This is Transcription Practice Session. My name is Tobias Fodl, I have the pleasure to moderate this session. We have three talks, limited to only 10 minutes, but I think we still will have time for some questions right after the talks. First off is Anton Tratter with the Ambrasser Heldenbuch, so a document that has been preserved here, like right here for several hundred years. I will tell you today about the project Ambrasser Heldenbuch Transcription and Scientific Data Set. So the project was funded by the Austrian Academy of Sciences within its program Go Digital. The project was hosted at the University of Innsbruck and it started in January 2017 and ended officially in December 2019. So first I will tell you a bit about the Ambrasser Heldenbuch, the codex we transcribed. It is a late medieval codex which was commissioned by Emperor Maximilian I in 1504 and it contains 25 literary texts. These texts are medieval texts from German texts and those texts are like the Nibelungenlied or other texts. 15 of these texts uniquely survived in the Ambrasser Heldenbuch, which makes this codex one of the most important sources for medieval German literature. Among these 15 texts there are like Ereg or Kudrun, so making them as texts among the most important ones. So this makes Ambrasser Heldenbuch very special and in another aspect because these texts are originally from the 12th and 13th century. So making them middle high German texts but as Ambrasser Heldenbuch was written down to 300 years later, these texts only survived as an early new high German version. So that means of these 15 texts the original version does not exist anymore, we only have these later adaptions. The Ambrasser Heldenbuch is about 243 parchment folios, so you can see these pages are quite big and there is a lot of text of 500,000 words. And another important aspect is what makes the Ambrasser Heldenbuch that special is that only one scribe, his name is Hans Ried, has written down all these texts and it took him 12 years. So he was a tall writer for Emperor Maximilian and beside his usual, his day job as a tall writer he also wrote the Ambrasser Heldenbuch. And making these aspects, the Ambrasser Heldenbuch is very important codex for the German philology and there hasn't been any entire transcription, there has been transcriptions of single texts and as well editions, but most of these editions are retranslations into the original version of middle high German, but as there are no original versions anymore, so we want to focus on the only text that exists and not on a model of how the text could have looked in the past. So this is the beginning of the Nibelungenlied as it's in the Ambrasser Heldenbuch and our transcription looks like that and because of the fact that only one scribe has written it and his writing is very clear and very looking the same over all the pages, it was quite easy to identify single characters he used because they do not vary much, so we identified special characters he used, different variants of letters and you can see here those letters marked in red, letters which do not exist in the standard alphabet, but we wanted to differentiate from the standard ones as in line one, you can see there is in the first and in the second words there are two different types of variants of the letter S, we identified in some there are four different variants of the letter S and as in line one at the end of the line there is a different variant of the letter N he's using at the end of words and as well the superscripts we used as the four superscripts Hans Ried used in the Ambrasser Heldenbuch, so it was quite easy to get these letters and we call this an allographic transcription because we differentiate between different types of letters, after the transcription has been done we did simultaneously annotate the text and we focused on structural elements, not on the content of the Ambrasser Heldenbuch because we want to develop a dataset which can be used for either linguistic research or if we want to make an addition, a critical addition of a text of the Ambrasser Heldenbuch, so we focused on tagging verses, dances or as you can see the beginning of the text there's the insubit, we also annotated the insubits if there's our initials like here at the beginning, so those were quite well could identify those aspects quite clearly, so there's not much about interpretation and if we had to annotate content or something like that it would have been too much and could not have been possible to tag them. So next one I want to show you what we could do if we transcribe and annotate the text, this is a prototype of a web interface and because of the linking in Transcribus it was quite good to link the lines of text with the images and as you can see here the beginning of the Nibelungen again, here we have on the left hand side the transcription and on the right hand side the image and the image and the text are bidirectional linked, so if you click on the line on the text, right here on the image, the text will be marked on the left hand side as well, so you can click through all the texts and have here good navigation. And also those aspects like mentioned before like initials, insubits, they are highlighted in the transcription on the left hand side, so to imitate a bit the text. Another aspect before mentioned was that verses and stances are annotated, so it makes it easy to change the text into not only having the line breaks as it's in the Ambrose Helmbruch but also to get the lines, get the verses and stances, so if you want to get the text as it's like an addition because in the Ambrose Helmbruch the text is not structured, each line gets for a verse but the verses are separated by dots and lines like here and so you have to get familiar with that but for someone who's just interested in the text and wants to compare it with an addition and you want to see which stanza this is, so you have here all the stances in one group and they are numbered, so you can get here through these texts as well, so it's for someone who's interested in the text, wants to get some information about it and wants to see how this version of the text is written down in the Ambrose Helmbruch. So just a prototype and there will be some more features like if you can search through the texts and if you're interested in some words but we're still in development and this is the first aspect of how you can use the transcription that was made with Transcubus. So that's all I want to present to you about our project, I don't know if you have time for questions. Thank you very much for a nice presentation. My basic question is, so this is not controlled by anybody, by no person, so what you showed, this is automatic result for Transcubus. So this is like, if you could clarify, how did you use the Transcubus to generate this text or have you checked the text afterwards or corrected what we are seeing now? What's the error rate and so on? No, we did not use the HDR, we transcribed all by hand because it should be a