What's up guys, welcome to Rotor Riot.  Right, Drew? Hey guys, this is Vladrivan. Yes, Bardwell is still with us. He just doesn't want to leave his house. So, if we can't get the Bardwell out of the house, we'll bring the Rotor Riot to him virtually. That's right. Drew, you told me that there was an episode we could make that would be very popular, very successful, that I could just sit here in front of my computer and not have to be uncomfortable or work. We're doing another episode where we are going to judge your FPV videos. This is kind of like our series of community spotlight where we're going to show some videos from the community, but it's a little different. We're going to show video. In community spotlight, we highlight videos and we just say nice things about people. But that's not my game. I want to judge people. I want to put numbers on their goodness and badness in criteria. Right, yes. Rather than just watching a bunch of videos and finding the best parts that we like and just trying to share as many different piles that you might not have heard of as possible, we're going to really critique these videos and we're going to judge them on some predetermined categories. The last time we did this, the categories reused were risk, difficulty, location, use of space, and production. Do we still like those categories? Yeah, I mean, they were super popular. What I like about these categories is it gets people talking and thinking about the different aspects of what makes a great FPV video. So like, for example, risk. The riskier the video is, the more excited I am to watch it. Wait, you get some points for flying over lava versus flying over grass. Absolutely. Whether that's risk to the quadcopter or risk to yourself. The more risk of something going catastrophically wrong, the more exciting the video is. And then, thinking about difficulty, you could fly somewhere very risky.  It's risky because if it goes down, you lost it. But if you're just cruising, it's still cool. We're just saying it's not really difficult in a sense. But also, location, we do want to reward you for that awesome mountain scape. So you get some points for location versus a boring soccer field. No offense to all the soccer field rippers. We've all been there. And regardless of where you're flying, use of space. Like, are you making good use of that space? Yeah. So there's great videos that have been shot over a grassy field. But as far as location goes, an epic mountain scape or as cool city or just a great location can make a great video. And then how do you use that space? Like one of the ones we looked at in the first video, there was a Bando, which was a really awesome location. But it kind of felt like the pilot was staying in one area and didn't really fully make use of the space. And then the last item would be production. What's something a little extra that you're bringing into the video? That's kind of tricky because you might actually want to give high marks for it being a raw video if the raw theme kind of fits. But then you also might want to give high marks if it's really over-edited and there's a lot of cuts and good music. It just depends. How does the production fit with what you're going for with that video? All of these things are up to interpretation. We're not saying that this is the only way that you could quantify or qualify a video. This is just something that we did before that we think works pretty well. So let's get into it. Well, that actually is what I'm saying, Drew, that these are objectively correct ways to judge an FPV video and our opinions are definitive. And anyone who disagrees with us can argue with us in the comments because he loves that sweet, sweet engagement. But who are we going to start with, Drew? I know who I want to start with. Okay, let's start with a Bardwell pick. You're excited for this because you just love to be so judgy. Who do you want to start with? So I'm going to start. There's an up-and-coming pilot. You may have heard of him. It's Slat FPV. And someone reached out to me just like three days ago and said, hey, have you seen Slat's new video? It's amazing. He's topped himself. I haven't seen it yet. So let's watch it together. Let's react to it. All right, my favorite FPV freestyle spot, all caps. So you know he means it. Weird yasmin climb rollout. Yeah, I like the smooth exit, but that yaw I did not like. Got a cut here. Got a cut already, but that was a nice smooth knife edge with the yaw. Little fast for a cut. I feel like I wanted that first take to go a little longer. Right. Have a little more. Nice, smooth. This is a cool spot. He's not lying. I want to rip this. Oh, is he going out? Whoop, pop it. There it is. A little gap there. Oh, I like that. Oh, yes. I like that. That was a similar trick that he did earlier in the video, but I like that one better. Which didn't kind of have bags like, should you show both of them? I don't know. Again, we're being really harsh guys. Make no question about it. We're just reacting. This is excellent flying. No doubt. Oh, I saw that. I saw that. That was sick. Oh, nice. Oh, that transition was hot. I see it. That's not my thing. I didn't like that. I like that a lot. That was smooth. That was really nice. It was well done. It's just not my taste. Power loop. Oh, nice, nice.  Yeah, I felt like back there for a second, he was definitely in a crash and I liked how he didn't panic. Yeah. And he hit it with something that looked intentional. Yep. You know. A lot of times I feel like I know what he's about to do and then he does something else, which I really enjoy. That's always really good, yeah. Like I'm like, oh, here he goes. He's going to power loop again and then he rolls out of it and goes some other direction. This section is a little, a little, oh, nice. Oh, I like that. I like that. That's a good move. Like an entry to a trippy spin. It's kind of like an entry. Oh, sideways, sideways. Nice. Very nice. Yeah, he does that thing where a lot of the rolls he over rotates, but then like just turns into a turn, which I like. Yeah. You know, some of the, if we had a judge on here that was maybe more focused on like technical execution, they might want to see him prove that he could stop flat. Yeah. But it's not, that's not really a skill I even practice that much. His style reminds me a lot of your style in that it's focused a lot on lines and flow. Right. And keeping moving. But he seems to. Make it, make it. Yes. He seems to put a little more technical and tight stuff in. Whereas you tend to focus a little more on stretching the lines out like that. Super. Yeah. That was super nice and tight. I like this song too. How's his symmetry? Very nice. Very nice. Yes. How's his symmetry? Does he go left as often as he goes right? I don't know. I hadn't really thought about it. Maybe that's good. Oh, nice. Oh, I wanted him to go around again. Was that a mistake that he covered? I don't know. I have to say. I really liked those awnings he did the dives through and I wish he'd. Oh, that's sweet. Serwell. Serwell was nice. I really liked the awnings that he did the dives through. I kind of wish he'd gotten there sooner in the video and maybe spent more time there. I feel like he's focusing on a lot of the same areas. Oh, I like that little crash recovery. He flew out of it. One of the things I like about Slat is the density of tricks in his videos. There's very little dead space in his runs. Yeah. He's just constantly doing stuff. That was cool. Really dig it. Straight pinball. Still going though. Wow. Never quit. Pinball to recovery. All right. There we go. There's the man. All right. That was, first off, let me just say that was an excellent rip. Slat is a really excellent pilot. Very impressive stuff. However, the point of this episode is to really try to be critical here.  