An aviation detachment in Vung Tau is conducting an experimental program. The mission is to evaluate three CH-47A Chinook helicopters that have been armed and armored. There's nothing half-hearted about the way these choppers are armed. Each one carries five 50 caliber machine guns. Two 20 millimeter guns are mounted externally on pylons. And just below them, two rocket pods firing 2.75 rockets. Finally, there's a 40 millimeter grenade launcher in the aircraft's nose. The armed Chinooks are experimental, but no one is resorting to proving ground techniques and trying them out, not when there are actual known enemy positions handy in the nearby jungle. The Chinooks are being used in securing landing areas, knocking out enemy ground fire and soft targets. Much of this activity has been in support of the Royal Australian Task Force. Today's mission, too, is to assist the Aussies. There are known Viet Cong positions around the Australian base camp. The mission is plain and simple. Clear out the Viet Cong troops in the area. The armed Chinooks, in the designation CH-47A, the CH stands for cargo helicopter. In the case of these flying arsenals, it might well be altered to combat helicopter. The outfit calls itself guns a go-go, and for good and obvious reasons. After the strike, the helicopters land at position Kangaroo in the Royal Australian Task Force area. Here, the flyers discuss the results of the mission with our allies from down under. Some of the men take the opportunity to work on a 20 millimeter cannon that's been giving trouble. Then, later, back again for another strike. The weather has closed in somewhat, but it takes more than clouds to ground this detachment. The assignment is evaluate the armed choppers, and there are perfectly good Viet Cong positions down there to evaluate them on. Our own findings on the armed Chinooks are not yet complete, but the VC may be doing some evaluating, too. If so, it's a pretty fair bet that they've already concluded the armed CH-47A is mighty effective. The men of the 101st Airborne are sometimes called the Nomads of Vietnam, and here one of their supporting units finds itself really living the nomadic life. It only looks like a Bedouin encampment in the Sahara. Actually, it's a base camp in Tui Hoa, where an aviation battalion is weathering a wind and sandstorm. But wind or not, business goes on. At a nearby beach, an LST brings in helicopter maintenance parts. The aviation unit has been supporting the 101st Division and Arvin troops throughout Vietnam, and that adds up to a lot of wear and tear on the choppers. Replacement parts run in size all the way up to new rotor blades. Today's mission involves airlifting Vietnamese troops for a jungle assault on the enemy. The wind has abated and the men stand ready. Right on schedule, the Hueys arrive to pick up their passengers. The armed escort gets some new teeth. The electrical firing devices are set on the gunship's rockets. And the Arvons board the helicopters in soldierly fashion, ready for battle. Weather, wind and sand have failed to interfere. The airlift gets underway. Around the landing zone, enemy positions are taken for granted, and accordingly are promptly taken care of. Still right on schedule, the Vietnamese troops unload at the landing zone. Helicopters continue to prove their value in operations in South Vietnam. 10 kilometers north of Phla Kuu, a Chinook helicopter has crashed while supporting a combat field operation. The recovery of this aircraft begins as another CH-47 writes the fuselage so mechanics will be able to dismantle its engines. The date is July 27. All wreckage from the downed helicopter is to be removed and returned to the maintenance area at An K. Members of the recovery team begin removing the heavier parts to lighten the fuselage for later airlift. The task of dismantling the aircraft is made particularly difficult because of damage to the parts. Engine parts are taken to a waiting cargo helicopter and loaded aboard as items of freight. For this recovery operation, 10 men have been dispatched to the scene of the crash. Some of the men begin gathering up the scattered pieces of wreckage and loading them aboard the waiting Chinook. Meanwhile, another cargo helicopter is busy removing the rear transmission by means of sling load. Before the day is over, there won't be a trace left of the crash. Finally, a CH-54 flying crane appears and starts to pick up the stripped fuselage of the Chinook. Here again, the load is handled by sling lift as a huge chopper begins to rise vertically. A ribbon parachute is deployed to stabilize the ponderous load in flight. Then the flying crane climbs ever higher over the mountains. The long airlift nears its end as the flying crane begins descending toward the maintenance area at Ankay. The wrecked Chinook is expertly eased into position near the base repair facility. The hookup is released and the mission is completed. In another type of helicopter support, an artillery unit of the Royal Australian Army is aided in moving a field piece. Located at Ndwit, 32 kilometers east of Vung Tau, this battery is moving its guns from one location to another in the field. The U.S. Army helicopter is from a base in Vung Tau. With the artillery weapons sling loaded, the American helicopter quickly hauls it away, whisking it over the treetops as the Aussies watch it go. The gun arrives at the new battery site a few kilometers away in a matter of moments. As the Chinook sails away toward Vung Tau, the Australians take over and ready the gun for action. At Tinine Airstrip, 88 kilometers northwest of Saigon, a shipment of radio communications equipment is loaded aboard a Huey. The shipment is bound for Nui Ba Den, the Black Virgin Mountain, where a special forces radio relay site is situated 16 kilometers from Tinine. The summit, where the American outpost is located, is the highest point in the third core area, and today visibility is poor. Despite the low hanging clouds, however, the chopper goes in to deliver the badly needed radio equipment. The rest of this mountain below the summit is controlled by the enemy. The men of the special forces camp immediately unload the new equipment. These people must be supplied by air almost daily so they can continue to hold the strategic mountaintop and maintain line of sight radio transmission service. When the mission is completed, the Huey takes off from this 3,200-foot helipad to continue its duties. Perhaps the most vital function of the helicopter in Vietnam is the aerial resupply of troops in the field. Here at the Camp Holloway Army Airfield at Pleiku, choppers are loaded with rations and water for troops of the 25th Infantry Division during combat operation Paul Revere several kilometers to the north. These aerial resupply deliveries are often the only means of keeping the troops supplied during jungle operations. This means flying deep into enemy territory and the air crew is constantly on the alert. The weapons platoon receiving the supplies is located about 12 kilometers from the Cambodian border and is badly in need of this delivery. No sooner does the chopper touch down than the hasty business of unloading begins. With fresh food, water, and ammunition, these infantrymen are now able to carry the operation to a successful conclusion. To the familiar strains of when the Saints go marching in, elements of the 2nd Brigade 4th Infantry Division arrive in Vietnam on 7 August. Led by commanding officer Colonel Judson H. Miller, the first contingent of troops march ashore past the Korean Tiger Division Band. The 4th Division is most famous for its D-Day landing on Utah Beach during World War II. Rows of welcoming Vietnamese women wait to shower the men with garlands of flowers. On hand for the occasion is Army Chief of Staff General Harold K. Johnson and commanding General William C. Westmoreland who officially greets the troops. Colonel Miller, officers and men of the 4th Division, I welcome you to Vietnam. The Vietnamese are fighting for the same rights and freedom that we in the United States fought for in 1776. In this struggle, we are joined by many of our allies. As soldiers of the United States Army will fight side by side with members of the armed forces of Vietnam, Korea, Australia, and New Zealand. The peoples of many other nations are watching what we do here. By your presence in Vietnam, you will represent not only the United States Army, but also the American people. After the General's address, the garneted troops board buses for Pinyon Air Base where they will be airlifted to Placo. The arrival of the 2nd Brigade brings American forces in Vietnam to an all-time high. 10 August, a farewell review in honor of the three-member mediation committee sent to the strait-torn Dominican Republic by the Organization of American States. The commander of the Inter-American Police Force, Brazil's General Alvaro Braha, arrives at the ceremonies accompanied by Ellsworth Bunker, U.S. Ambassador to OAS. They are greeted by Brigadier General Robert R. Linville, Commander U.S. Forces Dominican Republic. Ambassador Bunker and the two generals inspect troop elements from the Inter-American Force. Later, General Braha presents each of the committee members with a certificate of achievement marking completion of their