all of the different UI states of your app and at the PR level, right? And not like at some later stage. So yeah, that's basically what this Dom Snapshotting mechanism has helped us sort of like tackle a bunch of those different problems. So that's it. I just want you to take away from this talk that like visual testing is possible. It's a thing, we should be doing it. It's a new way to think about testing and it can help give you deployment confidence, right? I think of this as like the last stage of the CD pipeline where you just need to like in your acceptance phase you need to make sure that all of this stuff is looking correct, right? And you need to be able to approve it. And that this is still a very manual step but we can probably automate quite a bit of this. And then also there's like a lot more work to be done to make this a mainstream engineering practice. One last thing. So because of this Dom Snapshotting model, I'm able to, I just want to give you a sneak peek of something I'm working on over the next couple of months. I want to be able to do this for Ember regression tests for Ember tests. So if you are an Ember user, I would love to talk to you. Just email me micatpercy.io and let's talk about like getting you as a beta tester of this in Ember tests because I actually think that this is probably the world where this makes the most sense, right? Like not everyone is writing Rails regression tests or Rails feature specs in a lot of ways because they're really hard to write in sometimes but we are writing a lot of JavaScript tests nowadays, right? And as we sort of further separate our worlds to like this is just an API back in and this is like a single page app front end and those lines become clearer and clearer. We're gonna have a lot more of these tests and so to be able to get this kind of power all we need to do is be able to send up those Dom Snapshots and render them. So if you're interested in that, please let me know and I can like, I'd love to get your hands on the beta. So thanks so much. Yeah, the question is like, what is the baseline? Like how is the baseline created? So basically I think you can do that a bunch of different ways. I usually just pick like master, like whatever master has last created that is our baseline, right? And then we provide a mechanism and personally you can say like I want a more manual version where I actually like approve a master build and that becomes the baseline. So I think it's you gotta have kind of both but yeah basically I think if you're really doing like master is always green and always deployable then you should always be testing against master. Yeah so we don't right now, right? I think the question was do you do cross browser testing? So I think that that's a would be a great evolution of this kind of testing, right? It's doing more cross browser testing but it comes with all of those problems I mentioned too and you'd be surprised to learn that most browsers don't provide a full page screenshot API and Firefox is the main one. So I think that you can get like 90% of the benefits of visual testing with like one good modern browser but then that would be a great evolution of this kind of idea would be to do cross browser testing. Yeah that's a good question. The question is like what tech stack are we using? It's all custom built on Google Cloud Platform. I've like dockerized all of the environments.  It's all on Linux. It runs Firefox. Yeah it's running Firefox. Oh so you're asking about Percy access control like who can access that Percy page? Right now I just tie it to like GitHub auth so it's if you can see the repo in GitHub if you have access like team collaborator access to the GitHub repo you can see it in Percy and anybody who can see that can hit approve. Yeah I haven't built any like complex like role authentication kind of things yet so. Yeah I totally missed that part so let me just do that quickly for the people who remain. Okay so part of this thing is we have all of these different like screenshots at a particular width right? But we have the original DOM of these so we can just resize the browser to a smaller width and actually show it. So here's like responsive testing. So here they have a 320 PX version of this so now I can see the footer change in all of those different ones right? And I can like fold with this and like this is what this page looks like you know quote on mobile basically just like at this breakpoint size right? So the DOM snapshotting model also takes care of that in that you can just like render it at different widths. This is not testing on the actual device right? But it is like you know giving you at least the responsive side of it. The question was can you disable the local test run and only have it on CI? That's actually the default behavior. And then I've had some people ask like I wanna disable it for only specifically this branch so there's an environment variable we provide called PercyEnable which you can set to zero or one and it will force that environment to be on or off. Cool, thanks so much.