And, you know, we're not going to hold back on some of these reviews. Let's just, I just want to make it clear that I'm a really big fan of Slat. We're going to dig into it a bit. So thumbs up. Let's talk about things we liked. Okay. Like I said, the density of tricks. It almost never feels like he runs out of things to do. At the same time, he doesn't have a feel of someone who is just wildly flippy flopping just to keep moving. It's a really good balance. I did think, I did think at times it got a little excessive. Like that opener yaw movement really didn't like that. And it, if I was watching it, I might have clicked away because it was so disorienting and so abrupt right up front, just kind of in the open air. Yeah. So that I didn't feel like was a strong opener, especially because once I got into it, I was like, once we were watching the video, I was like, oh, this, he's doing some, you know, good stuff. And the only other time there was like, time we did like a double or triple roll, just kind of an open air again. I was like, yeah. But on the flip side, I feel like you could tell he was just having fun. Oh, for sure. So if just like, that's fun. That's fun. I would say the opening, the yaw opening, I'm neutral on it. I like the fact that it tricked me a little bit. I like when I think I know what a pilot's going to do and they do something else because it means they're being creative. And when he did the initial yaw, I was like, okay, he's going to do a 360 yaw and keep going. And instead he keeps spinning and I'm like, what is he doing? And he's, and then when he comes out of it, I realize he's climbed, which I kind of didn't notice him climbing. But then he flips out and then he just cuts away. And it felt like, well, you know, why'd you even show that? Yeah. If that had been the intro to a really long line, it would have been maybe more fitting. I wanted it, I wanted to go somewhere else with it, like before you cut away. I think you should open with a longer run. And if you've got like a really good trick that you want to slice in, it needs to go in the middle. Yeah, I believe, I believe in the hook. You start with something that really hooks you. So let's, let's get into it. So risk, what do you think risk? The fact that he's flying in a concrete cement asphalt area, means that it ups the risk. It ups the risk. If you go, if you're flying over a grass field with trees, if you crash, you're much less likely to like break something. Here you crash hard. You're probably going to break a motor bell or bend a shaft or something, maybe break an arm. So I think we're at least a two or three on the risk. But there was no risk of completely losing your quad. Right. I didn't really feel like. It's going to recover. I felt like they could get everywhere, you know, so that, yeah, you weren't really going to lose it. You were going to damage it. So it's not a one because of, I'd call a one a grassy field. Yeah. I agree with two or three. I feel like he deserves a little bit of a multiplier or a bonus to risk because of the difficulty of the tricks he was trying and difficulty is its own category. But if you're going to do like a, you know, a roll through a tiny, tiny gap, that's maybe a little bit higher degree of risk than if you simply fly through it slowly. Right. So maybe a three on risk. Yeah. So that's why I would, I'd probably even keep it down as a two. So you give it a two for risk. I give it a three difficulty.   There are, there are a lot of spots like that that you watch it and you're like, oh, I want to go there. I want to tear it up. And then if you get the chance to go there the first time you go there, you realize that, oh, they went there a couple of times to get some of these lines down. This is not a show up in shred. Okay. So, and I did think that a lot of the tricks that he was doing was difficult. I think in particular there was that power loop or it was like, it was just through what looked like the smallest gap and it was like a rolling power loop thing. I don't even know exactly what it was. Yep. So bonus points for that. And I think you also get bonus points difficulty for exactly the reason I was just describing where it's like, hard to even put your finger on what he's doing, which I like a lot. Like, I like when it's not like very clearly like, oh, that was a roll. Oh, that was a power loop. Oh, like everything is just kind of blending together in, like you were saying density of tricks. Yeah. Yeah. I think, I think that sort of technical nature of the flight and his, his in going into a lot of tight spaces sort of without fear, without hesitation repeatedly, absolute degree of difficulty. So where do you, where do you put them on the scale of one to five? Three or four. It's, I want to go four. I think three or four as well. And I feel like probably I'm like, I don't know what a five would be, but I think I feel fine given a four. Let's go fours. Four. Location, quality of the location itself. It looks like a very fun spot to fly, but didn't necessarily create the most visually appealing results. Does that make sense? Like it's a parking lot. It's a building. Like I love flying those spots, but I never really love the resulting video. Yeah. It's a, if you were to go fly the pyramids of Gaza, Gaza, Gaza, then that would be a five out of five location, even though all you're doing fundamentally is a building dive down a pyramid. Right. So it's a solid freaking office park. I would love to fly it, but it's like a three. I think in terms of. Yeah. Two or three. I could, I could agree with a, I could agree with a three on that. Yeah. It's like a solid average good FPV spot. Yeah. That's definitely a three. Like I would like to get an FPV session there, but it's not necessarily a place that I'd be like, I got to get on a plane right now and go. Oh yeah. So by the way, it's Giza. Gaza is a different place. So use of space. This office spot, did he make the best use of it?  But again, I would say. Like he goes behind the trees. He goes over the parts that he did use. It really felt like he rung them out. Uh-huh. And so I would. I agree with that. I would give at least a four, maybe a five on use of space. I would agree it did have good use of space. I think what I was actually complaining about was the choice of clips that he put in. So maybe we'll get into that when we talk about production. But as far as like the flying goes, use of space seems like he flew everything there. He did really good tricks with the obstacles that he flew. There was no point. There was no point that during the video, I saw something in the background and I was like, oh, go over there. That's better than what you're doing. That never happened. Exactly. Exactly. I'd say for use of space. Yeah. For what would it take for somebody to get a five? If that wasn't a five, what would have made it a five? That's a good question. For that spot, what would it... It's tough because is it a production or is it use of space? Like, I feel like, you know, you only went through the awning one time. He focused a little bit too much on kind of that central area. So more balanced, but you know, that feeds into production too, like which clips you put in. But how about you want to do the five and I'll stick with a four? No, I feel good with a four. I feel good with a four. I was just curious. And now production. And I think we're going to have some different opinions on this. Oh, well, so production wise, I feel like it was a pretty straightforward freestyle video. Like there were no production elements. Like for example, there was no establishing B roll, right? Which it would be an element of production. I'm not sure that there was a color grade. Maybe there was. It didn't look particularly graded. I did like that one cut where he rolled the quad into the next roll. That was really smooth. There were some clever cuts that I think you really liked and I wasn't necessarily a fan, but I think I'll admit they were clever. I didn't notice it being off of the music, but I'm not sure that it necessarily was like tied to the music in a way that like a production-y way. So I feel like it's a three for production. For me, it was more of a two. You know, I agree the color grading was was kind of lacking. I think the video overall was just too long. Like very impressive flying. And I think I would have enjoyed it more if it left me wanting more. Because I feel like I saw everything he did. You know. Yeah. Some of it twice maybe. And I didn't love some of the cuts that you liked, but you know, that's a matter of opinion. I think that's kind of the difference between the three and me going with the two. Yeah. That's something I commented on before. In fact, I think I commented on it once in his video. And when you're doing a freestyle edit, you have to think as an editor, whether your goal is to show other freestyle pilots your freestyle. Or whether your goal is to create a piece of video, a piece of content that people want to consume. And so if your audience is other freestyle pilots who want to see what you did that day, you could show the same trick three or four times and like show how you got it a different way. Right. But if you're for a general audience and even for a lot of freestyle pilots who just don't have the attention span, he showed the same thing three times. And by the third time I see it, I'm like, yes, I know you can power loop through that thing. Overall, again, phenomenal pilot. I think going down the line, you gave him three, four, three, four, three. That's a 17 from Joshua Bardwell. I went two, four, three, four, two. That's a 15. So he averages 16. 16 out of 25. Right. Yeah. 25. Yeah. It's pretty solid. Pretty solid. I think that's a really good place to start this video. Drew, there's one other aspect of slats flying that I know you're going to identify with. And that's the use of hypersmooth. Okay. So he uses hypersmooth. And he said that like the one time you have a bent prop and it ruins your take. That's one of the reasons he uses it. And I'm not one of those people who says hypersmooth is cheating. And I know you're not, because I know you freaking use it too.  