assignment. Ilmar Penimarinho of Brazil, Ambassador Bunker, and Ramon de Clermont Duenas of El Salvador. On behalf of the committee, Ambassador Bunker expresses appreciation for the honors bestowed on them. Soldiers from the Americas pass in review before the committee members. The parade includes troops from Honduras, Nicaragua, and Brazil, as well as from the United States. Helicopters of the U.S. 283rd Army Aviation Company stage a fly-by with each chopper trailing colored smoke. A precision skydiving event by members of the U.S. Army Parachute Team winds up the ceremonies. Each member of the committee is presented with an engraved relay stick, a symbolic memento of the fine teamwork that has characterized inter-American operations in the Dominican Republic. Tonight the first group of men are returning to Vietnam after five days in R&R here in Hawaii. Master Sergeant Charles Meadows is the NCOIC of the R&R Center. Sergeant Meadows, can you tell me how the first group of men took to Hawaii on their first trip here? From all indications, talking with several of the men, they enjoyed themselves very much and said they would recommend it to their fellow men in Vietnam when they returned. Sergeant Meadows, how have you found support for this? Local support was 100 percent. The people contributed in every way possible by cutting the rates on their hotels, the shows and different things. They support it 100 percent. Thank you, Sergeant Meadows. This is Sergeant First Class Raymond Palluti and his family. Sergeant Palluti is from Hawaii. Presently he is stationed in Vietnam with a 502nd Aviation Battalion at Vien Long. Sergeant Palluti, what did you do here in Hawaii? Me and my wife went around visiting our relatives in the island. We also take advantage of that R&R card which they pass it to us when we arrive here in Honolulu, Hawaii, which I want to thank for everybody, Governor Burns, Admiral Sharpe and all officials who make this trip a success. Sergeant Palluti, when you return to your unit, do you plan to recommend Hawaii to the men? I personally recommend it. I think this is one of the most and a wonderful opportunity for everybody to meet now. Mrs. Palluti, what did you think of your husband's R&R trip here to Hawaii? Well, I thought it was wonderful that he could come home after being away 11 months and we all missed him and was sure glad to see him. This is Sergeant Emmet Higgins of Advisory Team 87 in Vietnam. He is present and advisor with the Vietnamese 10th Inventory Division. Sergeant Higgins, how did you find your reception here in Hawaii? Well, I don't know where ever one else expected such a thing. I did not and I enjoyed the people meeting this and I was just overwhelmed with many people out to see us. Sergeant, did you have much of a chance to use the facilities here at Fort Darussi? Yesterday I used all the facilities and all the services here and I want to really express myself to the people that really showed us around the area here. Mrs. Seberg and Sergeant Mavao and myself and the other two Air Force men really had a lovely time with the people and also I'd like to express myself to the Navy who is from the nuclear sub over here who took me to Kentucky fried chicken dinner yesterday. So you'll come back again if you had a chance? I will and I hope to come back in a couple of months. As the hour for departure draws near the R&R personnel returning to Vietnam are debriefed in the Fort Darussi auditorium. They are asked to fill out forms commenting on their visit to Hawaii. Heading for their airport buses the troops are entertained one last time by the music and dances of Polynesia. Dependents of the returnees have time for one last aloha. A roster check is made as each man boards the bus for Hickam Air Force Base. The wonderful holiday is over and many hearts are heavy in these final moments of farewell. Then the big Army buses roll and the R&R troops say aloha Hawaii as they return to the war against the Vietcong.


Hello, and welcome back to the craft box. My name is Brinton. Today we're in episode 213 of Wizard101's Death Walkthrough. Last time if you haven't checked it out already, we were in the hive, we still are, and what did we do? We went into the deep dark black hole. It was a very long episode and we ended off trying to defeat Lord Ombra, but we just couldn't do it. And today, I think, will be the day that we hopefully can just do it. Yeah, fingers crossed. So I just killed off the minions with Lulu as you may or may not have seen, saw, I don't know. But yeah, we're probably gonna blade into most likely a headless. This is gonna do a lot of damage. I don't know how many rounds this has left because he casted that a long time ago. Is it? Nope, not this round, next round maybe. Who knows?  So yeah, the minions out is really good because they do a lot of just unnecessary damage to take. This time I also packed heals, a couple of sprites, well a sprite and a pixie just in case. I used my sprite just when I was waiting for things to come. This is, like, no worry, they just always spam this, so I didn't even pack cleansers just because I knew they'd probably do it a lot. What is this? Okay, hello. This could do a lot. Yep, that did a bit, but he's gonna take a lot of backlash. Yellow, that did a lot. Good job. So yeah, that's nice. I love backlash because it does that for us. It's so helpful. Hopefully we can get a faint. I've discarded my potent faint, I know that. Hopefully I can get a TC, would be good. It depends what he does really. Okay, that's just unnecessary to be honest. Let's enshrine you. We will go for a draw and faint. We're probably gonna fizzle, aren't we? Nope, okay, that's good. And we will hit next and see how much we can do because we also boost as well, which is good because he's balanced. Okay, that natural attack is actually really cool. I really like it. Um, why not? I may have three shuffle, but if I do, we're still plenty fine for health, so we should be good. And if we crit, even better. Highly doubt it, but you never know, we might. I'm surprised that the Lulu didn't do more. I did only have one faint and a couple of blades though, so I suppose that is why. Hopefully this can be a lot. Hope they're chasing Calvin. Oh, just, just. Okey-dokey then. So yeah, let us head on back to old Cobb, and we'll go and talk to him, where technically we would have been ending off the last episode, but just slightly behind because I got a bit frustrated at not being able to kill and they're dying and then having to do both bosses again. I mount such strong resistance, it appears she still has many cards to play. Now, let us see the Night Orb. Hmm, frozen in physical form. It is night and dark and chaos you can hold in your hand. Perfect. The Night Orb is a conduit to the Shadow Web. On its own, it could give an individual the gift of Shadow Magic without study. But we can instead embed it here to allow others to tap into the river of magic. Wizard, use the Night Orb to make the Fountain of Nightflow. Then speak to Isilia, the Arms Master. Okey-dokey, look at the six pairs, so good. You hold the Night Orb up toward the Fountain. There's a tremendous rush of wind and energy. You sense, see, taste, hear, smell, and feel power being pulled from the immense Shadow Web and pooling here. Any who wish to study the ebb and flow of Shadow can study here and can drink deep of its depths. It will take generations for the Shadow Web to be drained of its reservoir, but the arachnum magi no longer hold all the cards. Okay, and the Arms Master. The Fountain of Night lets me craft you a new style of weapon. Before now, only the Shadow Queen's elite had access to my arms. I believe I am the first in a spiral to craft this kind of magic. You need it for your crusade to tear down the Shadow Queen. However, in return, you must find any mantis tributes that are in the Hive and release them. Agreed? Thank you. Take this weapon, now steeped in Shadow. Look in the city of Sardonyx if you ever need to find me again. Aha, so she is the person who allows you to make Shadowforged weapons, which were kind of cool when they came out, but they're not actually really good. Hmm, a fine weapon. It could be a help in the upcoming battles, for many of your foes will be well versed in Shaq. It took Morgath many years of study to learn Shadowmagic, and she quickly surpassed the Spider Magi who taught her. Still, she was reluctant to share what she had learned, until her power bloomed with the infusion of a great rush of death magic. But that Morgath is saturated with power. She hands it out easily to any who might defeat you. You should be honored. It's time to turn our attention to the House of the Magi, where the true and powerful Arachna Elders dwell. Spiders are tricky by nature. Beyond God, we must engage the Arachna Gladiators who defend the noble Magi in order to gain entry. Okay, so I'll be back. Once I have defeated these guys, I'm just adding to the Shadowforged weapons. They were the first weapons that could have Maycasts, so they were kind of cool. They also look really cool. I just googled them while it was dialoguing. So yeah, they look cool, they're cool. If you want them, you can craft them. They're not too difficult, but yeah, I'll be back in just a sec. Okay, I am back. Just defeated those guys, so basically said we're about to enter Horrors, I don't really know. But now we are accompanying Old Cobb to up here again. Wait a second. No, this is a different place. I'm like, whoa, we could have got up this a different way, but no, we can't. Um, this place, new place, hello. Nope, nope, yeah, but it's a new place. Hi, weird. This is the house of the Magi, where the Elder Spider folks spin their plots and practice their magic. Nothing is safe here, and while I would never say all Ragnar are wicked, these may be the worst of the lot. You must clean out the cobwebs to press ahead.  