database to use for critical additions and so it has to be 100% correct and because of the process if you transcribe and annotate simultaneously it's easy and we're faster if you transcribe all texts by hand. So we have all texts transcribed first and corrected by second person and our denotation as well so we had two and now we're starting a third round so the text will be corrected a second round and so it should be almost 100% correction rate. Thanks. One more question. That's not the case. So let's move on to our second speaker. We have David Brown from Trinity College. He will talk about the Beyond 2022 project which is fascinating since it's showing us that cultural heritage preservation by digitization can also help by recreating what has been lost. In the record office in the four courts, seven centuries of Ireland's history is carefully preserved for future generations. Every day, clerks and record keepers, bathed in sunlight from the record treasury's glass ceiling and iconic windows painstakingly care for this priceless archive. But on June 30th, an explosion sparks a massive fire. As smoke billows across the city, the collective memory of a society dating back 700 years is erased, seemingly forever. Now, as the centenary of the four courts blaze approaches, we have a unique opportunity to reconnect with this lost national archive. Beyond 2022 is a groundbreaking international collaboration to bring the public record office of Ireland back to life. Working from the architect's original plans, the project is building a virtual record treasury, a digital reconstruction of the spectacular six-story Victorian archive. Rare photographs and documentary sources from before the tragic fire show us how the building was once rendered, faced in cut granite with ten arched windows running along each side. Inside, ironwork galleries recreated here from pen and ink drawings rose up through five levels. In the central atrium, a staircase led from the stone paved floor to the ornamental roof with its huge skylight running the length of the building. The galleries beneath contained millions of historical records filling 100,000 square feet of shelving accumulated over seven centuries. These records touched on almost every aspect of life in Ireland, birth, marriage and death, land, taxes, crime and bankruptcy. By recreating and refilling these empty shelves, Beyond 2022 and its archival partners in Dublin, London and Belfast are working to create a public resource with global reach and impact. When complete, you will enter the beautiful Victorian Reading Room, order a historical document and cross into the virtual record treasury to access the very shelf where it was once stored. From there, you will be brought to surviving records or substitute copies identified in archives and libraries around the world. Ambitious and far-reaching, Ireland's virtual record treasury restores a vital link in Irish history, returning lost records to the world and enabling a new understanding of Ireland's past. So that gives you an idea of what we're trying to do. The destruction itself, nobody really knows who did it. We had a civil war, there were two sides. One side barricaded themselves into the record office and minded with explosives and the other side shelled them with artillery that they borrowed from the British Navy that was nearby in Dublin Bay. So nobody was held responsible, although everybody participated in the destruction. We then developed a quite unique political system whereby both sides in the civil war basically became the dominant parties in our parliament and they still are. So there's never really been a great incentive to engage with this. We're probably the only country that blew up their own archive. There's lots of destroyed archives around the place. We've also funded a seminar series where we bring people in to discuss the circumstances in which they lost their archives. We had people from Timbuktu over about six months ago. We had somebody from Baghdad last month. One of our outputs is to try to create a toolkit to describe how we've gone about finding surrogate and substitute items and how we can help other people put their lost archives together. I think Gunther, you mentioned part of the Austrian National Archive had been lost in the 20th century as well, so there's probably a little bit of crossover there. So how do you commemorate a civil war? That's one of the challenges that we're facing in Ireland this year. We've already done the commemorations for our independence and various nationalist commemorations that led up towards that. But the civil war itself is actually still quite alive in Ireland and with partition it remains alive. We have a committee for a decade of centenaries and this was the task that they faced is how to try to do something that's positive and neutral at the same time. And that's when we hit on cultural heritage. This is from the committee itself that funded us. The project seeks to recreate through virtual reality the archive that was lost in 1922. We recreate the archive using copies and surrogates of items made prior to 1922 including transcriptions of original documents, calendars, printed copies, indexes and scholars' notes. Well, it's incomparable with the loss of human life. This culture loss was one of the great tragedies of 1922 and all Ireland and international product of this stature and visibility would be a lasting and meaningful legacy. Democratising assets to seven centuries of Irish history. So we are under no pressure. The project is led by us in Trinity College and our main archival partners are the National Archives in the UK, the Poli Record Office of Northern Ireland and the National Archives of Ireland. And again, surprisingly, this is the first time that those three bodies have cooperated in a project in a formal way. They all know each other perfectly well and go to the same conferences. This is the first time it's actually been a formal cooperation between them. So that was basically a big win for us from the very beginning. We now have about 40 additional archival partners and some of them, they have collections that some of them range from maybe four or five items that are of interest to us, maybe just some replacement deeds. One organisation has an entire warehouse containing 30,000 archival boxes of supposedly lost material. One of the surprising things that we found is how little of this material has been accessed in the hundred years since the archival was destroyed. And it's become quite a trope in Irish historiography to say, well, there's no archives. I'm not going to do any archival research. This is my opinion. There you go. You can't just prove me one way or the other. So we're hoping that as a result of this project, we're actually going to have a new year now in Irish history where people can actually look at evidence, which they don't do, and produce rather more robust historical research than we've been getting for the past maybe 20 or 30 years. The National Archives of Ireland had