The youngsters had better wake up and understand that a guru is not a perfect being. A guru is here to show you yourself and sometimes they make mistakes. And you can tell a guru that the relationship between a guru and a shishya is not a relationship between a devotee and Christ. It is a relationship between mother and child, between friends sometimes, fighting each other. It's a relationship of a lifetime. They are fools who don't believe in this system and believe in the idea that a quick trip to the psychologist is going to set things in order. How many times does it do that? Almost never.


Hey everyone, welcome back to another XOZeroz video, so sad to say we're not getting Dork at this point, but more or less we have some events and a choice fake corey. Before that, if you haven't updated XOZeroz content, please hit the subscribe button down below. Alright, to start off this update, we have a couple of events that is actually coming up tomorrow. So we have a core raid, so it's actually a black and white extended core raid. So as you can see, these are your standard core raid events and you have events which have step up rewards like, again, orange, desert, treasure, hunter, gale, 50 star crystals, faded weapon crafting ticket, fate core recruit ticket, which is actually what is everyone looking for, and 10 mystic recruit ticket, which will help us recruit Misty if you actually haven't had her yet. So more or less, again, I'm actually looking forward to this because I don't have Misty yet. So unfortunately for me, it has been bad luck so far, but more or less this is one of the events, these are actually, this is one of the events that is dropping by tomorrow. Next we will actually go beyond the choice fate career, I'll discuss this last because I have to discuss on a more in-depth discussion for this one. The next would be your 7 days of gifts. So you have here as gifts, day 1 is Zest 200, day 2 gold 500,000, day 3 solar seal 1000, day 4 book of experience, basic time 70, die cube on 50 for day 5, day 6 is nation recruit ticket times 5, and day 7 it's usually Zest times 500. So good for everybody, any free item or items are actually welcome in this game. And this is what I've been wanting to discuss with you guys because they're telling us now that they have normalized Arcverse, okay I'll read this one, Arcverse usage restriction normalized, okay so they have fixed it right? I'm actually just still skeptical if they fixed it already but I'll take their word for it that it's fixed so first of all we apologize for the usage restriction that was carried out to fix the issues that occurred after the Arcverse update which was quite a while back already around a month or more, I'm not sure. So currently we have made improvements and fixed the issues that were found internally included that Arcverse can be open for use. So this is what I'm actually looking forward to tomorrow, hopefully we can actually enjoy this part of the game and hopefully there are no bugs anymore so it will be left to what is in store for us tomorrow. So let's go back to the choice fate quarry. So again for choice fate quarry we have here the son of the Southland which actually was a bunch of swimsuit skins or fate cores that was released a year ago August. So this was actually a very hyped up what you call this theme a year ago and more or less the precautions are the same the gold fate core is 0.5% black is 0.7% and for every 11 recruits you will obtain 1 core mileage, 28 core mileage are required to guarantee obtain. So again let's dive into this more deeper and I'll explain to you guys who is actually the best to get here. It's actually very obvious but I wanted to emphasize that these two depending on what your teams are are going to be pivotal in your pools if you decide to pull for this banner. So here we are at the son of the Southland fate core theme and FC Yao is not included in this so sorry to me because I was actually I still lack a couple of copies for FC or blue FC Yao but again there are others that you couldn't pull here so namely the four to the furthest right more or less I'm not recommending you guys to pull they are they are merely for aesthetics and if you really want to invest your zest right now especially if the mileage are 28 I would rather you guys invest it in these two but again my advice is don't pull for Degas don't pull for for who is this for for I miss talking for Schmidt for Glen don't pull for Bernadette unless you really like how she looks wink wink and also don't pull for Scarlett if you you know you only pull for her if you really want her fate core the design they are not really meant for the met up they are purely more on aesthetics wise and character design and if but if you love the character that much or the hero that much then pull for him or her so you have two choices your two as bandos here Glen and Degas and two waifus which is Bernadette and Scarlett so again be my guest if you really want to spend your zest on them but my recommendation would be either these two okay I'll start first with FC Iris so FC Iris is actually very powerful because she you know she she gets rid of barriers actually so if a caster has a removable buff recovery but positive effect applied on an ally