And when you do those snappy moves and hypersmooth just shaves off all the edges. I don't know. I wish I could see one of his flights with no hypersmooth. Yeah. I think that just kind of comes down to, I don't know what category would really account for that. I feel like the hypersmooth debate is like, I just don't get it. Use it. Don't use it. I just want to watch a good video. And if there's something going on with the movement, whether it's a result of hypersmooth or whether it's a result of the piloting, then I think it dings you. And I didn't see anything in his video that I found objectionable that was resulting from hypersmooth or stick movement. It was good. Good flying. All right. Who do we got next, Drew? I'd like to watch a flight by window washer who is one of my favorite newer generation pilots. I think I'm partially responsible for his name because I was watching one of his videos in a community spotlight. And he just does a lot of dancing along the walls of buildings. Usually these buildings have a lot of glass. And I was like, man, window washing with his quad. And I think he took it and ran with it. So I'm honored that he took that name. And I'd like to honor him by judging his video. OK. All right. I got it queued up. You got it queued up. You ready to go? I'm ready to go. Fade with the blur. I'm not a big fan of the sponsor roll. I know you got to do it. Yeah. But I was really into that opening right up until the sponsor roll popped up. And then the sponsor roll, yeah. I was like, oh. Oh. I like, see? Oh. Again, similar with the yaw entry. And I like that better. Yes, tippy taps. Oh, come on. Come on. I love the way he plays with the walls. No, I like it. I like the tippy taps. Yeah. They felt very intentional. How do you feel about that transition? It is OK. It didn't take me out of it. Yeah. I always just prefer longer lines. Oh. Some of his little tiktoks feel like Johnny used to be. Yeah. Yeah. This is kind of like definitely some OG Johnny vibes. Oh, son. Yes. No. Yes. Oh. That was so sweet. That was so sick. It was so sick. The transitions are OK. They're not bothering me. I didn't even think about the transition. I was just enjoying that dive. I love this control. Damn, Gina. This is old OG Johnny stuff. Yeah. This feels like Johnny. Yeah. Oh, man. Window washer. OK. He's good, right? I mean, I knew he was good. I've seen his stuff before. I haven't seen him recently. He hasn't posted in a while. This video is his most recent. It's back from November 2020. So Charlie, if you're seeing this, please get back to flying. We love watching you shred, man. This is great. Smooth as heck. Does he have HyperSmooth on? I didn't like that cut. I didn't like that he cut in kind of the middle of what I would call a trick. Yeah. Oh, man. I like that. I liked how it looked like he was still climbing. Just using really good use of momentum. Yeah. Very good use of momentum. Really nice. Ooh. See those sharp stops? Yeah. HyperSmooth ruins that. You cannot do that with HyperSmooth. It's just an aspect of your flight that's completely missing. And the thing is you can be smooth without HyperSmooth, but you can't be sharp with HyperSmooth. See those little tick, tick, tick, tick?  It doesn't feel like they're corrections. It feels like they're embellishments like that. That, yeah. That was just definitely like it was like a flourish. Ooh. What the? What was that? I don't. How? I don't.  Dude. Like that was, I love that clever use of momentum. Yeah. To make it look like the drone is thrusting in a way that it couldn't. Yeah. Love his little, little, ticky, tick corrections. They're not corrections, but. So again, think about length. I've really enjoyed this video so far and I'm about done with it, but it looks like we've got a while longer to go. Yeah. I hear you. I'm still into it. I'm still enjoying it. Yeah. He could give us something, something new. I think something would help me with the length as if it was either more spots if you're going to be cutting or less cuts. I never mind the length, but it's like a really long run. Yeah. Man. He's in there. Like you basically did a grind on that. Oh. Oh, hey. No, it's the same spot. No, it's just a different area of the spot. Not bad. I like that. I also think about like the way he ticked there and gave us a minute to focus on that lamppost. That's nice. That's a nice move, but I, I try to be careful about like, what are you focusing on there? Like it was a lamppost. Like is that really the thing you want to tick back around? Yeah. I would rather have seen that around like a, you know, a car if you were chasing it or the corner of the building if you're doing freestyle. So now he's working this area over near the trees, but it doesn't feel like there's a lot to do here or he's not giving a lot here. And, and he keeps feeling like he's drawn back to the parking lot in the building. I like that over that, that rewind over the light post. Yeah. Parking lots are fun to fly. I dig it. Bringing the motors in here. That's a nice little production element. You get points for that. I like, I think it's sending. Yeah. Nice. Nice little rewind. Oh, okay. So initial reactions. There were a lot of moments during that video where I was really engaged, really impressed. I thought I was watching some really phenomenal flying. I think you and I both just lost our minds over that dive. That was great. Yeah. And I would have been fine if the video ended like three and a half minutes into it. Just the amount of cuts for being the same two locations, you know, keep it short and sweet. Again, leave me wanting more rather than leaving being like, all right, I've got, I've got my fill for a while. And you have a good point that like, I understand that as a, as a, you want to put a song out. Like you've got a song you want to, you like the music.  So you feel like the video is going to be five minutes. I like what you said that like you could put another location in. So you're mixing it up. I mean, you could do the same tricks in another location and keep somebody's engagement in a way that if you show the same location for five minutes, maybe some people will tune out. I felt pretty engaged throughout the whole thing. It felt like, well, it felt like at the end where he shifted to working the trees off to the side. It felt like there just wasn't a lot there for him to work with. And so it's like, oh, we're somewhere else. No, we're just kind of, kind of just, I got excited for a second.  Like Slats video, I think objectively had a higher density of tricks. Uh-huh. And, and I would say that probably the difficulty of Slats tricks, there was certainly more opportunity for Slat to crash and less opportunity to bail out if something went wrong. But we had a really big reaction to window washer in a way that we kind of didn't to slap. I think that is. Yeah. Well, you know, and I want to be careful about comparing pilots because there sometimes there just is no comparing pilots. These guys have very different flying styles. They're flying very different types of locations. They're just all around going for a different thing. But at the end of the day, you're right. We had a real like reaction to that dive. And I think it was because it just didn't seem so straightforward. Like the setup was very unexpected and the location was just really cool. Like this big, beautiful glass wall was just really nice visual. And there was an elevated sense of risk because just felt like you're further out there. You're doing a building dive. You're over a construction site. Like it's going to be, it's going to be harder to get your quad back. Not saying it's irrecoverable, but definitely harder than just walking into the office spot that you're 25 feet away from. I feel like that style of flying plays with physics in a way that really breaks my brain. And maybe it's just because, like I watch Slatfly and I'm like, I feel like I know what you're doing. I'm not saying that I could do it, but I understand what you're making the quad do. Whereas I watch somebody like Johnny or Window Washer do that kind of weird physics. And the quad just goes, and I'm like, gravity just turned around. And I know it didn't.  There's a level of precision, a level of, I'm going to just freeze the quad and then drop on the wall. And I don't know. Yeah. Well, let's run down the list. So let's run down the list. I think that's a relatively low degree of risk. Okay.  You're going to fly away.  I think, and if you crash, you're going to walk over to the bottom of the building where your quad has fallen and you're going to pick it up. To me, that feels like the main risk there feels like the ones where he's sliding backwards is a little riskier, but even then, if it all goes pear shaped, I don't think it doesn't feel like a very high degree of risk. So I also think an element of risk is how risky were the tricks. So he had a lot of altitude there. So let's say he did clip something. Fair enough. The quad is going to fall a lot further. So there's going to be a higher degree of risk from that higher fall. Also, if he did hit something, there could be, I don't want to say, property damage. There's some risk.  