those original plans that we used to reconstruct the building. And we also have quite a lot of photographic evidence of what it looked like, including news footage from Pathé. This seems to, again, be one of the first instances of a military action being timed for the TV news, because it was filmed in its entirety, the destruction of the four courts. But it wasn't easy just to arrange for this destruction to take place and have TV cameras at the time in 1922 ready to go, so some kind of PR was going on at the time. We've constructed this wireframe model of the building, and that's been rendered using the photographic evidence. It's fully three-dimensional, so using an Oculus headset or using your own desktop, you can walk around the building, and you can just simply browse the shelves, pick things off the shelves. The historians and educators love this, and the archivists absolutely hate it. And the idea of being able to walk around an archive, picking things up and throwing them over your shoulder, they do not like this at all. But this is the modern technological world. If we can do it, we do it. Throughout the 19th century, the Keith was produced an annual report and also a diagram showing how the shelves were being filled up as they went along between 1864 and 1922. So we know where in the building everything was. We've also very recently located the original accession books from the public record office that when they received something, it was marked in, a description was given, and its bay and its shelf and its item number on the shelf were recorded. So at item level now, we know exactly what was in the building. And this has two uses for us. First of all, as we're now searching, we can search much more efficiently. We know the titles of the items, so we can just search, say, the National Archives of the UK's catalog for an item with the same or similar name, same date range. We know that's probably it, visual inspection, and we're good to go. We also now know what not to include, because people are coming forward with their collections saying, I have this, I have that, do you think that's interesting? We say, of course it's interesting, but it wasn't in the building, because once we sort of start spreading ourselves out, we will quickly become overwhelmed with things that we simply can't process. Most of the rediscovered records will be represented with metadata, and we'll get most of that from the archival partners that we're working with. They did have very large and dispersed collections that had collections of newspapers, and they had collections of pamphlets in addition to the manuscript material. We'll probably end up scanning around 500,000 pages, and we'll get other digital assets from other resources. One of the things that's come up since we started the project isn't just physical archives that are at risk, but digital archives that are at risk. So there are lots of either dead or half-dead digital humanities projects knocking around with a lot of archival material scanned and embedded in them, and of either no longer in use or very close to being in disuse. We calculated that the average digital humanities project has a life of about five to ten years, unless resources are put into redeveloping the project itself. So if you have a digital humanities project written for Windows 7, it's not going to work on a 5G phone. It has to be redeveloped. So we're actually taking in quite a lot of data now from place names, projects, and personal names, projects, and the old digital humanities things, and major projects in the UK to scan parliamentary papers. And we're ingesting all of this in sort of quite a scrappy way, but we hope to have a robust metadata model that will enable us to search across all of these old projects that we're effectively trying to save in the same way as we're trying to reconstruct the old physical archive. At every stage when we meet a new partner, we demonstrate transcripts, and we do a live demo. Usually we get a page from them and we make sure we have a model that works, and then we will process the page in front of them. And it's all very well for you. A lot of us are used to seeing this being done, and you go, 93%, I suppose that's okay.  And whatever the character error rate is in what we're processing, we've found that the error rate for getting funding for these additional projects is pretty much zero. There are lots and lots of projects coming through that are coming through because we're demonstrating transcripts for other people's projects in front of their funders going, well, yeah, we know scanning maybe has a bit of a dead end, but here's what you can do later, and it's the first time a lot of these people have actually seen this being done. So it is a game changer for the funding environment. Never mind just what we do ourselves. And we convert all of our transcripts output into Mirador, the triple IF viewer, and the manuscript document is unsearchable by reusing the transcripts XML file with a solar-based search that we've developed, and we've populated this with Ireland's specific personal and place name ontologies, including historical names and places. So again, this is another example of, we have this again from old projects, and it's another example of reusing existing digital assets and giving them basically a new purpose. So with triple IF, we can seamlessly cross-search across a range of sources, the manuscripts, the text from the manuscripts, print, or the metadata that we're getting from catalog descriptions. And the multiplying effect of the cross-search is what's actually amazing, because we can basically get things that we don't even have in our triple IF manifest. We can take a document that's in the catalog of the British Library, but if it mentions the same person as somebody who's mentioned in the text of one of our documents, they will come up side by side and you can compare the two pieces of information. So this image indicates the intensity of what we've found so far, so the darker shaded bays are where we've actually found quite a lot of replacement items, and the white ones are where we haven't found anything yet. But we still have until June 2022 to find it all, and we're also trying to use the name Beyond 2022 as another project goal of getting funding beyond 2022 to digitize the rest of the stuff we won't get around to doing at this time. So our basic workflow is to troll for replacement records, to reassemble these into the original series where we use ISADG, make the series searchable, and make the search operable over the entire virtual archive. Okay, our key deliverable is a knowledge base for Irish history, so we're taking semantic web approach. So we have ontologies of personal and place names, we have geospatial data, we have very strong expertise in natural language processing, so we're able to include sentiment within the ontology and various other structures that we're pulling out of language. So this, in addition to the actual cell records and the images and their text, is