as a target with modification okay then cleanses then summers blessing then wet fog wet fog is actually the one that removes all barriers from all enemies when the enemy grants a barrier okay one time per round so for each round she removes it and by this ability alone she is valued the problem um the problem with Iris is she doesn't play a big part right now in PvP but if you really want somebody who takes takes out barriers in an instant then she's the girl that you need to summon for of course she has summers blessing um more or less protects frost damage immunity so for more or less um one time but to all allies and can't be stacked and you have here flop flop again if the caster's removal buff blah blah buff recovery positive effect applied on an ally each valid attack affects the target modification it's like you're morphing that person to rubber ducky or a fish so that is actually what she is doing she's she is actually good in terms of a support hero um and also more or less if you want to get her she is actually good for s1 which removes status effects from all allies and gains one mana for each and every one of them this is actually every turn you can spam this skill so again that's it and also her s2 is a hard hitting um s2 deals 525 damage to one enemy and she is actually very good if you don't count the meta right now she is still viable in the meta but again her usage has dipped a bit but she's still valuable i tell you she is an all around um all around um hero pvp or pve wise so more or less again she's valuable even just for her s1 but again she's an all around support that if you need her you have to get her and lastly is fc valentina so with the recent resurgence of uh north one frosty she is actually quite a hot commodity right now um more or less again she has flop flop and summer's blessing and mana absorb um she she's good she's kind of good for her passive but what sets her apart is actually her s1 and s2 in terms of let's let's discuss the skills first of deals for s1 seductive punishment you have required mana one deals 150 damage to one enemy afflicts target with frost bite dealing 92 damage every turn for two turns but this is not what makes her good what makes her good is her contempt mana burn 10 mana all all enemies afflicted with fear of the beast which comes from shufraken is um because shufraken will trigger it if he has the highest defense than the enemies on the other side so with fear the abyss if the target is afflicted with fear of the abyss and binds gain mana effect for seven turns so again mana burn for turn then bind um meaning they cannot gain mana for seven turns so again this is pretty much sick this can lock your enemies um without doing any special skills or s1 or s2 on the return and more or less for her s2 it's just a bigger damage and mana burn uh contempt is is still there with mana burn and bind so again with the with the inclusion of misty recently for north one frosty i think they're very viable right now um especially for misty in getting you know um being able to pacify first guardians and you know have this girl this girl is actually going to be well protected now with misty also if you bring batteries still but again misty is well enough um equipped to protect valentina for her to survive for her to deal either s1 or s2 damage and um having contempt take effect so again either iris or valentina is a good pick i wouldn't you know i wouldn't say that one is is is good over the other right now valentina stock has has risen because again of the new dynamic for north one frosty but again if you need sorry valentina sorry what i meant was valentina stock is actually rising because of the new dynamic for north one frosty but again you can also pick iris if you need her on your team by the way both of them are um or belong to the north one frosty nation so again they have you know if if you're a north one frosty team um builder um you can't go wrong with either of them okay so again guys thank you very much for staying to this part of the video please consider subscribing while you're here don't forget to click that bell icon so don't miss any exo series videos also please put a like on this video if you find this helpful take care guys stay safe this is the warden and i'm out of here


Israel Adesanya is one of the best strikers we've ever seen in combat sports. Before debuting in the UFC in 2018, he was 12 in OMMA, 5-in-1 in boxing and 75-in-5 in kickboxing. And he won multiple championships in each of the last two art forms. In Roots and becoming arguably the biggest star in mixed martial arts, the middleweight champion quickly ascended. He won a special edition of the Ultimate Fighter in July of 2018, later beating legends such as Anderson Silva and then champion Robert Whitaker on his middleweight championship chase. After winning the title in April of 2019, he's since beaten challengers Yoel Romero, Paulo Costa and Robert Whitaker in the rematch. His only loss was to light heavyweight champion Jan Bohovic, whom Izzy moved up to fight. Still kept his middleweight title. Now he defends his middleweight crown against Jared Cananeer, hoping to go 23-in-1 in his MMA career. For more, follow Fando on YouTube, Twitter, Twitch, Instagram and TikTok.