Yay, level up. Nicks level, fantastic. 104, nearly 105, which is halfway through the Polaris level cap when it came out, so that's fun. Still in Chrysalis though. Two more episodes after this one, yay. Um, so yeah, let us see what's in here. You cannot come into this sacred place.  Okay, I'll be back once I have defeated these guys. Okay, I am back, just killing now. They have a slightly more health than I expected. You may have beaten us, but we are the least in the house of the Magi. Um, yeah, I had twice with them, but it's fine. It's fine, um, it kills, whatever. Um, let's go back to old Cobb. Do-do-do-do-do, hello here. Hello. Oh, for something greater, the reflection chamber lies before you. While it may sound serene and contemplative, it is anything but. It is a chamber of deception. You will find the Mantis tribute that Azir has more of. Do your best with them, but ideals are hard to fight. Okay, um, let's hit over this way. Boop-boop-boop-boop, hello. And I think there's a boss in here. Yes, there is. I don't know what kind, but we will take out this and this and this and try again. Next fight. This is kind of interesting. There's a lot of dialogue, but there's also a lot of fighting as well. Reach the shadow in the dark heart at the center of your core. You know you are stronger than a bee or a mouse. You know you are more clever than a thousand legged and more willful than a scorpion. You need to clutch onto those feelings with your raptorial claws and be ready to fulfill the Shadow Queen's every whim. We seem to have a visitor. Demonstrate what you have learned. Kill the wizard! You should not be here. Die for the Magus! Well then, okay. Oh shoot, I did not restock TC's. Oh well, we should be fine hopefully. Also not full health either, which is not good. This could go really badly, but we should be fine. Fingers crossed. We will put this faint on ASAP and we will wait for a nice bee prism and in the meantime just blade a bunch. Luckily we've got Lulu in our hand already, so that makes it easy peasy. Hopefully he cannot use What is it? Um, what am I thinking of? Plague or Virulium living plague? Probably you say that word. I don't know. I'm still learning how to print word. Luckily we got a Shadowpup, which is good. Um, what we can blade. Where is this quest? Um, not that one. What is this quest called? I don't even know. Fliction of the Shadow, that's what it's called. Let us find out. Can he indeed do what we do not want him to be able to do? Um, we cannot do that. We will blade. Um, where is the Spider Archmage? He cannot. He is no threat. Oh, but he can eat fruit. Uh-oh. Completely. I have this really bad habit of not realizing that people are fire and seeing them as a threat. Um, it's very bad. It's a very bad habit to have. I highly recommend you not get into that habit. Um, let's do this blade. Faint blade. Good job. Good job. Hello. That was a great scarecrow. 200. Oh, yes. Um, let's do this. Let's go for this. Doot, doot, doot, doot, doot, doot. Hello. Um, we can finally do that. Been waiting for that forever. Almost forgot that that was a thing that we needed to do. Good job. Um, don't get a pop up next please. I'm begging you. Well, I was just hit with something that is not e-freak because I would literally die. Maybe not actually die, but I will be bad then. Really bad. Um, got another shatterpup. Okay then. Good job game. Oh, I think we can just go for this blade. Yeah, we can. Look at that. Okay. And next round we will hit as long as she does not e-freak me. But she might do next round, which is not fun. Yikes. Knowing this game, she probably will. Yay, that's fun, isn't it? Chances of it being e-fruit? Please be sunset. Oh, maybe even better. Does nothing e-fruit as well, so it's great. Does nothing. It's fine, that's fine. What's this? Like, right? Nope. Natural attack. Okay then. Crit, whoa, hello. Crit block, yes. That's 17% chance coming in clutch. Not really. That didn't do much. I'm just, I fizzled, no! This game hates me. This game hates me, I swear. Just let me not fizzle please. We'll just blade. Just not getting what we need. This is fantastic. Pyo!  We will finette to Turr. What is this? Meteor, that's fine. It doesn't do anything, as we've discussed earlier. And as a natural attack, we'll just repeat the immense before. This time not fizzling, hopefully. Nope, okay.  No fizzling, thank you. Thank you for not letting me fizzle this one. Much appreciated. Goodbye all of you peasants. You are now super, super dead. Very, very dead. This is going to give me all of that health back, which is great. Yep, that did double his health, which is fantastic. Overkill at the max, good job. But the Shadow Queen shall never die. Strike one of us down and two more shall rise to take our place. No, wait, that's someone else. Okay, let's go to Old Cohohohob. And we will see what we are doing next. Another boss by the looks of it, and then another one, and then not another one, and then a cheetah. And then that's the end of the episode. Many only wish to hear what they already believe. Still, there is hope for some. See more of this unwavering belief in the metastasis chamber. Enter it, but be prepared for what you may find. Okay, let's go in. Over, oh, it's upstairs. Woohoo, we're going to go upstairs. Look at this, okay. That's cool. This is actually, I have to say this is so cool. It's so cool. I just love the look of this place. This is probably one of my favorite places in the game now. Like, I love it. I love it so much. What was that noise? I don't know, don't ask. Just don't. Um, what's in here? What are we finding? Astasis Arch. Know that you shed your old mantis name in order to gain a new powerful name. One that befits the shadow weaver you are becoming. You shouldn't be here. This is a delicate operation. It's my turn in the spotlight. If I slay you, perhaps I will be transformed into a shadow weaver lord. This will be a good test of my newly acquired powers. I really don't like this whole transforming thing. It's, it's very creepy.  Okay, then we boost on one of them. We can get effrated by one of them, which I have recognized. So I will couple of those just in case and balance is not an issue at all. Just probably weaknesses. But I will be back once I have defeated or about to defeat these guys. Okay, I am back. We are just killing now. Hopefully we have many, many blades and we should be free. What, that was a great song. I like that you can find the link put in the description to my, um, you can buy it on, um, good. So do that, definitely. Um, okay, we done. Yay, so much death. Cheers. The shadow queen take you light bringer. Wow, okay. Now we'll never know who is best and who is who. Stars upon doors. Spellbinder, is there a way to undo this terrible transformation? I have no clue. Why would you ask me? Old cob is a dude you need to ask. He's like in charge. Apparently he knows absolutely everything about more games. So I'm not the guy you should be asking here. I may be a wizard, but that does not mean I know I'm transformation. I know that moon probably morphs you and but that is only a short time whereas this seems to be a long time. We should press on. Lost souls. No, not really. Perhaps, but you will need a potent venom that can strip them back to the core. You see, this is why I didn't want to do it and it's just too much work. Just let them die. Return to the palace of fangs and seek out the chamber of tannerous. He is perhaps the greatest scorpion warrior. How about no? Defeat him and take the venom from his stinger. Bring it back here. Yeah, wizard, this would be it. Yeah, it would be. So can I not do it? Thanks, okay. Okay, I'll be back when I'm at tannerous because he is a while away. And welcome back. I don't know why I said hello, but I'm back. Maybe I thought I was starting a new episode. Who knows? We are back and we are at You should not have returned here, wizard. I am tamulous, the greatest of scorpion champions.  