actually our key deliverable. We want the user to be able to ask natural language questions of the archive, to simulate as much as possible what a person would do if they walked into an archive and went to the counter and said, I am looking for, or I am interested in. And the archivist will have an intelligent answer for that question, and that's what we're trying to do with this. We're trying to have in-built intelligence within the search that will mimic as close as possible, probably using a chatbot that we've been playing with the whole experience of walking into the archive, although obviously we will then let you walk around the shelves. So the semantic knowledge base, here we are, is the very steam that we want to bring into it and being able to search across time and be able to search the history of a place. So the semantic knowledge base will, we hope, open up this new era for historical research, enable things to be done much more quickly and much greater level of thoroughness. And obviously with a much greater quantity of primary sources that have been available up until now, or certainly in the past 100 years, will eventually include contemporary collections of documents that were not in the building. This, again, is the Beyond 2022 bit, but they're complementary to it, including records both in Ireland and records from the Irish diaspora around the world which are even greater in quantity. And that basically is Beyond 2022, so happy for questions. Thanks a lot. We have time for one or two questions. What kind of ontology are you using? Do you know that? For your keywords. Do I know that? No, the ontology professor knows that. The way we work is we're half historians and half computer science, so we have a core team of four computer scientists. One specializes in ontological research. One specializes in semantic web. One specializes in this visual, this virtual reality experience.  So that's all run down what we have, what's called the ADAPT Centre, and they also have this pool of around 70 or 80 other developers with individual specialisms, and that's kind of how we operate it. So really all we do is we say what we want, and they ask us what we're giving them and tell us the format they wanted in, and that's how we split up the work. So I would have to refer you to our colleagues in computer science for that. The same way as they would have to refer you to me if you had a computer scientist with a question about 17th century historical documents. So sorry I can't answer it. Thank you. Thanks a lot for the talk. The final presentation of this session will be presented by Henna Lloyd. She's from the University of Toronto and she's going to talk about the DEETS project, so we're moving back to the Middle Ages. So today I'm going to be speaking about our current work with the DEETS project. So what we're hoping to do in the future is to build from an existing corpus to train transcribes better for abbreviated Latin, especially that's our main focus, as well as deal with hyphenated problems. But our main focus is on the abbreviated Latin because it can take up up to 50% of an individual charter. And currently we're working with an expanded model which has a less than ideal CER. So we're hoping that changing our process with this will improve our results with HDR. So we're working with English Latin charters dating approximately from the conquest to the 15th century. A resource for all of these charters is the documents of early England data set called DEETS. It's an online corpus of charters. It's a really excellent resource. The majority of these have transcriptions attached, as well as some original images, but largely transcriptions, almost 50,000. And we have three models in transcribes so far based on almost 300 folios. The first model is based on charters from the cartillary of the Knights of St. John of Jerusalem Prima, dated 1442 to 1447. And it's this script here, as you can see. And then the second is fairly similar but still a distinct script, the early charters of the Cathedral Church of St. Paul from 1241. And then our third model is based on a combination of ground truth from both of these previous cartillaries. As you can see, our test results have been less than ideal. Our CER for each individual model has been around 11 to 13, 14%. And then as an experiment, we tried testing data from each of the cartillaries on the entirely distinct model for the other cartillary, which as you can see had terrible results. That was just sort of a test we were running. Then the combined model had better results, averaging around 17 to 19%, although sometimes as low as 8.65%. So this is hopeful for the future that a combined model will actually elicit better results than at least the individual models on each other, although there's still clearly quite a ways to go. Our greatest challenge is the abbreviations. Latin charters, as many of you are aware, are heavily abbreviated. And the HDR struggles to transcribe them properly due to the dissimilarity between the actual image on the screen and the often lengthy expansion. We had previously expanded all of the abbreviations, but now we're going to work on a new approach because this just doesn't seem to be working for us. For example, as you can see, these five to three letter words are actually expanded quite substantially and the character-based HDR just simply can't process it a lot of the time. Other minor issues that we've encountered are the character confusion, which I suspect almost everyone experiences. Vowels are commonly confused for each other, especially E and O and A. We also find that N is often substituted for M and T for C, and the letter V is very similar to the clause et, so that's another challenge we're experiencing, although these are relatively minor. Other character confusion isn't as important, such as V for W and J for I, which can increase our CR, but doesn't actually matter fundamentally for the meaning, so that sometimes makes the CR a hair misleading, but not substantially. There's also the challenge of line breaks. Models struggle to recognize where it's split over two lines quite frequently. With recent updates, it seems that the model has an understanding of what a line break is between the two words, between a single word, because it'll put the little hyphen on, but it still never does it correctly, so that's just a minor issue we're hoping to overcome. Question. Concerning the training set of the 270 pages, rough estimation, how many different writers were there included? We're hoping to expand to a substantially large number of writers, but actually these two models are probably only based on one writer each. Each cartulary, the individual charters would be collated, and then all of them would be retranscribed by a single scribe, so it's a relatively small number of hands at the moment, but we are hoping to expand to a much greater number, hopefully to be able to encompass any sort of English Latin charters from this period, but currently just two hands essentially.