You're right though. When you're lining up those extremely close dives, the line between making it and hitting the building, you may not be able to go, oh, I haven't got it and bail out. So I mean, there's a degree of risk there. Well, I think for me, and I said the difference is just one step up above grass. And I think this is one step up above that parking lots are flying around those buildings elevated a bit more than office space. So I'd give this one a three. Yeah. And I would go the other way. If slats was a three because it was asphalt concrete and high. But the difference is that slat was really diving into tight spots constantly. Whereas window washer, it feels like he had more room to avoid error. So I would give him a two for risk on this one. Well, that's why you got to have two judges to balance you out there. So difficulty. How would you break this for difficulty? I think some of those tricks were really mind-bending. I think it's difficult to do that. There was a lot of things that made us go like, oh, what even happened there? And then that dive, man, come on, that dive was so sick. And that was very difficult. So I mean, I would give it a very high degree of difficulty only because I have tried to fly this style, that sort of physics defying style. And I can't fricking do it. I don't know for the people as a general how difficult it is, but I would give it a higher degree of difficulty. I mean, I feel like I would go with a four. I mean, I think just because I can think of a few things here and there that would elevate the difficulty. Like some of those building dives, if he had held them longer and just really come out skim in the ground, that I think would elevate it to me. He always plays a little bit higher up. The crane, when he sort of flipped into the crane and then dropped straight down through that to me, that's like approaching a five out of five difficulty. Yeah. This is a very strong for also is super strong for location. So I think this is again a step up from like a good average freestyle spot. So, you know, it's better than grass field one. It's better than, you know, a more technical area, but still boring too. It's better than like it's that solid office space, which is a three. So I would say this is a four, but no high. It's a high three. No, no higher than a four. Yeah, I agree. If like Slatt's office park is a three feels like that's a three than this beautiful glass walls, they're just much more visually appealing. I think that's got to be either a high three or a four depending on how you break it down. Let's be generous and give it a four. All right. Use of space. I feel obliged to point out that we are under no obligation to be consistent. If you go back and watch the previous video, you may see a similar site that we gave a three or a two to. Hey, we're just making this up as we go. And if you don't like it, tell us in the comments. Use of space. You know what, Drew, if he hadn't gone to the trees at the end of the video and then sort of had a lackluster result, I felt lackluster to me like the end of the video, the last minute and a half was kind of making nothing out of the trees in the parking lot. I wouldn't have, I probably would have given him a higher marks for use of space, but by introducing that tree spot to the video, now I know it exists. And then it was kind of, yeah. Yeah. Yeah. I see what you're saying. You could have almost gotten a higher use of space by using less space and not letting us know what we don't know. And any situation like this where you're working mainly the same two or three sides of a building that feels like use of space is going to be of limited. So I think just this style of video doesn't contribute to a high use of space score. And that's fine. You're not going to win on every category. I think it's a three. A three. A three. Yeah. I don't want to, I don't feel like, I feel like a two would be punitive. Two, for it to be less than a three, I'd have to be like, dude, he didn't even dive the building. He was just playing with the trees the whole time, right? Yeah. So at least he did go to the cool element. About three. Three. Yeah. I think, what do you think of those transitions?  The thing is, production wise, the opening of the video was was really actually quite good. Yeah. Like the music comes in, it starts on the black screen, it fades up to the, I was like, this is, I was really in the mood and really enjoying it. And then the sponsor role popped up and it completely snapped me out of it. Yeah. Yeah. I think you're going to do a sponsor role, put it at the end, right? Put it, if your sponsors allow it, put it at the end, because then I've watched the video, then you've already shown me you're a good pilot and I'm like, oh yeah. Right. Okay. Let me see what companies I should be interested in. Or honestly, and I don't actually think you should do this, but if you have to put at the beginning, put a card at the beginning for three seconds and then start your video, but then at least you haven't interrupted your video. Right. And I probably am not going to click away in the first three seconds. I like the music. I thought the flying was very in sync with the music. The transitions, I didn't hate. I think if you're not going to do a cut transition, then it's difficult to think of what else to come up with. But I thought the transitions were okay. Kind of autistic. I didn't think it hurt. Yeah. I think there may be a few too many of them. I just like longer runs. So again, I think it got long for how many cuts there were. I felt like it got kind of long. So certainly by no means it was a bad production, but you know, I would say three, two, three, two. I'm going to stick with two. I go three. I go three. Me too. Well, I've really liked the opening. I like the music. I thought it was in sync with the music. I give it a three. So let's see. Your overall score is 16. And my overall score is also 16, even though we arrived at those being split on a couple of these things.  Kind of bounced the other out. Ended up at 16 again. Very respectable, very respectable score. It's interesting because like, I had a bigger reaction to some of his tricks. I feel like some of his tricks were more difficult than some of the stuff that Slat was doing, but because he was doing them in a safer location, it kind of balanced out the score. Right. And he didn't end up scoring higher. Yeah. And I think for like, there were a couple of times in the video where I was really into it and the, the, that one dive where I just really lost my mind. That was great. You know, I just got bored at the end. So I think this is fair. All right. This is fair. Next up, we have this video. You've picked this one. This is No Limits by Phoenix FPV. I picked this video because he posted it in the Rotorat community Facebook group. So that's how I saw it in the first place. And he had some kind words to say about what inspired his flying style. I'll just leave it at that. And I also wasn't you. I also wasn't it. I also really like the location and I think you'll know why as soon as we get into this. So let's just, let's just hit play. Immediately I like the color grade. The colors are very nice. Yeah. Strong opening. It's good opening. You know, I love lots of lots of tricks. Do you recognize this spot yet? No. You don't recognize this spot. Oh, it was so sick. Oh, it was so sick. Opening. This is Sharpew's spot. This is Sharpew's spot. Oh, my God. This is Sharpew's spot. Oh, my God. And it's so crazy to see it revisited with kind of more modern, higher level flying.  