Prepare for your death. Okay, so quickly before I get into this, I'm just going to explain his cheats. He's a minor cheating boss. Cheat every four rounds he will use his turn to cast a zero pip plus 35 version of death fuel to a random wizard. And every five rounds he will cast his natural attack damage over time spell at a random wizard. It's a death one. So, yeah. Not too difficult. He's stormed, so he can do cheeky things like sirens and Leviathan. He can also do little peg and plague. So, yeah, it's going to be fun. Okay, so yeah, I'll be back in just a bit. Okay, I am back. We are about to hit right now with Lulu. I don't know if this is going to kill, but hopefully it will. No crit, which is sad. It kind of makes me mad. Can we please possibly kill even though I make a till? What? Okay. Hope you enjoyed that. Does track come in soon? No, just kidding. Okay, I'll let us blade up again. Cheeky wee. What's it called? Uh, Headless Horseman. Headless Horse Moon. Hoodloo Hoof Moon. Hoodloo Hoof Moon. And yeah, I also realized that Headless Horseman doesn't actually have the same accuracy as the other death spells. It has 80 where the other ones have, well, on general 85. Which is, I was not surprised, but like it was kind of a surprise. Like I didn't realize that until the other day when I'm like, oh yeah, let's just, I need a couple tickets for getting the fishing gear, because this was when fishing rewards was on, which was ended this morning or yesterday for when I'm recording this, but it was probably weeks ago. Not weeks ago, but a couple of days ago.  Headless Horseman, because its accuracy is on 80 and not 85, so I appeasal this a lot more, but in fact I didn't actually, I just had the chance to. So yeah, that's a fun story, thanks for listening to my life story. Katelyn, honestly, just stop.    Oh, you crit on me. Oh my gosh, no way. Nah, that ain't fair. If I can't even crit, you can't crit on me. That's not how it works. You can only crit on me. If I crit, jeeeewww. How much do we need? 8,000? Oh gosh. We got a fainter. Ah, could we go and do it a lot? And we have what? Two blades? Three blades. Three blades, okay. We should be fine. I think we've done this before. Three blades and a faint. We can definitely kill him. If not, we've got a night of deer anyway to just insure the kill. We got a shad, that's cool. But let's go for a hewa homo. And see if the hewa homo kills. Hewa there, hewa homo.  And then he goes. And gets blades. One, two, three. And then he gets the feints. And then.  No, not quite. Okay, that's embarrassing. Well then, nearly enough to kill. I'll let us go for a deer knight. 27 health. What the heck? That is not even cool. I don't appreciate that. Did you see that 28? Nah. Uh-uh, that is not fair. 28 is not a good number. I do not appreciate this 28. I mean, recently I've had a lot more people having one health because my damage isn't quite good enough to do it with the amount of blades I have in my mob deck.  Like one's fine because usually it's deer knight. Um, are you German or something? Um, but yeah, usually it's deer knight so it just gets it and then the round after when the damage over time is going. But like 28? Nah, that ain't cool. I mean, one isn't even, but 28? Nah. Oh, I left a mark. I was smart. I left a mark.  I don't know. I feel like I'm trying way too hard in this video and I don't know why. So maybe it's just because I feel like a try hard today. Maybe it's just a sign that I should be a try hard. I don't know. What do you think? I don't know. Who knows? Not me, that is for sure. Um, so we've got one more boss left of this thing. Very well. I am most pleased that you did not die. Ha, same. Who's the stinger venom to unroll the metastasis arch? This will involve pain and effort. Important work for once though. Where's the metastasis arch? Oh gosh, don't say it's something like a thing where I have to like defeat people because I'm not keen for that. Oh, maybe it isn't. It's just not even a sigil. That's fantastic. Please not be something important that we have to defeat a whole bunch of people for because I'm not in the mood for that. Luckily it isn't. Is it too late to change my mind? I'm really not so sure about this. Is it too late now to say sorry? No. Spellbinder, you should not have risked yourself for me and mine. But I cannot thank you enough. So you don't want to change your mind now? Is that what I'm hearing? I don't know. Um, let's go and talk to Old Cobby. Old Cobby, Cobby. Old corn cob. I mean, he could look like a corn cob, don't you think? He's got like the fluffy bits on the outside, I suppose. He's not tall enough and like skinny enough. He's a bit fat. She is correct, but such is life. You have done much to unravel the webs of the spider magi. You have hurt them in their inner sanctum. Good. By breaking their control of the shadow web and proving their transformations can be undone, you have made them fear. Worse for them, Morganth is in her own looking glass world. She cares not for the brief little dramas of the hive or sodomics. The magi are in a blind panic. If you break their spirit, they will open the way of night, leading you to the shadow palace. Enter the chamber of the orb weavers and do Arch Magus Lorcan and the Elder Magi. I will do what I can to aid you. Okay, this is the last boss until we stop, I promise, because we need to save some stuff for the next two episodes. Yes, two. And because I don't want an extremely long finale of Chrysalis, since it's two parts, it makes sense that the finale is cut into two parts. So that was my logic we're making it. Also, if you're smart, you will realise that it brings it up to 215, which is like a perfect amount. So now I see with my own eyes the last final hope of the fifth column. You, this are what the burrowers have rallied around. Yeah. You tiny, weak, pitiful wretch. You are what has been a burr to the great and terrible Shadow Queen. Yep, apparently so. I'm surprised as well. We have groomed her to be the deadliest wizard in the spiral. Every card she casts can shatter mountains and burn seas.  So shall be the children of light and shadow, the children of prophecy shall duel and decide the fate of the spiral. Who is this that accompanies you? No, it cannot be. Destroy the wizard! Destroy them both for the honor of the Shadow Queen! He knows something that he's not telling. Um, I think he's given his one percent power up again. Nope, not even that this time apparently. What is he giving me?  Um, I would much appreciate something useful. Um, okay, so here's a cheater. I'm not gonna do the whole battle on Cameron just because we're time concerning, is an issue that I don't like dealing with. Um, cheats. At the end of run one, or any round he casts Shadow Sentinel, Archmage's lore can, as they say, will interrupt in summon two. Eldermagus is, they are minions, and they become active in round three. I will just, just hold a sec.  They are, um, they're fire. They, um, can eat free, so be careful of that. Um, this cheat cannot be dispelled. He will summon three Eldermagus minions, if more than two wizards are present in the duel. Once he receives his Shadow Pip, he will begin to cast Shadow Sentinel every three rounds. Um, your sacrifice feeds the Shadow Web three rounds after being summoned, or after Lorcan's Shadow Sentinel spell has ended. The Eldermagus minions will cheat cast a zero pip version of sacrifice that deals 7,525 damage to themselves, and heals Archmage's Lorcan for 1,500. Defeating Lorcan will stop this cheat. So by the sounds of that, we want to make a really, really, really powerful Headless Horseman. Um, and I'm keen for that, to be honest. I'm really keen to see how much Headless Horseman can do. If we just focus on Lorcan first, and then focus on the minions if they're left afterwards. So, I'll be back in just a sec, or once we are killing. Hopefully, fingers crossed and not dying. Okay, I am ba-ha-ha-ha-ha-k. Um, maybe not the smartest I did a hit now, but we're doing it, whatever. I don't really care. Um, who cares? We're just going to go for it. If we kill, we kill, and if we don't then, I don't really care. Do whatever we want to kill, um, because they probably won't have too much health left. Um, so we'll definitely kill Lorcan, which is good, because he needs to die. He will also, if he doesn't die, and set a whole bunch of damage. Um, the minions are dead, which is good. Um, there's a lot of reverse as well, which is probably not the best. Did he die? He's dead. Fantastic. Look at that. Easy peasy. Beep! We must open the way of night. The Shadow Queen awaits you in her full glory. Once you fall, we will wipe your name from the spiral. Well fought. With the spider magi held as broken, the unrelenting will soon shatter. Chrysalis would save for the Shadow Queen, of course. Hurry now, through the way of night. Okay, um, that is actually a really good deck. That gives a starting pip. I am keen. Well, let's do that. Um, I'm going to fix that off camera for next episode. Um, that was super easy. Super duper easy. I was really worried at the start of the episode that like, well, I don't know if I can do this. Um, but really, really easy. Just kind of just any battle really. Um, just try and blade up and do a big hit. They're dead. So yeah, if you can do that, um, it's great. I'm doing a lot of weird things with my hands. I know you can't see, but that's weird. I need to just chill a bit, I think. Um, so yeah, we are in fact just going to leave the episode here. Um, this is a great place to collect three agents. They just everywhere apparently.  Um, pretty much one of everything just around here. So great place to collect three agents. Um, there's a nice wee tree here. Um, we'll learn about him next time, but today we are going to end off the episode here in the Shadow Palace or the entrance to the Shadow Palace. So thank you for watching. Until then, like and subscribe. And if you're very subscribed, press the little bell to know exactly when I post another video. And remember, craft outside the box.