Hello friends, I am Sanjay Gupta. In this video, I am going to demonstrate you how you can calculate some of major and minor diagonals of a matrix using single loop. Before starting, you can note my information. You can subscribe my YouTube channel through this URL that is youtube.com slash sanjaygupta underscore tech school. You can download my programming app that is Techimus which is available on Google Play. Coming on to the topic, here you can see I have implemented some portion of the program that is in C programming. So first I have included a header file, then inside main function a 2D array is declared along with i, j variables and s which is initialized with 0. Then printf, this printf will print the message enter elements on console. Then with the help of this nested loop, I am going to receive all the elements of 2D array from user. Now after reading operation, first I am calculating some of major diagonal using single loop. So for that purpose, I am implementing a loop and here I am writing the statement as equals to s plus a of i, j sorry a of i, i. So this loop will calculate some of major diagonal. So major diagonal is also known as main diagonal. Main diagonal's indexes are same. Low index and column indexes are same. That's why I am writing i, i in both the indexes because i is containing 0 first time. So it will represent a 0 0. When i will be incremented to 1, then a will represent a 1 1. So this way all low and column indexes which are same, those elements will be added inside s. After this addition or after this completion of this loop, I can print sum of major diagonal on console. Now again I am re-initializing s with 0 and I am going to calculate sum of minor diagonal. For this I am writing s equals to s plus a of i and a of 2 minus i. So this statement will calculate sum of elements which are available at minor diagonal. So if you are talking about 3 by 3 matrix, so minor diagonal indexes will be 0 to 1 1 and 2 0. So for 0 2, I am writing i and 2 minus i. So i is 0. That's why it will provide 0 and 2 minus i. So 2 minus 0, it will provide 2. So first index will be 0 2. That will be added into s. Then i will be incremented to 1. So a i is 1. So it will provide 1 and 2 minus 1 is 1. So 1 1 index will be available here. Then third time i will be becoming 2. So a i is 2. So 2 and 2 minus 2 is 0. So third index will be 2 0. So this way all the elements of minor diagonal will be added to s. Now to print the result, again I am implementing printf statement sum of minor diagonal equals to percent d and then s and after that return 0. So this way I have calculated sum of major diagonal as well as sum of minor diagonal and you can see both are calculated with the help of single for loop. So instead of using nested loop, I have implemented single for loop to calculate sum of major diagonal and sum of minor diagonal. Now I am going to execute this code. You can see it is asking for elements. So I am entering the values. Now you can see the output. Sum of major diagonal is 15 and sum of minor diagonal is also 15. Now check 159 is representing major diagonal. So its sum is 15. So major diagonal output is correct. Now check the minor diagonal 357. So 357 is also equals to 15. If we add 357, so the result will be 15. This way you can see both the outputs are correct major diagonal and minor diagonal. So friends, you can implement sum of major and minor diagonal logic with the help of single for loop. As I have demonstrated you in this video, I hope you have understood this concept well how you can calculate these sum of major and minor diagonals using single loop. If you want to watch more programming related videos, you can visit my youtube channel through the link that is youtube.com slash sanjay gupta underscore tech school. You can also download my app based on programming that is tagmiz which is available on google play. So keep connected with me if you want to learn programming. Thank you for watching this video.