Once we have data entered into the platform, how can we check the data's accuracy and reliability? In this video, we will explore several tools in the DHIS2 data quality app that will help us to review and improve the quality of our data. First, in the data quality app, you can run a validation rule analysis which tests validation rules against the data registered in the system. After running the check, you will get a report with a list of data that need to be checked. For example, if we look at the first row, our validation rule says that the ventilators occupied should be less than or equal to the total number of ventilators. But the value registered for ventilators occupied is 71, while the value of number of available is 20. We can follow up with this location to determine the specific source of the error. Note that you can also run the validation rule analysis during the data entry process. The Outlier Analysis is another tool we can use to check data quality. This analysis can be performed looking at potential outlier values. It can identify values that are potential outliers when compared to the standard normal distribution of the data under review, or it can check the data against a predefined minimum and maximum value range. If the data fall outside that range, it will be identified as a potential outlier. Take in the validation rule analysis. When we run an outlier analysis, we get a report with all data that need to be checked. For example, in this row, the data indicate that 767 anti-natal clients had their blood pressure checked at this facility. This value of 767 falls outside of the normal distribution of these data and has been identified as a potential source of error. The third and final tool available in the data quality app is the follow-up analysis tool. Follow-up analysis creates a list of all data values marked for follow-up. We can mark a data value for follow-up in the data entry app and the data quality app via the reports from the outlier analysis tool. This is an example of the report obtained after running a follow-up analysis in DHIS-2. In coordination with WHO, a data quality tool for DHIS-2 has been created. This app generates findings on data quality following WHO's data quality review framework. This includes completeness, that is, if all the expected data are recorded, timeliness, or if the data were received on time, internal consistency, which compares internally submitted data with one another, and external consistency, which compares the data with other sources, such as surveys. As an example, we can review internal consistency. The WHO data quality tool allows us to identify outliers within our data. We can see an example of this in District C1, where the number of measles vaccines given in January 2020 is a much higher in comparison to the other values reported within the same district in the same year. This helps us easily visualize what data need to be double-checked before running any analysis. In summary, in DHIS-2, there are several tools that help us to check the quality of the data entered, such as validation rules, outlier analysis, and follow-up analysis. DHIS-2 and WHO have also collaborated to create a data quality tool that runs checks to validate completeness, timeliness, internal consistency, and external consistency.


Monford Meryl Irvin graduated East Orange High School in New Jersey as a four-sport star who earned all-state honors. Monty became his professional baseball career at the age of 17 with the Negro league Newark Eagles. He was expected to be the black player that broke baseball's color barrier but lost that chance after returning from the Army with lingering ailments. Finally in July of 1949 at the age of 30 Irvin became one of the African American trailblazers to integrate baseball as an outfielder for the New York Giants. He won a National League pennant and helped the Giants to a World Championship in 1954. Monty Irvin was elected to the Baseball Hall of Fame in 1973. Celebrating black history, I'm Megan Triplett.


LEED-HAFNATE, PBHFO3, a promising antiferroelectric material, has been shown to have excellent energy storage properties over a wide temperature range. At room temperature, PBHFO3 exhibits an antiferroelectric loop, allowing for efficient energy storage. At higher temperatures, the material transforms into an intermediate phase, which also displays antiferroelectric behavior. This phase transition allows for even greater energy storage capacity, with a maximum recovery rate of 2.7 joules per cubic centimeter at 235 kilovolts per centimeter. This article was authored by the Di Chaohan, Bai Xiaowang, and Zwei Guangyi.