So, hi everyone. Thanks for having me. I'll talk about when open source meets quantum computing, and so if you've been following some of the talks today or even if you just came inside and this is the first talk about quantum computing that you hear today, basically the general theme that we hope to convey is that quantum computing has moved out of this kind of sci-fi world into reality. It's happening today, it's not just in some research labs but it's happening in startups and some of the big companies and the amazing thing is also happening open source and that's why we're here. So, there is plenty of quantum hardware out there, they call them QPUs, Quantum Processing Units, and basically we have a lot of the hardware providers and today we had all of them here who are actually working with open source software. So, IonQ and Intel both haven't released any software to interact with their QPUs so far. As Tomas just mentioned, there is for people that are interested an incubator program for quantum software startups, they, it's basically a nine month program, they offer you two month training where you actually get to learn how to program these devices and you also get an initial funding of ADK and the applications are open now. So then in kind of summary, like a lot of, if you go to conferences which are about quantum computing, you're going to hear a lot about exponential speed-ups. Everyone is trying to come, like find out, like a classical algorithm that can be sped up and so I just picked like three papers that happen to have the words, exponential speed-up in their titles but there's plenty more and like one of the most well-known is an algorithm to solve a system of linear equations where they basically had an exponential speed-up and so there's a lot of these but the problem is that there's still large amounts of software engineering that actually needs to be done to really harness these speed-ups and actually use them for real-world applications. So there's a law that I quite like. It's called Brook's law and what it basically says is that adding human resources to a late software project makes it later and that's very much something that I can relate to because when we started a company we thought that adding employees is actually going to increase productivity linearly but it definitely doesn't and it just increases communication overheads and so it basically returns the law of diminishing returns where adding resources actually starts plateauing and then even decreasing productivity at some point but when we started working on this paper what I find quite surprising is there has been a paper in some research where they analyzed a lot of open-source projects and what they found is that Brook's law actually doesn't hold true for open-source projects. There is an increase in productivity with increasing amounts of contributors so there's an amazing diversity of software projects already when it comes to quantum computing and a while ago I started a list on Github that is now hosted on the Quantum Open Source Foundation Github page and it basically it's I'm trying to keep it up to date as much as possible and people are submitting pull requests a lot of times and it basically is split up into many different subcategories that are important in the quantum computing space and then each category is subdivided in programming languages and there's a lot of interesting projects and I wanted to point out a couple funny ones like in the Quantum Fund section what I found most surprising is there's a project where you can compose and perform quantum music with actual quantum processing units we heard a little bit about that board game from IBM which is about you basically traveling through the galaxy and trying to collect parts to build a quantum computer it's actually open-source that board game you can download it on Github and there's some other really funny projects out there you can even play battleships and Cat Sweeper on QPUs I think that makes the experimentalists really sad if they know that all their time is spent to just play games so yeah as Thomas already mentioned we were contacted by a journal that is focusing a lot on open access and publishing code open-source which is plus one and they asked us to write a review about the current state of quantum open-source software and I think that kind of really fits nicely into the FOSTEM theme and I wanted to share with you what we kind of found and what results there were as a recap if you were here this morning for Tomas's talk you already saw those slides but I just wanted to quickly kind of on a high level point out how the workflow looks like when you're trying to program a quantum computer and you're starting out with a problem definition which could be the traveling salesman problem and in the first step and that's in the gate model paradigm the first step is to actually choose a quantum algorithm that you want to use to tackle that problem and once you have picked an algorithm the next step is to actually write down a circuit which corresponds to this algorithm and specifically which also incorporates the problem that you're trying to solve and then once you have that circuit you need to compile the circuit depending on what backend you want to use do you want to use a quantum processor if yes which hardware provider do you want to target or you're just going to use a simulator but in any case you need to compile the circuit if you look into the annealing framework you can do a similar diagram where you start with your problem definition but this time instead of picking a quantum algorithm that has already been done for you because annealing basically forces you to encode your problem in an icing type Hamiltonian and so you basically need to encode your problem in the parameters of this quadratic equation and then the next step is the topology of your of this quadratic equation might not correspond to or very much will probably not correspond to the hardware graph so you need to do what we call minor graph embedding where you're trying to fit that problem onto the actual chip and run it on the actual d-wave quantum annealer or use a classical solver to try to find the solutions and what I find interesting to point out is that if you put these two flow charts next to each other you can actually see that basically this encoding in an icing type Hamiltonian is equivalent to picking a quantum algorithm and writing down a quantum circuit and the minor graph embedding can be pretty much seen as the compilation step in the annealing world so in terms of the paper we looked at over 60 quantum software repositories and we needed to find a way of actually narrowing them down and create some criteria and so we've selected 26 quantum software projects according to this decision tree and the main reason why we excluded projects is because they were either single contributed projects or projects that didn't have any issues or pull requests which we considered as no traction so we basically focused on these 26 and the first thing was that we looked at the licenses what is out there and what are people using and we found that 90% of the projects used permissive licenses and 65% of those used Apache 2 and there was only two projects that actually used copy left licenses and there was something that we found kind of surprising and it really shows that the community is open with respect to the commercial use of their software the next thing was that we looked at documentation and we basically did a qualitative analysis of various elements that we consider important for documentation so we looked at the source code documentation at the quality of the readme files, change logs the user documentation which we define as like a little bit more in depth per feature documentation and then also tutorials that really take you with a specific problem all the way through the implementation and what we found there is that most projects tend to have really good source documentation and readme files but there is really shortcomings when it comes to change logs and extensive per user feature documentation as well as there's very little tutorials which makes it really hard as a newcomer to actually get started and understand how to actually even start the pipeline and start building so there's definitely a lot of room for improvement right there and then we looked at the actual code quality within those projects as well as the testing components of them and we're quite happy to see 23 out of 26 projects actually used automated test suits and the average code coverage was found to be 75% just quite good and the median was 87 which is actually above industry standards so we're pretty surprised by that and that's great when it comes to the community we also want to see how do they actually interact with the wider community of developers and I'm sure everyone would agree that getting a fast response on your issue or pull request is something that is really crucial because otherwise you're probably going to ditch that project and not continue developing on top of it so we consider every issue and pull request that wasn't responded to within 30 days as ignored and we define this attention rate which is basically one minus the fraction of unanswered over total issues and pull requests and I don't want to dive into the nitty gritty numerics but if you're interested in actually seeing the results they're both on the QoSF website as well as in the paper but what we found surprising is that the commercially backed projects weren't better at replying to issues and pull requests than the community driven efforts which doesn't mean that any of them is worth it's just surprising that actually the community projects seem to be pretty good as well as handling the influx of issues and pull requests so then Github has a community profile which is basically seven things that you should have in your project. There was only four out of these 26 projects that actually scored seven out of seven on this metric and we found that 10 out of the 26 project didn't actually review the code from their own core contributors which we thought is kind of critical because it kind of creates like a two class society so you really want to make sure that all of the code is being reviewed. As well as there is a lot of the hardware providers and projects have user centric discussion channels but there's little developer centric discussion channels where you can actually get involved in kind of planning the future of the project as well as kind of having a visible public roadmap like there was a question earlier on about kind of you were developing something and then suddenly like the API broke and stuff like that so it would be great to actually have a roadmap where these things are clearly communicated such that developers know exactly how they fit in and how they can do meaningful contributions that are actually going to be included and used. And so the issue that became