These lines are amazing. Look at how long this run is. This whole run is still going. This run is still going. I don't even mind the tap. Extremely strong opening. I kind of like the tap. Oh, yeah. No, it wasn't a criticism. Got a mat. Oh, don't know. Okay. Can't go in there. You know, I. Yeah. Oh, high degree of risk here. High degree of difficulty. Amazing location stuff. Great variety of tricks. Oh, there was a cut. There was a cut. Yep. You try to trick it. You thought we wouldn't notice, but we did. Wow. Oh, wow. This is a high degree of difficulty. Oh, this video is so good. Wow. This guy's got his mat. He's down. Yes. Whatever you want to call him. Oh, knife edge. Excellent scene. No, because they're so. Great variety. They're so difficult and impressive. And he's nailing them. I'm not tired of seeing him. Love that variety where he's doing matty flips and just whipping out knife edges. Didn't see that one coming. Oh, I'm so into this. What just happened? What is going on? This is so good. Where's he going? There we go. Oh my gosh. Oh, tight power loops too. Yeah. Tight power loops too. No to the moon. I mean, he's really staying proximity. Finding every possible dive. Apparently. Geez. Nice. Feels like he's got a lot of cases where he sets up a power loop and then does kind of a double roll into it. There was another cut. Yeah. I mean, I think he's trying to cut in the same spot at the same time to, you know. Yeah. Interesting. There's a lot of power loop rollouts. Yeah. Mmm. There you go. You know what? Oh, get it again. Just as I was starting to maybe get a little board. Yeah. Yeah. Hook me back with that double dive through the teeny gaps. Yep. Yep. I like the ordering of clips. The sun is going down with every clip. So it's. Oh wow. Why? What? Stop it. Flip back out. Get out of here. Oh, leave me alone. Leave me alone. I love that. Yospin was super crisp. So just crisp. Here we go again. No light. Now the sun's gone. There we go. Little crash. Mmm. Mmm. Nice. Whoa. Now it's getting blurry because the light's gone. This video just has me grooving, man. What a great location. All right. It's the third time we've done that power loop through that hole. So it's getting a little bit of that. Hold on. Oh, there you go. Nice. Oh, and there's the sponsor roll. Great. That's how you do it. That's how you do it. Great way to end the video with the crash there or the inverted perch. The very intentional inverted perch. Oh, that was good. That was good. That was good. That was very good. That was really enjoyed that. So the only kind of semi critical thing I could say is it seemed to me like there were a lot of times where he would try to set up a power loop and be a little bit short maybe or not lined up how he wanted. And then he would kind of roll out of it to the left and it was smooth. Yeah. But it happened enough times that I started to notice it.  By the time I notice it, it starts to distract me from the flying. Yeah. But there was an enormous number of extremely difficult and impressive runs that just cannot be very long runs. Honestly, my only complaint, I didn't like the cuts. I didn't like the cuts where I was like, are you trying to make it look like it wasn't cut, which I'm not necessarily opposed to. If you want to get really tricky, again, make a great video.  I don't really care if you cheat. But if you're going to cheat, cheat well. And I could tell. So it's either like, either cheat better or don't cheat and make the cut more obvious. It was almost like, was that a cut or wasn't that a cut? So I didn't like the cuts. That's probably the only thing I didn't like. I thought the opening was a fence. So strong. It opened so strong with a long line full of difficult tricks. And each time he pulled a different trick like that Maddie, like he goes in and it's like, is he just going to power loop it? No. He mattes it, goes out backwards. And instead of cutting there, I'm like, yeah, I got it. He keeps going. That does another difficult trick. And each time I'm just more and more impressed and more and more sucked in. Extremely strong opening. Let's do this. Let's do this. What do you think? So let's see. It's a Bando. We don't know that all of those areas are accessible. A lot of times in a building like that, the stairs will be collapsed and you'll need to climb with a ladder or something to get to them. We don't know for sure. It's a concrete area. So they're definitely at high risk of breaking something.  I feel like this. And also he was constantly hitting tiny gaps and stuff. I feel like this feels like a four, maybe even a five of risk. I guess it's probably not a five. I agree. I mean, maybe you could get to every floor and the risk is actually low in terms of losing your quad. But you can't tell from the video. And I think it's about what do you get from the video itself? Like, I don't need to know the whole story. I don't need someone coming at me like, well, actually they have ladders and they can get everywhere. Like when I watched this video, it seemed risky. Exactly. So it's about your perception. It's about your experience as you're watching it, not the truth. And it was concrete. The edges were jagged. It looked like the, even though concrete is concrete, the concrete at a Bando when things are just crumbled just looks, looks harder to me. It's glass. It's glass. Homeless people want to shank you. The only reason I wouldn't give it a five is because the chances of completely losing your quad or maybe it's a five, I mean, you could be injured. I could agree with a five.  All right. I'll go with a four. Four? Yeah, I'm going to go four. Four. If there had been something that I felt like, even just for a moment down like, ooh, that was kind of close. And if you screwed up, it was gone. It would have been a five. But this is super strong for I want to give it a five. I want to be as far as I can be. Difficulty. Difficulty. Five. Okay. Yeah. Just five. If that's not a five, what's a five?  Yeah. The long run did it for me. Great variety of tricks. Like I said, we was doing power loop to Matty coming out of it and the knife edging. Yeah. So you had technicality. You had mind bending. You had a lot going on there. That's a five. That's a five. Difficulty. Location. Five for me. Five. I mean, no matter what you say about, oh, it's a Bando. It's number one. It's it's Sharpew's Bando. Exactly. I think it's like, I, it's that I'm kind of, I don't want to sound like I'm going back on myself. I'm like, well, what am I just getting from the video? I don't need to hear about the context. But like when there's that strong at a historical context, what is this iconic of a spot, a spot where for a lot of people, the video they saw there began their FPV journey, you can't ignore it. It's just, it's a five. It's a five location. I would, I would, I want to fly that spot so bad. I got to get on a plane. The history of the spot is part of your context, your experience of watching the video. Right. That's why it's relevant. But I would say that even if it wasn't Sharpew's spot, that is way more than just like a good office park. Yeah. Right. There's so much there. That would be a four out of five if it wasn't Sharpew's Bando. And it's a five. I mean, even if you're not an FPV pilot. That's exactly it. The color, it's such a compelling location. I think that's exactly it. If I didn't know anything about that spot, just seeing it totally uninformed, I would say it's at least a four because it's such an epic giant Bando. And really strong four. I'd want to give it a five. And the thing that pushes it over is that historical context. So it's an easy five for me. Yep. Use of space. Five. Five for me. I think he hit everything. He did. It was amazing. I mean, is there more to that spot? I don't know. I don't know. But yeah, I mean, so many of those dives into shafts going down up around, if there are parts of it that he didn't hit. I am so impressed with the parts that he did hit that I feel like it's got to be a five. Yep. All right. Lastly, production. This was the most lacking area for me. Well, sure. But that's only because the others were all fours and fives. I did notice that it seemed like it had a pretty good color grade. To me, that doesn't look like it was straight out of the camera. Right. So somebody put a little effort into the color grade. Color grade was excellent. I love the song choice. Yep. I was going to say that. I did. I mean, if you wanted to be super picky about the production, a like filmmaker would have managed to keep the motion blur more consistent. Like he would have pulled the, he would have pulled the ND filter off as the light went down or maybe there was no ND filter. I could say that, you know, it was in order of the day. So I got this kind of artistic idea that time was passing and that the increased motion blur was part of that, that, you know, communicating the passing of time. And as time passes, Bando's crumble, but FPV is forever. What do you give it for production? So what did bother me about production was that I could see some of the GoPro mount. I would like that to be cropped out or to do a little distortion removal to take that out.  