Well my dear students, the course is Labour Policy Pakistan and the topic is as to how international labour standards are created. International labour standards evolve from a growing international concern that action needs to be taken on a particular issue such as providing working women with maternity protection or ensuring a safe working conditions for agricultural workers. Dear students, the development of international labour standards at ILO is a unique legislative process involving representatives of governments, representatives of workers and representatives of employers from throughout the world. As a first step, ladies and gentlemen, the governing body agrees to put an issue on the agenda of a future international labour conference. The international labour officer prepares a report that analyses the law and practice of member states with regard to the issues. This is the process that is adopted at ILO. My dear students, then this very report which is prepared by labour officers is communicated to the member states and to workers and employers for comments that is then submitted to the international labour conference for a first discussion. A second report is then prepared by the office with the draft instrument which is also sent for comments and submitted for discussion at the following session for discussion at the conference. My dear students, where the draft instrument is discussed, amended as necessary and proposed for adoption, this double discussion procedure gives conference parties spent sufficient time to examine the draft instrument and make comments on it. This is the procedure. Dear students, a two-third majority of votes is required for a standard to be adopted. This is a very important point. Isn't it a democratic process? Yes indeed. My dear students, ILO member states are required to submit any convention or protocol adopted by the international labour conference to their competent authorities, competent national authorities for the enactment of relevant legislation or other action. Dear students, an adopted convention or protocol normally comes into force 12 months after being ratified by two member states. This is the span of time. My dear students, what is ratification? Ratification is a formal procedure whereby a state accepts the convention or protocol as a legally binding instrument. Now, the ratifying state ratifies the international labour standard is a declaration to the Director General of ILO that we will implement it in our country and we will be in consultation and we will develop it so that social justice within our state can be dispensed. My dear students, there are currently 190 conventions and 206 recommendations, some dating back as far as 1990 and six protocols are there. In the trial we offer ILO labour standards. Hope you have understood the topic. Thank you very much indeed.


Before Billy Porter's current housing debacle, he once lived in a rental in the heart of Manhattan. From the outside, Billy Porter, star of musicals, shows, and much more, looks successful, and while he is, showbiz can be inconsistent, especially now. And with housing prices sky-high like the R&L-A or New York, combined with the WGA and SAG After Strikes, even those at Billy's level can feel the stress. Porter claims that he's forced to sell his home to ride out the current strikes because the studios would rather shut down the industry than pay everyone fair wages. Before buying his long island home on an acre of land, Billy lived in a charming two-bedroom New York City apartment which he decorated to his tastes. No wonder.


Why are you running, why are you running?  Realistic Gaming here. Oh my God, now we got Baldi here. And today we are back on the horror elevator. And as we can see Baldi is out here smacking people with his ruler. Dude, this guy is a savage. Oh, that must have been a horrible spanking, man. Okay, so let's go over here. Oh look, we even got the campfire going on and everything. Oh my God, it's pretty legit. Wait, this is a school bus. Can we get in the school bus? Oh, we can. I think we're safe in here and Baldi can't get us. No, don't bring up. Do not bring Baldi this way. Okay, I think we survived the round. Nice. That was pretty crazy. Yo, Baldi is back in that guy. Oh my God, man. I think it was this guy right here with the cool hair. Yo, this guy's looking fresh with that hairstyle, man. Hey, you look good, my boy. All right, and we got a list of the trash, Jolly, Spider-Man, and Cole with us as a sub