obvious quite quickly is that this is going to get outdated. It's basically just a snapshot in time and so what we did is that we automated this evaluation process and published the results online on the QOSF website and so the idea is to have like a monthly run and give people the chance to actually improve and foster these best practices. So one thing that I tend to say and I'm happy if people disagree but I think physicists are great with equations but they generally are not that great with code. Like I myself I never learned programming properly at university. I just wrote scripts and then once I got to know Tomashi actually showed me how to write proper code. So I think there is definitely a place for skilled software engineers to come in and actually help us build these tools for the future of quantum computing and as it was discussed in the panel like there's a lot of classical components even where you could help out that don't necessarily require the understanding of quantum mechanics. But I do want to make a point because there's a lot of memes about how hard it is to learn quantum mechanics and there's many, many more than that and I kind of want to pose the question is it really that hard to learn quantum mechanics if you guys want to get involved and actually start programming on these tools. And I personally think it's not really a binary answer I do think there's elements of quantum mechanics that are hard to understand but you don't necessarily need to learn them in order to program on a quantum computer. And in order to prove that point we're going to host a quantum workshop tomorrow which you can sign up on this link and there's also going to be a lot more talks about like individual projects and Thomas is laughing because this is one of our collaborators and I found that on Google. I didn't make that meme. So then I want to make a point that came up early in the panel as well is that each of the hardware providers have their own open source software package and that's Xanadu Rigetti, IBM and Google right now but then Microsoft is working on developing quantum hardware and they also have a package called Qsharp. Intel is developing a QPU. There's lots more startups popping out of the ground right now that will probably also develop all their own packages and the question is that as a software engineer it's extremely painful to actually write code for each individual framework. So the question is like is there some way of like pulling them together and potentially standardize. And there's some unifying frameworks. There's XACC and there's Project Q and what they're trying to do is to basically go one level higher and be able to interact with all of the different QPU back ends. So for example, XACC supports D-Wave as well as IBM and Rigetti and has a high performance simulator. So it's those kind of projects that we also want to push forward because it's going to make the life of a software engineer much easier. So we talked about it. The reason why this room has happened is because of this launch of the Quantum Open Source Foundation. You're welcome to check out the website. There's a lot of information also for, that's probably not targeted to this room, but physicists, when I gave a talk at a quantum conference the other day they were really surprised that you have to put a license on your code on GitHub. And so yeah, honestly, and that's like we basically try to make a website where people can get informed about what you mean to publish code open source as well as why would you do it and the list of projects as well as a big list of learning resources can be found on that page. And really the goal is kind of supporting the development and standardization of open tools for quantum computing and it's really meant to be a community effort. So we don't want to let's say this is how it should be done. It's really involving the community and we're always looking for advocates, just by itself and contributors and partners as well as funding. So in terms of conclusions with these near intermediate scale quantum devices, so-called NISC devices, quantum software engineering has actually become a thing. And there's a lot of projects out there and they're all accessible on GitHub. But the problem is that what we found is that they lack proper documentation and it tends to be difficult that one in the weeds to actually like assume this like neutral role of a beginner and write good documentation and that's why we think people can really contribute meaningful things there and there's a lack of these public development road maps where people can really understand how they fit in. As well as in case someone is interested there is a shortage of quantum compiler projects. Especially like I mean there is I guess a lot of quantum compiler projects within the hardware companies but open sourced so there's definitely room to work on things in that area. And so overly there is a lack of standardization and we think that everyone would kind of profit from building like these transpiling tools and things that just help making the average software developers life easier in that space. So then I want to conclude that there's not going to be a deaf room tomorrow but we're going to have I guess it's called... So there's more talks about community build quantum software projects. There's going to be some talk about actual applications and projects that kind of implement quantum machine learning things and we're going to have like a hackathon type of thing where you can actually start working with some of the people that run these projects and help them fix some issues or help them improve the documentation and so on. You can find the schedule on that website or somewhere on the FOSTA website. I just So thanks a lot for listening and I hope to see you tomorrow and you can actually get started and program a quantum device.


Guitar and Excel. C major, A minor scale fret number seven, focusing on the E note. Get ready and some coffee and remember, as with friends, you can pick your guitar and you can pick your nose. But you can't pick your guitar's nose, mainly because it doesn't have one. You know, your guitar has a sound hole. It's totally different because we don't generally think of noses as the primary sound holes of the human body. You know, the human body has two primary sound holes, neither of which is the nose. You've got the sound hole that most people use for communication, and then you've got the sound hole used by politicians to corrupt, distort, and manipulate communication. Oh, that's funny, Phil. No, I am not a politician, Phil. Here we are in Excel. If you don't have access to this workbook, that's okay. You could just follow along. If you do have access, it's a great tool to run scenarios with. Quick recap of our project, noting that you don't have to have watched all prior presentations to follow along with this one. However, a general overview of the overall project can help to orientate us. So let's go to that first tab to look at that overview. We started out thinking about the C major scale. We also think of the relative modes as well. Thinking about the open positions to start with, which we defined as frets 0 through 3. Noting that this E represents the low or heavy string, the one closest to the ceiling. Funnest way to map out the notes in open position is to construct the chords from the notes in the scale. So we started with the one chord, the C major chord, mapped it out in open position, discussed it in detail. We then went to the four chord because it also has a major chord construction, mapped it out, discussed it in detail. Same with the five chord, then back to the two chord, which is a minor chord construction. The three chord, the six chord, and then to that diminished chord. Once we mapped all of those out, if we put them all on the screen at the same time, all those notes, we will have basically mapped out the C major scale in related modes in that open position. And it would look something like this in the open position. We then wanted to move up to the middle of the guitar fret 5 this time, not thinking about constructing it first with chord constructions, but rather using the scales, the pentatonic, and then the major scale and linking them to the open positions that we looked at last time. So that's what we did going forward, and then we focused on each of the notes that we can link in between the open position in fret 5, and now we're moving to fret 7, same kind of project. So now we're on the next position here, and we've talked about it in general, and now we're going to be focusing mainly on the E note within this position and the related chord constructed from it, which is going to be an E minor chord. And so in essence, we'll be kind of talking about us being in an E Phrygian type of mode, but we'll talk more formally about modes in a future presentation. So let's give a quick recap of the colors that we have here. Remember that this E represents the low or heavy string, the one closest to the ceiling. The colors, what we did is we laid down on the bottom, you can think of the bottom layer of colors as all the notes in the C major scale or related mode, in this case like the E Phrygian mode, which is all of these notes. Then we laid on top of that the pentatonic notes, which are going to be these notes, which are generally related to the major and the related minor in essence. And then we laid on top of that our point of focus, the E note and the relative chord positions of the E note if it's constructed from the notes in the C major scale, which is going to construct an E minor chord. So that means that our major focal point over here are going to be the light greens and that's going to be our major note and then the third of that E minor chord, which is a G and then the yellow is going to be the fifth. Those are our major points that we're focusing in on. All other notes that are not white are good notes that we can play and then the white notes are kind of like the lava, we're trying not to step on the lava. Except maybe sometimes like if you're really cold, then you might like hover your toe over the lava button and most of the time we're going to avoid the white ones. Okay, so then we have these brackets. So we have the red brackets and the yellow brackets. The red bracket represents the prior shape that we were working on, which I would call shape one. You could also call it a G shape because if you look at the C major scale that we're building everything from, you could see that this would create basically a G shape within this area. So you can name it a G shape C major if you would like to. But I'm going to call it position one as well and then we're on position two, which again that's our focus this time, which you could call an E shape because if we looked at the C major and created the notes from that, we would get something that looks like an E. So here, here, here and so on. So that would be, but I'm going to call it the