Hi, this is Adam with PhotonerdsUniversity.com and today I'm going to show you how to flip an image inside of Lightroom. Today we're going to talk a little bit about composition and flipping an image inside of Lightroom. And the reason why I'm a little excited to show you this trick is because it took me forever to figure out how to do it. In the past, if I ever wanted to flip an image, I would have to go to Photoshop and then bring the image back into Lightroom. I'm sure this feature was in Lightroom all along. I just didn't know it existed. So I want to show it to you today. But before I show you the trick, I want to talk to you about why I'm going to flip this image. And the reason is simple because typically when we're talking about leading lines, we like the leading lines to go left to right. If we look at this image here currently, the leading line is actually going from right to left. What I'd prefer is if the stream was coming from the left side corner going up and out this way. Now, in the past, I would have had to take this image over to Photoshop. And then once I got to Photoshop, I would have to go up to edit, free transform, right click on the layer, flip to horizontal, and then save this image so that it would go back to Lightroom with the change. And that's how I would flip it. And now you can see that the stream is going from left to right through the frame. That is a lot of work, a lot of unnecessary work. And I knew that there had to be a way to do this inside of Lightroom. I just couldn't figure it out until I figured it out. So here's how to do it. And it's so simple. I can't believe it. All you have to do is go up to the crop tool, select the crop tool, and then right click on the inside of the photo. And down here, there's a free transform option. And look at that, flip horizontal. So here, I'm going to put it back to the way it was. Again, if I right click, go to free transform, flip horizontal. So right from inside of Lightroom, you can flip an image back and forth quickly and easily without ever having to go to Photoshop. I'm so excited. And hopefully you're excited too. And as if that wasn't enough, if you're not in the develop module and you're in fact in the library module and you see an image that you want to flip, you can actually flip an image right from the library module. I can't believe it. If you go up to view and scroll all the way down, there's an option called enable mirror image mode. And if I click on this, it'll flip the image. I don't know how I overlooked that, but you've got two ways to flip an image. One from the library module and one from the develop module. Problem solved. Thank you so much for watching. I hope you enjoyed this episode. Give it a thumbs up if you like it. Subscribe to our channel if you're new here. And as always, thank you so much for your support. We'll catch you in the next episode.


Hello friends. I'm Sanjay Gupta. I welcome you on Sanjay Gupta Tech School. In this video, I'm going to discuss about app exchange that is available in Salesforce. If you want to follow Salesforce training videos, you can search my name Sanjay Gupta on YouTube and follow my YouTube channel. So let's first understand about some theoretical points related to app exchange. So first let's discuss introduction of app exchange. So here three points are listed. So I'm going to with first point. So first point says app exchange is an online marketplace for Salesforce apps, components and consulting services. So you can find out these three things, apps, components and consulting services on app exchange. Second point says developers or consultants can use it as a gateway for connecting with customers to provide their business solutions. So this point is related to developers or consultants, how they can use app exchange. The third point says Salesforce admins or users can find tools to improve their company's productivity. So this is brief introduction about app exchange. Now I'm moving to second point that is how does app exchange works. So it contains four sub points. So first point says primary marketing tool for promoting apps or components. So app exchange promotes various applications or components that are built in Salesforce. In listing one can describe solution, pricing, support and other details. So by listing any application or component you can describe these four things. Then third point says can also upload videos, white papers and other contents to help customers understand the app or component. And last point says app exchange categorizes the listing into various business areas like sales, marketing or analytics. So this is the way how app exchange works. So you can list your component or applications on app exchange so that anyone can buy that by paying certain amount. So I hope you understood how app exchange works. This is a brief idea about that. Further I'm going to tell who can use app exchange. So there are four sub points. So anyone can browse listings and test apps or components. Second point says need download packages permissions to install app or components. Next point says to create a package and upload it to partner community. One must have create packages and upload packages permissions. Last point says to create and publish a listing one must have the managed listing permission. So this way I hope you understood who can use app exchange. So we need a different kind of permissions while working with app exchange. So now let me go to my org so that I can demo you how we can reach out to app exchange. So if we click on this app launcher, so at top right corner, you can see there's a button visit app exchange. Click on that button. So it will open up app exchange. So it is opening homepage. So here you can see various apps, then various components. So first it is showing apps, then it is showing components and then it is showing consultants. So all three options are available here. If you click on more, so it will open up all available apps, components and consultants. Now if you want to go with a particular category, so you can see all three options are available. If you click on apps, so it will open up all available applications. So you can scroll down and you can visit this to view all available apps. So it is also saying like it is lightning ready market, marketing cloud. So these captions are saying the details also that if I click on this link. So it says popular apps, new apps, free apps, collections categories. So this way you can select a particular option from here also. So it is showing three, six, four, six apps. Then if we click on components. So here you can see lightning components for community cloud. Then if we scroll down, so here it is saying so you need to scroll down so that you can view. So it is showing various components. So for some components, it is showing one category also. So you can find out that while you were, you will be using this. Then we have third option consultants. So it will show all available consultants. So here you can see all consultants. So four, one, four, six, two consultants are available. You can scroll down and you can search them. You can also directly search app exchange from here. So you can do that now at right inside you have this filter option. So you can filter this app exchange on various parameters. Then we have this option which sort by popularity rating and certified experts. So this way you can use this filter and sorting. Then here you can see that exchange website link is available. So I'm clicking on that. So it is opening app exchange dot sales post dot com. So here you can see various options are available recommended for you. Solutions by type. Product collection, industry collection consultants. So various things are available here. So you can choose the option as per your requirement. Then from here you can search like I want to search lightning components. So I typed lightning components and enter. So it will search lightning components keyword. So here you can see various apps are available. Then bold solution components, consultants, content. So these these sections are available flow solution. Lightning data. So these are these all are related to lightning components at left hand side. You can see various filters are available. So you can use these filters to minimize the data which is displayed here. Language option is also there. So this way you can use this app exchange website so that you can find out apps, components or consultants. Right. So I hope you understood how we can explore app exchange. So now I am again clicking on a particular app like if I click on this app. So it will open up. So here you can see at left hand side its details are available. It is free to use. Then I tried inside its description is available. If you scroll down so more description is available. Related apps. Customer also installed security terms. Right. So these things are available. If you click on get it now. So it is asking these things to continue login to your app exchange account. If you don't have an app exchange account, use your Salesforce credential.  So this way you can log in and download apps from app exchange. So I hope you understood more about app exchange with this demonstration. So first I explained theoretical aspects of app exchange. Then I demonstrated how you can get app exchange. Or you can download apps components from app exchange and you can search for the consultants that are those are available on this website. So I hope you understood whatever I demonstrated in this video. If you want to watch more Salesforce training videos, you can search my name Sanjay Gupta on YouTube and you can follow my YouTube channel. Thank you for watching this video.