squad. Okay, so let's check it out. And say what's up, Tweeter. There you go, little buddy. Okay, so what is this map? Oh, it's like, oh, I don't know if you guys have heard of the game Dead by Daylight, but this is exactly like the map. Okay, oh, it's Leatherface. Oh my God, no. Oh my God, okay, let's lose this guy. And in the game, guys said, oh, what? We just fell over. In the game, you can actually like run away from like Scream, Jason, Leatherface. Well, not Jason, Freddy Krueger. There's a lot of scary killers on that game. Oh my God, okay, I think we're safe up here. Which quite not because in the game, they hang people from these. So that's pretty gory. Oh my God, yellow, Leatherface, what are you doing, man? Oh my God, no, oh my God, he looks scary. That was one scary bottle of Leatherface. Okay, so I guess we survived it and we're stranded out here with our little pet. Oh, like the moon's up there. Okay, nice, so we managed to survive that. All right, let's see what we got next.  Oh, what is this? I've never seen this before. It's Frankenstein? What? Okay, this is the, oh, Frankenstein's right there. Oh my God. Frankenstein is basically a zombie. Ow, okay, so if you guys didn't know in this horror elevator, you can actually defeat all the killers. If you all had swords right now, we can fight Frankenstein and defeat him, but I don't see anybody fighting him.  Dude, the way he walks. There, he doesn't even do damage to people. Let's check it out.  Now leave the poor bacon alone. Oh my goodness. Hey, hey, this is a pretty cool high-tech laboratory you got here. And what does he have over here? Oh, okay, we don't want to get near any of that stuff. We don't want to end up like Frankenstein. All right, so that was pretty cool. I've never seen Frankenstein in a scary or horror elevator before. It seems like these people are really in the Halloween spirit. Dude, that guy's an egg. He's legit as a walking egg. Look at the dude. Oh my God, that's a pretty cool outfit. Oh my God, oh! I didn't notice Freddy Fazbear was out there creepy, man. Oh my God, he was just there on the table, stuck. Okay, let's go in here.  Looks like we're playing Five Nights at Freddy's. This is pretty legit. Okay, oh my God, okay, so we can go inside of the whole pizzeria and everything. Oh, look, there's Chica and then there's Bonnie. Who's your favorite animatronic? Guys, let me know in the comments below. I think Bonnie is Foxy the Pirate. He's so fast. Oh, nice, we survived the night. Yay! Where's the cheer at? There it is. Oh my God, there's a walking egg. Oh my God. All right, so we can see these guys put a little pumpkin here for Halloween. And that's pretty much it for the elevator being decorated. Okay, let's see who we got. Oh, what was that? Guys, why is that thing turning red? Oh God, oh my God, it's a good thing we jumped back here. Look at Jolly, he's falling in slow motion. Oh God, good, yo, that was a natural instinct. That could have been us down there. Okay, so we were like, oh, what's so much for spawning back in the elevator? Guys, do not spawn in the elevator. You guys just keep falling down. Oh, they don't listen at all. Oh God, there he goes. Dude, he had a chance to get up here. No, why did these, why did they keep coming back in here? They're just gonna keep falling. Look at these dudes, they don't listen, man. Oh, my boy's doing the moonwalk. And he's surviving. Oh my God, he actually got it. This guy outplayed the elevator. Hey, those were some sick moves, man. You guys saw that, right? He was about to fall, but then he did the moonwalk in midair. He managed to survive instead of falling down there. Okay, so I get props to that guy. Who was that? Let's give that guy some props. Who was that? Oh, that was Einstein, right? Oh my God, Georgie. Dude, look at Georgie's arm. Dude, where are you going? He just left, okay, let's go see if we can find Georgie. Uh-oh, the music stopped. Oh, there you go. Where did Georgie go? He was right here. Why did he even, like, crunch? Uh-oh. Okay, so I don't know where Georgie went. He just disappeared, guys. He was so jolly. Georgie, my boy. Okay, let's go look for Pennywise. Where's Pennywise at? Pennywise? Where is this guy over here?  That's a little terrifying, bro.  Like the real it. He's reaching out for us. That is creepy, yo. My God, okay, so let's see what we got in here.  