position number two. We have some interplay between the two. That's what I would call kind of the position or the pivot points between the positions. And so if I looked at position number one on this top string, then we've got boom, boom, boom. And then here we've got boom, boom, boom. These two notes being kind of in between the two positions. So that's the general outline. So now we want to be looking at this yellow position. So I'm going to move the red so I have a little bit more space to play with. The next thing we're going to do is just get familiar with this position two or E shape position by playing through it, but instead of just starting at the top of the position, which would be starting at that B, because that will make it sound like it's in basically a Locrian. We're going to start at the E. When I start at the E, if I start and stop on the E because we constructed it from a C major scale and are focusing in on the three, it's going to sound like a Phrygian. That's basically what we're doing, playing an E Phrygian. The Phrygian is simply just taking all the same notes and chord constructions but making the third the first. We'll talk more formally about the modes later though. Right now we're just going to say I'm just going to focus and hover around the third note of the C major and make that the tonic by playing around it starting and stopping on it. As we go through that scale, we might also want to play the chord constructions whenever we hit that E. This is going to be our big shape. I always want to say major shape, but it's a minor shape. It's the most often used shape in essence, or the bar chord shape when we're looking at minors. We have the E there, and then we've got the B, the E, the G, the B. You'll recognize that possibly as an A minor in open position. If I had my A minor there, if I borrowed it off, it would look like this. Then if I move that up to here, it's going to look like that. That's going to be the shape, and we can deconstruct that shape and then say, well, I could just play this part of that shape. That could be quite useful sometimes when you're noodling around. I only need those three notes, so I could say those three. Then I could deconstruct it to just these three if I wanted to. I could play it down here if I'm in this position down here like that, or it's pretty easy to also, if I'm playing down here, grab that B again. I pick the fifth up, which is quite common. Now I'm down here, and I'm going to grab that B. Notice I'm kind of muting the string above it, so I don't have to be as accurate with my pick. You can see that's the same construction as if I reach up here, and I grab the whole thing. I can do this, I can do just those three, I can play it like that, or like that, or I could do just these three, or basically these back to the bar up top. So those are going to be all shapes that you can kind of play that are constructed from the big bar chord for the A minor bar chord. Now you also have this note over here that you could add, so it's a little bit more unusual of a shape. So here's my bar chord. I can see that I have these two right here, and I could reach up to that one. So that's a pretty nice way to play that, or if I'm grabbing it this way. Whoops, hold on a second. If I'm grabbing this like this, then I can reach my pinky up. It's a little bit uncomfortable to grab that way, but if you grab like these three, that's another fairly comfortable way to grab it, where you can see it's inverted. The E is on the bottom, but you have everything you need to build the E minor from there, so that's another construction that we can have. Alright, so let's kind of walk through this, and I'm going to number as I go from E, and then every time I hit an E, I'm going to play the E minor. So we'll start on this E minor, and then that's going to be my three, because I'm starting on the three. Three, four, five, six, seven, eight, or one, two, three. So all I did there was start here, that's the three, four, all the colored ones, five, six, seven, eight, or one, going back around the horn, two, three. And then when I get to there, I might play a different shape, this one, which is the A minor fingering, that's going to be this B, this E, and then this G, and then I'll keep on going up. So now I'm on, once again, the three, four, five, six, seven, eight, or one, two. And then I could reach out of my shape to my three up there, right here, and I have actually a shape right there, but that's outside of our shape. But in case we're going to go back now, so then I'm going to go three, two, one, or eight, seven, six, five, four, three, and then I could play maybe these three. So now I've gotten back to this E, I'm playing this shape now, so I'm getting to know my shapes as I hit them, and then I'm going to go from this one and say, this is going to be three, two, one, or eight, seven, six, five, four, three, and then we can play the shape once again, and then you could go back from here, back this way, and say this is three, two, one, or eight, seven, and then back up seven, eight, or one, two, three, right? So that's a good practice just to get your mind in playing the same notes.  All right, so then the next thing we can do is practice playing within the shape because we should be able to play whatever we want within the shape, or we can practice going back and forth between the prior shape and the current shape. We can also practice playing in open position because we're probably more familiar with the chords in open position and then jump to this shape, or we can practice playing in open position and seeing if we can find lines to smoothly move from open position into this position starting on fret seven and back. So those are going to be the general ideas. So let's first, as we do that, kind of think about what we can play around each of these notes. So if I'm going to noodle around this E, what can I play around this E? Now the nice thing about this E when we're playing in like this Phrygian mode or playing around the third is you have this open E here up top and you've got the open E down here. So those are bass notes which gives you that kind of heavy sound kind of rocking with the heavy sound on that one. So that's great. And then so if I played our normal E shape, our bar chord shape like this, and I left and I don't mute this one like I normally do if I don't mute it, then I'm laying another E on top. So E, E, E, E and another E down here. So that's three E's and you've got another E. Well, the three E's, boom. So you get a pretty heavy sound on that which is nice. If I just put my pointer here, it's like, okay, what can I reach? Well, this is a minor mode, so I'm making a minor chord from it. So if I go to my pinky, I have a nice beautifully reachable third right there. So that's what's great about the minors. That's nice and easy. And then I've got, this one is a little bit different than kind of what you would normally have in like a minor. It's right next to it with the F. That gives it kind of that distinctive feel actually as kind of like a Phrygian. So it's kind of an interesting sound. You've also got the C above it. So I've got this C that I can play kind of above it right there. And then I can also reach this D out here. So I've got this whole box that I could basically play. You can think of it as the double stops.  But I'm pivoting around this E and I can also have that open string. And it's kind of interesting here because you've got this B and that F. It's going to give you that tensiony sound, which you can kind of resolve to our shape. So then what's below it? I've got below it. If I keep my finger on that E, then I've got this below it. So it's moving from this shape up top. You can see kind of like the symmetry between these two where you have these two together. This box and then the space. And then these two are the opposite, right? So now you've got the space on this side. So if I'm going below it, then it's kind of like the opposite. And then below it, I've got... So if I... I know my fifth is right here. So that's always useful to note. I've got my fifth right there. So that's good. So I can always... If I don't want to play the full bar chord, I can always get back to at least that power chord. And then I can add the third. Which kind of gives me the flavor of the full minor chord because I can alternate between this third and that fifth while holding on onto that E. I also have the double stop between the E and the B, which is, again, quite nice. I can even pull in the D if I want to. So we have that. I can move down to this... So if I move down to this shape, I can then start to focus on possibly this E and say, okay, what do I have? So note the octave. If I'm on this E, I can go down two strings and up two frets. There's the other E. If I'm on this ring finger right here, the most important notes around it are going to be like this G because it's the third and then the fifth. Now note that that third, usually the third is back here in shape. It would be right there. But because of the kink in the tuning, it's up one. It looks like similar to the shape of a major third because of the kink in the tuning. So you have that to play with and then we have this B down here, which is nice and reachable. So we've got that. We can lean back then to the D. We can go up to the F, which I could slide or use my pinky. Now if I use my pointer here, so now I put my pointer here and I'm kind of pointing forward, then I have the in front there and F. We've got this whole shape right here. And then I'm probably going to move back to this shape because this shape up top gives me my full chord, even though the E is kind of like on the bottom, this shape right here. So I could play up here and kind of lean forward to something like that. So we can kind of noodle around within there. So the next thing is, well, we can say we could play in this position and try to play basically the chords and then noodle around possibly in between the chords. So before we do that here, let's think about the open positions, which we might be more familiar with to see how we might do that. So we could first think, well, I'm going to play in the key of C and then throw an E in there and possibly noodle around the E when I get there or something like that. So how would we do that? We'd start and stop on a C, right? Something like an A and an F and then throw on that E and then back to a C, right? Or something like that. But if we want to focus on that E, then we can start and stop on the E, basically meaning we're playing kind of like in Phrygian, but I'm just thinking of making that third the tonic. So I could start in an E, play like a C to a G and then go back to that E or something like that. Now, the Phrygian making the third the tonic is not as difficult typically as some other modes and you can kind of cheat. You've got that heavier sound sometimes. Right, or something like that. The Phrygian sometimes has that heavier, especially