Hey there fellow content creators I'm always reading and I find that Thinking about the ideas in the books that I'm reading is a great way of stimulating The posts that I write so my challenge to you is What's a book that you've been reading? relevant to your practice or your service or your business and What's an idea that you could share from that book to help your perspective clients with a challenge that they're facing


One of my earliest videos was about how Arkane's Prey Moon Crash was not just a great game, but the total perfection of the Arkane game's formula. Because I love Moon Crash so much, I was obviously extremely pumped to learn that Deathloop seemed to be based around the basic design philosophy that made Moon Crash so special. And after thoroughly finishing Deathloop, I'm left with a tricky review to write. When I say I thoroughly finished the game, I mean that I didn't just blaze through the campaign. I played each level all the way out until there was nothing left to do or find beyond a few chests and the final code of a puzzle featuring 3 people and a hookah. I got all the weapons, all the upgrades for every power, and got to the point that on my final run through the loop, I finished every assassination in less than 3 minutes. So I feel pretty comfortable talking about what the game totally succeeds at, as well as the things that missed the mark a bit, and then the things that just don't work all that well at all. In aggregate, Deathloop is yet another excellent game from Arkane, but it also stands as a bit of a missed opportunity to be their first true, total masterpiece.  There's another thing that kinda negates it, Deathloop, after the logo. Arkane Magic. If there's one thing I really like about Arkane games, it's that they're always kinda divisive. Every one of their releases from Ark's Fatalis on have had some people absolutely love them while others just don't get what all the fuss is about. This was especially true with Dishonored 2 and Prey. The only other game I can think of that gets a similar response is the Hitman series. They're games that very much defy categorization and therefore people come into the games with wildly different expectations. Even the genre they fall into, Immersive Sim, isn't really a genre at all, beyond meaning, oh, this game is sort of like the old thief or system shot games. Hitman isn't really a stealth game, it's definitely not an action game, it's kinda a puzzle game, sort of. And this goes for something like Prey or Dishonored as well. Does Prey a first person shooter? Is it a stealth action game? What's Dishonored? You can beat Dishonored without ever once using stealth and you can beat Dishonored without alerting any enemy throughout the whole campaign.  These games are defined by the fact that they're annoying as hell to define and therefore pretty hard to adequately explain in a 1000 word article or blog post. There is one through line in Arcane games and it's that they manage to feel like an open-ended sandbox, while also being games that are highly reliant on complicated interlocking systems. They're games that are all about how fun it is to carefully plan a series of steps to make it feel like you've solved a puzzle, while also being games all about this. I love that. Just like I did with Prey, I'm gonna have several pretty big criticisms of Deathloop as a game. But my criticism is mainly that Deathloop isn't the total masterpiece it could have been and instead it ends up being another very good Arcane game. Arcane makes the only stealth games I love because they manage to be stealth games that don't rely entirely on sitting in a corner waiting for a guard to turn around. I did play Deathloop mainly as a stealth game. You might have played it as a shooter. Either way, I think most of my criticisms will stand. This is a pretty complex game so let's start with the most important stuff. Game play. Let's start by saying that Deathloop is indeed a very unique game, but it's not a totally different genre from Arcane's previous titles. Early in the tutorial section, I came to the first combination lock and did what any good immersive sim player would do. I entered 0451 and then smiled when it failed and I got an achievement called Old Habits Die Hard. I thought that achievement might be a little hint that Deathloop wouldn't really be a typical Arcane style immersive sim that maybe this was the developer telling me I was going to be surprised by what came next. For better and for worse, that is not the case. This is an Arcane game through and through. Deathloop is a game in which you're free to complete objectives in multiple ways. This means combat or stealth or using clever level design and powers to totally avoid both. This is the foundation of every good immersive sim from Deus Ex to Deathloop. One of the complaints people had with Prey was that the actual shooting didn't feel all that great, but that is not the case in Deathloop, which is the first Arcane game that can credibly be described as an FPS game. Now for the most part I didn't play it as an FPS, but when stealth fails and the shooting starts, Deathloop is a surprisingly good feeling shooter. With movement, powers, a double jump and the classic dishonored slide, you have a game that shows Arcane could probably make a pretty good pure FPS if they wanted to, and it bodes well for this Borgland type thing they're working on with Redfall. Still, it is important to go in knowing that Deathloop is not a full-on shooter.  