Then this guy's a full-on egg with a sword. That's funny. What's that scream? Oh, and then we got Jolly here. He's the king of ice cream sandwiches. Oh, dead by daylight again? Okay, I kind of like this map. It's a little scary. I got like the foggy effect. Then we got Leatherface with that scary mask. Ow, uh-oh, oh my God. Okay, so you guys didn't know Leatherface actually has, like the face he has on is the face of somebody because he likes to like cut people's faces off, which is pretty gruesome, I know, but that's with his thing, man. That's what he does. He's a crazy fellow. Oh, God, where is he at? I was like, why is there a floating head but it's somebody's pet? Oh, there he is. Yo, find him back, you egg. Egg versus Leatherface, who will win the match? Okay, I think Leatherface will take it. Oh, God, I'm out of here, man. I am, oh. Dude, why do we always trip over that? Okay, so it's like the game really wanted us to get captured by Leatherface because the trip is over. Oh my God, Michael. Look at Michael Byers, he's up there creeping up. He disappeared. He was up on the window, but they, like he vanished. Okay, where'd he go? Dude, he's sitting on the couch. Michael, dude, why is he on the couch? Okay, let's watch TV with him. Ow, okay, you're slashing me, buddy. Okay, now I'm stuck up here, nice. Okay, dude, he's stuck on the couch, no, no. Okay, let's go upstairs, let's go check out his room. Let's see what nice of a room Michael has. Wow, he really doesn't have anything up here. It's quite empty. No wonder he's angry all the time because his house is empty, man. He has no bed to sleep on.  What have you guys done to him? Before Michael, you will be remembered. Okay, Michael Byers. Okay, let's go back to the elevator. Oh my God, no, now we're stuck out here. All right, there you go, the teleport is back in. Nice, everybody. Okay, so as you guys saw, we can actually defeat the killers in this elevator, which is pretty cool because not in every elevator you can do that. Oh my God, that was Freddy Krueger. Dude, it's so dark out here. But that makes it cool because it makes you creepier. Oh my God, it's like pitch black out here. Let me get my lantern out. There's way too dark out here for me. Okay, I hear him over here. Oh, he just got someone. No, okay, let's take him in the elevator. No, leave me alone. Oh my God, okay, there you go, now I'm safe. Eat egg, he just killed the egg.  Oh God, okay, be careful, yo. Oh, he's trying to get that dude right there. Come on, Freddy, let's go this way. Ready? Let's play hopscotch.  That was a little weird. Okay, whatever, yo, what's up, Blazer? We got Blazer in here, we got JD with us. What's up, guys? Who's famous? The egg is famous. Have you not heard of the world's famous egg, man? I can't believe the egg actually got famous. That was pretty funny. Oh, what? What was Blazer doing over there? Okay, that was weird. Oh, we got Chucky. Should I say the good guy? Okay, let's be careful, guys. Okay, is anything gonna happen? A miss, friend. How? Ryan, how did he get over there? Oh my God, look at Chucky.  That's where his good guy doll activated and now he's just chasing everybody. Oh my God, run. Why aren't you running? Oh my goodness, there you go. Okay, be careful with the guy. Dude, he's so tiny, you can barely even see him. Dude, run, no. He was just standing there and he got ragged by Chucky. I like the music, it's pretty cool. Okay, so let's see what floor we get next. I think we've gotten all the killers in this game so far. It's just pretty fun because in other elevators, they keep repeating over and over. Okay, why is it dark out here? What is this? Oh, it's a shadow, Tubby. Oh my God, there he goes. What should I say, Slendy, Tubby? Oh my God, it's cream. This cream is so terrifying. No, get away, no. Okay, now we're being chased. Dude, you can't see a thing out there, but except when you're getting hit by the Tubby and you're screaming his flash in red. Oh man, all right, let's say bye, tweeter. There you go, little buddy. All right, you guys, well, this was the horror elevator in the building blocks. I'll leave the link for you guys so you guys can check it out because it's pretty awesome. And let me know what you guys are gonna be for Halloween because I don't know what I'm gonna be getting. All right, well, thank you guys for watching. Thank you guys for the main support. If you guys enjoyed the video, make sure to slap the like button and hit the subscribe button. Make sure to subscribe. Yo, what are you doing, my boy? Make sure to subscribe and turn that notification bell on and I will see you guys in the next one. Bye.