when you're playing on a guitar in the minor. But sometimes you might still say, well, I'm having trouble making it resolve home. So we can use that same trick. We can say, well, what's the fifth of the E? So the E is that B. And so I could, and now if I constructed that from here, the B chord construction is a diminished. Which doesn't really, it's not really what we want for the resolving to the E. Right, that would resolve nice to the C part. So what we want to do here is we want to say, I could convert that to an A. So I'm just making, I'm sorry, I could convert that to an A-shaped B major chord. So this is a B major, which has an A shape to it basically. And that kind of resolves. Now when we do that, we're picking up some notes that aren't in the C major chord or the E Phrygian, the same notes. So we're kind of cheating the rules, but that's one way you can get kind of resolution. So you might move around F. And then if I want to get back home, maybe I throw in that cheater B, which sounds kind of funny until you resolve. And then the ears like, oh yeah, I see why that happened. So you can kind of throw that in there even though it's outside and it'll sound okay generally. So if you make that same concept basically up here, we can go up to our notes here. Here is our B, by the way. So when it's like our B is here. So you could make a major chord construction like that. That would resolve into this one, which is going to be the E minor. So if you wanted to kind of throw that in there. Now the notes, the chords that we learned in here, I'll just go over them briefly. So if you're playing within here again, you might want to start with that E. Try to make it at the center. We learned the notes so far within here. We have an F. So this is an E. I'm sorry. This is an E shaped C major chord. And then we also went to all of the majors. So we went from the C to the F. So we went down here. This is an A shaped F major. And then we go to the G shape. I mean the G. So you could move this up this way, but that's outside of our shape. Inside of our shape we had this, which is a C shaped G major. And then we also went to the D. So this was a D. So that's kind of the ones that we've looked at thus far that you can kind of noodle around with. And as you're playing with them, you can kind of noodle around in between the chords if you want to pick any of those chords and mess around with them. So we've got our E to the F. And then maybe I try to throw in that B to kind of get back to that E. So that's one way you can kind of noodle around within this position. But maybe you're not comfortable with all the chords in this position and we're really only mapping out like this one that we're focused on. So sometimes it might be easier to do the jumping strategy where we're going to, I know all the chords in open position pretty clearly. And so maybe I'll focus on those chords in open position and then jump over here so that I can kind of noodle around the E and learn the E in this particular position. So if I focus on this E, what do I have next to it? I've got... and I've got that open. So I can play my E back here. Or I can play it like this. But I've got that E. And then I can jump up here and say, Okay. Throwing something else like a C. I'm not going to move up here to noodle in the C because I'm focused on the E. Maybe I noodle around. And then back to the E. And then I'm going to jump up. C. Right, so I'm just kind of trying to noodle back and forth. Then we could do the same thing over here. I could say, okay, what if I jump up to this one? I could say, okay, I'm going from here to here. So once I get there, I've got to mess that up. I'm going to be like, okay. I can even lead into that one. On it to that F. So making this shape, the G, the B, and the E. So it's inverting. You can kind of noodle around. And so you can kind of practice with that one. And then we can try to say, okay, what if I wanted to move from this middle shape to this shape? Kind of blending these two together. So this shape, most people think of it as like an A minor shape. But we're playing in the key of E. So same shape, but we're like in the Phrygian. So within this shape, and if we're looking at the E, it's like, okay, here's my pivot point, that E. I can build it this way. And that's kind of like a C. That's actually a C shaped E minor, right? It's a C minor shaped E minor. And why is that? Well, if you have the C shape up here, you can see that C shape. If I move that up here, this would be like the major. And then I move the third back. So the third back has to go to here, which means I have to shift my fingers to get here. So the one, three, five. So that's like a C minor shaped E minor up here. Now, this also is connected to it. You can't really reach it, but you can also think of this little shape, which is these three. As your E minor shape, it's inverted. The E's on the bottom, but you can nicely convert from this and then reach up to here. So it's not the most comfortable shape within here, but there it is. And you've got this nice pivot point. You can also play just these two, which is the E and the G, which gives you the flavor. And then pivot to this. Once I get to that one, I can pivot to here. And then so that's going to be, so then we might think, okay, well, if I'm playing something like in this shape, then I want to get up to basically this note and then I can practice my walking kind of thing. So I can say, okay, the easiest thing is I've got my pointer finger on that B right there. So I could just move into this shape, which is like an A minor. And then there I am on my E shape, which I can then pivot in this way. And so there I am here. So I can say something like, and so if you just walked it up, the easiest way is to just walk it up without any double stops. And then when you want to get more creative is like, how can I walk up there but do a little dancing, do a little, I could do some double stops or something, some hammer-ons. Just doing the same walk, but I'm just putting a little groove into my step and then walk it back, pivoting on here. And then I could walk and say, okay, how can I get to this note up here? And so we could get to this note and then pivot down to here, and I could say, okay, what if I started here and then pivot to here. So now I'm getting to this shape. When I see that E, I usually think of this shape, this, this, and this. So I could go to the bottom. I could start here and say, okay, I could go down to this area, which, and then in. So I could say, okay, I could start on this finger and say, and so now I'm here. And once I'm here, I like to basically hit, bending that A for some reason, sounds good to me. And then back up to my E minor shape right there. So we might do something like that. We can go. So then we can start all the way, we can think of the same kind of thing and say, well, how can I walk all the way from this shape to my E minor shape up top and then go into my other position. So if I'm on this shape, then I have these two notes that I'm playing here. So that's one thing I can use for my walking. So if I'm gonna say, I'll just move those up then. I'll just move those up. So I could move them up to this little box. And then once I'm in that little box, then I can pretty easily move it up to here somehow, right? So I can be like, well, I was like, I've got these two, which is kind of nice to do. And also I can play this open E the whole time if I wanted to. And then I could think about how we could basically get from this top one down, down to like the E down here possibly to try to walk up this way a little bit. So I might start here. I could play it this way instead. So now I've got my pointer finger up top. So yeah, I also kind of like the shuffle pattern up top here. So we have the same with the minor chords. We often have that open E that we can kind of play with. So I can kind of noodle between that open E and the G, which gives me the one five and the one three, which kind of completes the whole chord. So I can play something like which is kind of a heavier type of sound. And then you can get, you can say, what else can I fit into that little shuffle pattern? Well, I've got that C right here that I can go to and I can reach up to that D and I can also take my finger off to go to the A. I can also go back to that note, even though it's white, because that's like the blues if it wasn't. That's like the blue note. Even though I'm playing kind of in mix and Phrygian, so it's not exactly the same, but I still think it sounds good. So then I can move that up and say, well, what if I just move this finger up, playing the alternating the E and then playing the notes like this note, that note with my open finger until I get basically to here. So I can say, all right, well, I can play and then move this finger up and then when I'm on this C I can reach this D and this A and then I can move up here and now I can reach basically this E and this B and then I go up here and then I'm home reaching up to the third and then back so I can do something like that. Fun to do. Over here, it's kind of interesting, we also have this E, this E and G right there, so if I play it like this E just the octave and if I'm here I also have my third here, I can reach up to my third here it's out of my position but it's kind of interesting to play this you get two E's I'm kind of muting this D and so I get two E's if I'm kind of reaching from here to here so I get so I keep on thinking there's something I should be able to do with that but that's going to be the general the general strategies that you can do there and that's how I'd kind of kind of tinker with it so let's just see also if we took a look at the E minor just for comparison's sake and we go down here do do do do and then hide all of this I put it down here so we could check it out so then you could see here that now we're in the G this is a G major which has the relative minor of the 6 which is an E so this is kind of like the shape of if we were playing an E minor as opposed to playing in the third of the C which is basically playing in Phrygian they both have the minor chord the E minor chord shape as you can see here here and here that fits in both so you can practice those in both if you know the C major stuff you can practice playing the E minor shape but the notes around it are playing in Phrygian up here and the notes around it down here you'd be playing in the you can think of it as an E minor which is basically the AOLN mode of its related major which is the G so again I think that's really where most people get kind of mixed up when they get the practice they don't know what things they can put together and therefore we can't really practice our finger in what you're kind of playing in so that's why we're doing the deep dive on the C and related modes and then later we'll do maybe the same thing in some of the more common guitar scales like the G major for example is probably the next one up