And that's it. So it wasn't a five out of five. Those two things dinged it down to a three, maybe a four. I could go, I could go a four. Four. I could go four. I could be picky about this one. So you're going to go four. That puts your score at 23 total, mine at 22 total, and this guy is coming out with a 22.5 out of 25. Possible. That's an amazing video. That's an amazing video. I mean, I feel like that's an absolutely fair score. Phenomenal video. I feel like I want to point out because when we've done this in the past, we'll watch a video that's like a really solid video and they'll get like a 17, which feels low. It does feel low, but it's not. But I mean, 12.5 is average. Yeah. So a 17 or an 18 is like, that's a solid video. Yeah. But this, this is a 22. Yeah. Right. This is a strong 22. And if I'd been a little more generous, I could have matched your 23, but you know, this is trying to be a little, trying to be fair just because I think anyone that's familiar with my videos will know that there are some biases for why I might want to, might enjoy this guy. So just going to try to be fair, try to be fair. 22.5. Excellent score. All the pilots we watched today are phenomenal pilots. I enjoyed watching all these videos. Guys are going to be links in the description to all of these pilots. You should definitely check them out. If we were even featuring them today, it's because we already recognize that they are, you know, really standing out in the community, really pushing the limits of FPV, really doing some impressive stuff. And so we just wanted to turn a critical eye towards it. So, you know, really dig into it, really turn a critical eye towards some of these flights, really dig into it, really try to judge them. And it's a lot of fun. And it's all meant to be in good fun. So I hope you enjoyed checking out these videos with us. Yeah. And thank you Drew for having me back on the show. Thank you so much for watching. Make sure to subscribe to the channel if you haven't already. And right next to the subscribe button is a little bell shaped icon. You can click that too if you want. Hit the bell. Hit the bell. Hit the bell. And then we can notify you when we're posting things. And if you want to hear from us even more often, here's what you're going to do. You're going to go to Rotorite.com. And you're going to subscribe to our newsletter. That's how you're going to hear about our best deals. And that's also how you're going to be entered into monthly giveaways for our newsletter subscribers. So every month we're giving away stuff, whether it's a tool set or a goggle strap, or maybe a full blown air unit. Definitely check out the newsletter. Hit it up. Get the best deals. Get entered in the giveaways. Guys, thanks for watching. I'm the drip. I'm Joshua Parkwell. We'll see you next time on Rotorite.


A friend of mine recently asked me how I'm able to get so much done in my free time which is quite limited. I walked through all the techniques that I use to try to get what I'm able to done with that limited free time. So I thought I'd share that with y'all. Also it's Sonic themed. I'm not the biggest Sonic fan but it just really fit what I was going for. So got a lot of Sonic up ahead. So my dream is to earn a living making my own games. That is what I'm working towards. But I have a job, a full time job, that I can't just up and quit. And you'll see on Reddit on r slash gamedev and other places this idea of I just quit my job, I'm living off of my savings, I'm pursuing my dream to make video games. And I totally understand the impulse to make that risky leap of faith and see what happens. But I've got a wife, I've got a baby. My time is super limited and I just can't quit my job. It's not a reality right now. Given various expenses and needing to, you know, provide for my family. It's a real thing. I have these obligations. And I know not everyone will have those obligations but maybe your obligations are different, right? Like maybe you have rent that you need to pay or maybe you have whatever it is, right, that finds you in the situation you're in. And maybe up turning your life isn't an option. So here are some ways that I make the most of my limited time that I thought might help you. So with these constraints that I have, full-time job, a family, a young baby, etc., how can I still pursue my dream? And what does that look like? So I've tried to answer that question. Here's what's been working for me for five months. In the last five months I wrote a book on game programming. I've been making videos every week lately. I've made and released three smaller games and a bunch of prototypes. I've been learning and just, yeah, I feel like in five months I've gotten a lot done. So I thought I'd share that with you all. Here's how I make the most of my limited free time.  I get up early and I'm so excited to work on things. I get up and I work on it. Some days it's an hour and a half. Some days it's two hours. Other times it's only an hour. You know, you gotta be flexible, but to me that's been a really successful time. I don't love staying up late because then it affects my sleep, but waking up early and getting this thing done that's moving me forward toward my dream has been really successful and I'm really happy with that. And then every Sunday I do a dedicated block of three hours. I've talked with my wife. We've agreed this is protected time that I'm able to work on this. And so every Sunday, no matter what I work on it, if there's some reason that I'm not around on a Sunday then I'll switch it for a different day. But that to me is it's sacred, it's unmovable and it's as if I had a job and I show up and I do my work. Right now it's that time on a Sunday and part of my time on that Sunday is I record a YouTube video and I work on my games. And part of that recording of the YouTube videos is sort of marketing and making, you know, having a community. So that's all really, and I call it creative time, but really it's I'm making games. But sometimes maybe I'll do some other things like drawing or whatever it is. So that's in my calendar. It pops up with a notification. When we plan out our obligations we know that this is not a good time to book things.  I take it as serious as if I was taking college courses. And I was thinking about that as I made this slide and realized maybe some people don't take college courses really seriously. But you know, I think as you get older and you're trying to pursue something you're passionate about, you take it pretty seriously. And if I was paying money to go to college, like in America, you know, you have to pay to go to school. And if I was paying for classes, I would want to take that really seriously. So I treat learning game development as serious as if I were paying for it. You know, I buy resources and books and read and study and practice. And you know, to me it's no different than like if someone had to do homework and had a test coming up and you need to study or whatever it is. You know, I take it, I try to take it as serious as that. And I think that helps me frame it when I, it's not just like I'm tinkering around with this little, you know, fun thing, right? It's like, it's serious and I want to take it serious. I talk to my friends and family about it with my wife and it's not, oh, I'm on the computer, like the perception that they have isn't like, oh, I'm just like playing games, right? Like they know that it's like a creative pursuit that is artistic and technical and challenging and I share my progress with them and I share my progress, you know, publicly on the channel and what I'm learning and struggling with. So I have this accountability, right? If I just did it on my own and just kind of in the quiet, it's a lot easier to cancel it and say, I'm done. Like, no one really knows, no one cares. I'm just going to stop working on my projects. But to me, there's a bit of accountability by sharing it. So I'm glad to share that with people that I care about and that care about me because they're interested. I only work on one project at a time. This is so key, right? I have many projects that I want to do and I keep track of them in a to-do list, but I only work on one at a time. And when I work on a project, I finish it. And maybe the finished project isn't quite the same as I originally envisioned it, but that's part of the creative process is you set out to do something, you learn, you expand the scope or reduce the scope. But I only do one thing at a time. I only have one iron on the fire at a time. And I'm very intentional about that because if I'm trying to do multiple things at a time, especially with such limited free time to work on these things, it doesn't go well. It stresses me out. I can't focus. It's really hard to know what to do next. And then I make a little progress each day on that project. So I have those two-hour chunks. I have Sundays for three hours, right? I do kind of sneak in some time when I can, which helps, you know. I just make a little bit of progress each day. And yeah, I wish I had eight hours, five days a week as a full-time job to work on it. But I don't right now. And that's the reality. So then I go to myself and say, OK, well, let's just keep moving forward each day. And that little bit of progress is huge. And I'm able to have that momentum because I keep track of all of my tasks in a to-do list. So from the most trivial thing, I break it all down, get it out of my head, get it on a to-do list, and work through that to-do list. So I know, OK, here are the steps I need to take. And if I need to cut features or reduce the scope, then I just delete the to-dos and make intentional decisions. And I'm never really lingering or in a period of development where I'm like, I don't know where I'm at. I always know where I'm at, what my next goal is to move the project forward. And because of that one project at a time, limited time I have to work on it, I try to have