Well as many Minnesotans prepare for holiday festivities some may be struggling to put out a full dinner and gifts for their families. Second Harvest Food Bank is hoping to eliminate some of that stress this time of the year. Mal Meyer has more from Grand Rapids. It's the second day of food and gift bag distribution for the annual Itasca holiday program in Grand Rapids. Second Harvest is providing holiday food items like sweet potatoes, stuffing and fruit along with grocery vouchers for nearly 1800 Itasca County families. For families with kids from 1 to 12 years old they're also receiving brand new toys. They can come to one place and get a food box and get gifts for their children and they don't have to go from place to place to find out who's giving out Christmas things. The food bank will be providing the food and gifts at eight different locations to make it more convenient for the people it serves. Grand Rapids has seen the most need with 900 families benefiting from the multi-day event. It's really a great way for the community to come together, help their neighbors and make sure that everyone in our community has a decent holiday. The food bank has been gathering new toys since Thanksgiving. One of the families lending a helping hand are the Haybysons. Jayden donated all of her birthday and Christmas gifts to the cause last year. I was bringing my toys here to give to the other children and we heard about it and we wanted to help out. Jared Haybyson says the old adage is true. You get more out of giving than you do receiving and it's definitely the case. It's it's a lot of fun to to help out and makes you appreciate what you have. Second Harvest will be distributing the food boxes on Wednesday and Thursday and we'll be giving out the gift bags again on Thursday. In Grand Rapids, I'm Mal Meyer, Lakeland News. Second Harvest says they could use additional monetary donations to help pay for the food boxes. More information on how you can help can be found at our website lptv.org backslash news. If you've enjoyed this segment of Lakeland News please consider making a tax deductible contribution to Lakeland Public Television.


But for a time, it looked like we might have another nuclear incident on our hands. There's all this, Mr. President. I'm really not up to date on Southeast Asian. What is the story behind the... Well, what was your evaluation against that? I wanted to ask you to go into the office and I looked at you and you thought... I thought you said, damn, tired. You better go home. Do you want to go ahead? We started that breakfast, but I just didn't... I'm sorry. I would love to have come in. I think it shows two things, Mr. President. First, that they have more power than some credit them with. I don't think it's a last gasp action. I do think that it represents a maximum effort in the sense that they've poured on all of their assets. And my guess is that we will inflict very heavy losses on them both in terms of personnel and material. And this will set them back some, but that after they absorb the losses, they will remain a substantial force. I don't anticipate that we'll hit them so hard that they'll be knocked out for extended period or forced to drop way back in level of effort against us. I do think that it is such a well coordinated, such an obviously advanced planned operation that it probably relates to negotiations in some way. I would expect that were they successful here, they'd then move forward more forcefully on the negotiation front. And that thinking that they have a stronger position from which to bargain. I don't believe they're going to be successful. I think that in case on where we're going to have a real military engagement, I believe we'll deal them a heavy defeat. One of the other areas, it's largely a propaganda effort and publicity effort, and I think they'll gain that way. I mentioned our people across the country this morning. We'll feel that they're much stronger than they had previously anticipated they were. And in that sense, I think they gain. The question in my mind is how to respond to this. Is there anything we should be doing we're not doing?  There just isn't anything they have come up with that is worth a damn. They talk about an area bombing attack over Hanoi. The weather is terrible. You can't get in there with pinpoint targeting. The only way you could bomb it at all at present time is area bombing. I wouldn't recommend that to you under any circumstances. They just haven't been able to think of retaliation that means anything. My own feeling is that we ought to depend upon our ability to infect very heavy casualties on them as our proper response and as the message we give to our people.