just ruthless focus, right? Like things that aren't serving me moving forward, I cut them and reduce them. Or don't worry about it. Don't think about it. And I've got to try some things and experiment. But this ruthless focus and being able to say no to ideas or to projects or whatever has been really helpful. I use a methodology called Getting Things Done. There's a book by David Allen called Getting Things Done that explains this outline for how to get all the things in your head into lists and work from those lists so that you can focus on doing the knowledge work that's important rather than organizing yourself. So if you're interested in quote unquote productivity, I would check out Getting Things Done. It's a little businessy, but it's been so helpful in my day job and personal life and really believe in it and like it. I take on appropriate projects for my skill level. I don't start working on an MMO or a huge 3D game or, you know, I'm at the stage where I'm five months into this, you know, this journey. I'm at a hobbyist level. I'm taking on projects appropriate for learning and growing. So, you know, simpler 2D games, games that are more arcadey where the replayability is in just playing the game again and not necessarily like producing a bunch of content for it. And by appropriate projects, you don't want to bite off more than you can chew and you ideally want to work on something that you can start and finish in a few weeks, like in a month. Like my mindset for 2023 is work on projects that take no longer than a month. That way I can really learn a lot of different skills and a lot of different genres of games and, you know, train myself up. Just as if I was training to run a marathon, I wouldn't go and just start running the 26.2 miles at the start, right? You would run shorter distances and build up over time and train. And to me, I'm viewing this year as a training year. And I pick projects that are appropriate for that, whether it's a clone of Snake with hand-drawn graphics or, you know, an action game that's basically a clone of Super Cratebox. Like all of my projects, they're not going to wow anyone, but they're not meant to, right? They're purely for me to learn and share what I learn along the way. Just like if you started learning to play guitar, you wouldn't go and be expected to compose and play a masterpiece right away. You would learn covers of simpler songs, maybe then you'd learn covers of more complex songs, learn chords and notes. And then you could start to string together what you learned to make something original. And what you make that's original will still be in the vein of the music that you love and have previously learned. And I think that same learning approach should apply to game development. And I view making games, which are sort of derisively called clones in the game dev world, I think of them as I'm making covers of my favorite games and, you know, they're all freeware. So it's not like I'm trying to like make a buck or whatever. And so you want to pick projects similarly appropriate. And then when you take on those projects, you got to finish them. That is the like secret skill, right? Is finishing your projects. And that's a skill not a lot of people have, right? You can like make amazing tech demos. But if you're not finishing your projects, it's, you're never going to build those skills. And for me, because I want this to be temporary, right? Like I'm viewing this phase of my life where I'm pretty, you know, I've got my day job, I get family stuff, I work on those games, right? I'm like, my days are pretty full. And I tend to think of it as I'm making a short-term sacrifice that will eventually let me return to what I want my day-to-day life to be like.  I'm not really playing many games for leisure. Sometimes I play them and it's like for research or I'll get an hour here and take a break. But like, you know, I'm making sacrifices and how those look for you will be different than the sacrifices I'm making.  But, you know, make those short-term sacrifices but know that they're short-term and that at the end of the tunnel, hopefully, is like for me, like, you know, this being my full-time job or whatever can then recalibrate when the situation changes. But for now, making sacrifices in the short-term for life changes in the long-term. I keep track of my time for all of my game projects which sounds like a real tedious process but I think that as humans, we underestimate how much work it will take to do something. And then once we've done something, we overestimate how much time we spent on it because there's a sort of pride, especially I think in like the American workplace in being like, oh yeah, I spent five years working on this thing or I worked these long hours or whatever and when you track your time, you can tell you know how long it takes to make a game of a certain type or do a feature of a certain type or how much time you're spending on art versus coding and this will vary from project to project and when you work on new projects, there will be features and challenges that you won't really know how long it'll take but you will know roughly, oh okay, here a game of this complexity took me this much time and that's really, really valuable because if you were to start a business, which I treat this, you know, like a business, you would wanna know how much your hourly rate is or how long a project will take you and having some data is better than no data and it won't be bulletproof, it won't be this like, oh yeah, you know exactly how long it'll take but it'll be helpful and here's an example, this is a little small, sorry, but in the upper left, you'll see that's a spreadsheet, I just keep track of it, that's for Godot types, the Godot prototypes I've been making so each project has a column I keep track of the process, you can see those are marketing day where I made the YouTube video and open sourced it and shared it, I keep track of it, then you'll see in the left how much time lower left I spent on each project and that gives you a sense of like, oh yeah, okay yeah, it took me five hours and I made a shoot them up demo or, oh yeah, I made whatever, you know, these projects and these times and that just helps me calibrate, oh okay, if it took me that long to make this prototype then if I extrapolated out it would take me maybe this long to make a game of this size and that's helpful and then on the bottom right you see this pie chart, this is a breakdown of how much time and hours was spent on each given task in the game destroy all goblins that I made so I spent 38 hours on programming, I use public domain art so I only spent an hour making a few sprites, did a bunch of time, you know, you can see the breakdown of some project management, time spent marketing it, time making the music and sound effects so that but a large majority of it was a programming and I think it's so easy that like certain games will have different needs and that game was arcadey so there wasn't much content that I needed to produce like levels or whatever so anyway, that's really helpful like to know, right? I think that helps me so that's why I do it and it's been helpful. I, this is like, this is outside of the scope of this kind of information but I put it in here because it's kind of the way I'm thinking where it's like if I'm taking this seriously if I'm treating this as a business I can sooner start making games part time like I can dedicate more time to it if my cost of living is lower because then the bar that I need to reach is lower, right? Like if you're living at, let's just use some random numbers, $100,000 a year then as an indie game developer, you need to make $100,000 a year consistently to continue to live that way but if you can reduce your expenses and live at $50,000 a year, that's, you know, an easier bar to reach. It sounds obvious but so then to me it's been like well what can I do to lower my cost of living and that's not really about productivity but it is like how can I get to this dream sooner and pursuing this dream sooner because that's what this is all in service of, right? Like the effective time management and these different approaches. So this is like a whole side quest but yeah, lower on cost of living is something I've been thinking a lot about. Another way to effectively use time is taking a game dev vacation. So if you have a job where you have time off, paid time off or holiday breaks or maybe you're a student and you have time between semesters or summer vacation, use that time to treat it like, oh okay, great, I'm gonna work nine to five and treat this like a job and like kind of trial what it'd be like to be a job and see how much more you get done and see how that feels. And for me, I'm really looking forward to taking some paid time off like a week here or a week there throughout the years and saying, okay, I'm gonna work on this project for a week and like what can I do in 40 hours compared to the like 10 to 15 hours I'm able to do every week in my free time? So that's something that I'm looking forward to trying. I haven't had a chance to yet really. Lastly, or getting close to the end is like just taking care of yourself.  If your physical health isn't well, it's gonna be really hard to focus and get things done. So, you know, going out for walks, eating well, taking care of yourself, you got a part, has that getting enough sleep? To me, it's never about sacrificing sleep or running myself ragged. It shouldn't be like the pursuit of my dream while maybe there are sacrifices, it shouldn't be at the cost of my health because if I'm not healthy, then I won't be able to do this for the decades to come. And that's what I want, right?  So to me, it's this like goal of like intentional sustainability to then be able to make games for decades to come and not just put all my eggs in one basket and make my dream game, but like what does it look like to make 10 games, 15 games, 20 games over the course of my life?  What does it look like for me to make a dozen plus significant games in my life? And how can I think about that for the long term? I think taking care of myself is the cornerstone of that. And if you're familiar with novels or if you're not, that's okay, there's an author named Haruki Murakami and he started writing novels in his free time. He was finding some success, decided to do it full time and he realized he was sitting there so much just writing that he needed to pursue running, to keep himself healthy. And he wrote a whole book about that called What I Talk About When I Talk About Running and you know, that sort of thing, right? Where if you have a job to acknowledge work or creativity and you're not active all day, it's really important to then, you know, find a level of activity that works for you and take care of yourself. This is what I have to keep telling myself is to just be patient. To keep at it, be persistent and be patient. I want, you know, I want to do it today, right? And I want to take risks and do full time game dev right now, right? That would nothing really be more happier but it's the reality is I can't and I gotta do the best I can with what I'm able to and I need to be patient and be graceful and just keep at it, right? And that, that's, this video is ultimately I'm just like talking to myself and we'll watch it again to kind of pet me up and motivate me. And hopefully, eventually, it will be my job and we'll see what happens. But I want to manifest it and be positive and bring this into reality through my actions and what I make and sharing it and appreciate the support and the following along. And hopefully this helps you glean a couple things to help with your journey and wherever you're at in it, whether you're just making games for fun as a hobby or you're like hobbyist plus trying to make it happen or out there on your own doing it. And yeah, just a time's limited so you gotta make the most of it. I'm trying my best to do that. All right, thanks a million. See ya, bye.


When we look at ancient depictions of the gods we scrutinize every little detail. We come to conclusions of the objects that are present with the gods without really understanding what they are. All we basically do is compare these things to other objects that exist in modern times and class them as insignificant. But what if we were to tell you that one such object has been present throughout history and depicted by civilizations all around the world for thousands of years? Just wait till you hear this. Is it really impossible for us to comprehend the fact that in the ancient past civilizations across the globe were all connected? In the very distant past it would appear that civilizations everywhere shared a very important artifact. They went to the trouble of immortalizing the handbag of the gods in solid rock. The significance of this thing cannot be underestimated and we are going to tell you For the past couple of decades so-called experts have been getting more and more confused but also more intrigued as to how the Anunnaki gods and the sighted Gobleki teppi and several cultures in the Americas are all shown with a handbag separated by a period of thousands of years apart. Here's a thought. Agriculture is known to have started near the Mount Ararat. This is also where the Ark of Noah was said to have come to rest. This is where the survivors of the Great Flood started a post-catecholismic civilization that would spread out in every direction from this point and place. Could these bags represent seeds that were preserved on board the Ark in some sort of vault? Maybe they were distributed across the world as we repopulated the globe after the Great Flood. So many different cultures built up massive complex pyramid structures in the remote and distant past that were eerily similar to each other as if to follow a direction from some sort of blueprint. Could the handbag also have contained information that allowed civilizations to excel and develop and the depictions are one culture to the next handing it forward to the next line of people. Just a thought. Why is it that ancient civilizations in America, Egypt and ancient Mesopotamia depicting their deities carrying a mysterious handbag in their hand? Is it possible that all ancient cultures in America, Egypt, Australia and Mesopotamia were visited by the same gods? Another instance of the ancient handbag can be found in far away New Zealand. Amore myth tells of a hero who once ascended to the home of the gods and returned to earth carrying three baskets full of wisdom. Golbaclytepe is one of the oldest ancient megalithic temples on our planet.  The massive stones were believed to have been carved some 14,000 years ago, even though recent evidence points towards the fact that it is probably far older. Again, we see the strange bag present here. Nobody really has any idea what these bags are. The oldest known depictions of the bags is found in Northern Australia and is thought to be 15,000 years old.  As she traveled far and wide she scattered her babies which gave rise to many different cultures and tribes. Even in North America there are petroglyphs that are roughly the same age as the Australian depictions. Again, we see the ancient handbag apparently being portrayed as carrying the seeds of life. Could the civilizations around the world all be scattered remains of the lost empire before the great flood? Each culture appears to be telling the same stories and all this is fitting in with a time in history of when the flood took place. So it appears that this handbag of the gods is a very real and significant piece of history and related to the survival and knowledge of the human race. An ancient civilization went to great lengths to preserve life on the earth. What do you guys think of this anyway? Comments below and thank you for watching.


I just wanted to ask about the mental side of Salah, because there's outward actions which we learn from the textbooks which are taught by people that take the time to teach it to their parents or somebody who's dowed us or whatever this scenario is. But there's an inner aspect of Salah which is very difficult in terms of not thinking about my pin number and memorizing my shopping list and stuff. He's distracting thoughts, often people talk about them coming into the mind. So he's praying outwardly is okay, but inward devotion, concentration. Like maybe inwardly the soul isn't facing the Qibla, the soul is facing the Dunya, but the body is facing the Qibla. How do we attack this? Very important point. And I think on the basis of the hadith from the Holy Prophet Sallallahu Alaihi Wasallam where he says, Salah is a sanction of a believer. It raises me from one level to another. For me to be able to understand my Lord that he deserves to be worshipped. It's not Jannah in Nara, Paradise and Hell. No, he deserves to be served. He deserves to be worshipped. So once I come to know that then it will be like Salah, it's not for Allah. Salah is for me. And not only just for me. In order for me to be a perfect being in terms of my Salah, I need to pray. Because otherwise it will not help me. So I need the way of achalak approach to this Masala Fikir. Some scholars say Salah starts from the time when you perform your wudu. When you wash your face to say I'm cleaning my face in order for me to face Allah SWT, I should also clean my heart from envy, enmity, hasad and so on and so forth. When I'm standing for Salah to say Allahu Akbar, it means that I say Allah is greater than anything else and I need to pay attention to that, not to pay attention to any other thing. Allahu Akbar, I pray to Allah, I'm facing towards Qibla, meaning that the whole dunya is back.  I don't pay attention to whatever is surrounding me. It is Allah. If I understand what I'm doing, then nothing will be greater or bigger than Allah SWT. I will continue to pray. It will come to a point where I will say I don't want to finish my Salah.