Movement feels as good as it does in any Arcane game and the core of the gameplay is navigating the levels, figuring out how to most efficiently solve some problems and then get out. The powers on offer are pretty much the same ones you're used to from Dishonored 1 & 2, with one new one thrown in to accommodate people who want to run through this game as a shooter. Mechanically, it's pretty much Dishonored with modern guns, which is where one of the game's serious problems arises. Because stealth is very powerful and shooting is very powerful, the game's at risk of being way too easy. Arcane tried to balance this both by having ammo being very limited and by making enemies do a ton of damage to you in an open firefight. But then they unbalanced that by giving you several lives per level. I didn't finish Deathloop without dying once, but I did finish it without ever failing a level. I never used up all of my lives and never failed to successfully finish my mission and get out of the level with my loot. I'll come right out and say this, Deathloop is way too easy. It's so easy it's kind of a crippling flaw in the game and one that Mooncrash didn't suffer from because that game consistently ramped up the difficulty with a contamination mechanic. There is no such system running in the background in Deathloop and there's no real change in each level from day to day. Now, there is definitely something satisfying about becoming so familiar with the level that you can tear through every enemy and multiple objectives in less than five minutes. But once you've done that a couple of times, you start to feel like there's no real challenge to overcome anymore and the game starts to kind of bog down a bit. This is a perfect example of why I have always and will always insist that all games need to have difficulty settings. All of them. Imagine if Doom Eternal only came with the easiest difficulty. That would be a disaster, man. Enemies in Deathloop already do a ton of damage and nobody likes bullet sponge enemies and shooters but there are obvious ways to implement difficulty options in this game. A hardest difficulty could have had serious consequences for raising the alarm. A hardest difficulty should make enemies more easily alerted, make them search for you longer and more effectively and call in more reinforcements. If I had a choice, I would probably have tripled the amount of enemies in each level over time to make it more difficult. Ideally, I'd have liked the game to start the same but ramp up difficulty as I progressed. Deathloop is broken into very specific quest chains so there are obvious places to trigger more difficulty. The only reason I can think of for why this isn't the case is that the entire narrative hinges on looping the exact same day but that's simply not a good enough reason to hinder the actual mechanics on offer. That real issue with difficulty doesn't mean the game's boring, however. Arcane makes some of the best levels in games and while Deathloops aren't as good as Prey or Dishonored, they're still some of the best in the industry. Arcane games have always had a relatively small number of levels but makes up for that with them being extremely dense. You can go through one of Deathloops' levels 8 times and find new things every single time because while there are only 4 levels, they all change depending on what time of day it is. Entirely different areas open up depending on when you explore them and buildings and doors are only available at specific times. It's these careful changes that manage to keep Deathloop totally engaging despite the game being too easy and the levels themselves actually being kinda small. It takes many hours before you feel like you know everything about a level and that is a testament to Arcane's attention to detail and the care and craft they put into the small changes they make to each level at each time of day. Another one of the game's big successes is its progression. It's well-paced and interesting and is a really fun little metagame running in the background. Weapons are pretty varied and interesting with clearer pros and cons and they can be upgraded with different perks or different runes that you slot into them to change how they handle. The powers which are called slabs here are also able to be upgraded by acquiring them over and over. So each time you kill a boss, he'll drop the power again in the form of an upgrade that will change how it works. In case you haven't played it, I won't spoil what they are but they're very cool and it makes killing a boss over and over feel like it's useful. My only real complaint with the powers actually is that you can only equip two at a time. They're already kinda balanced by a recharging mana system so what this means is that even though all of the powers are extremely cool, you will likely end up only using the same two for most of the game. I don't think it would have hurt things to use the dishonored system here and let us use four at a time. It's already extremely easy so what could it have hurt? Hell, if you had each player have all four, you could have drastically increased enemy count, safe in the knowledge that every player had both stealth and combat powers on them at all times. Either way, it's a testament to just how damn good arcane is at making killing things fun that the game is so engaging despite being way too easy. Games being too easy is generally a deadly sin for me but Deathloop feels so good that it's more of a missed opportunity than a crushing flaw. Okay, let's get to the thing that's most interesting to both praise and criticize. The basic structure of the game and its objectives. Moon Crash was a pretty complex game. In order to win, the player had to save every person in one run without dying with the difficulty ramping up as each run progressed. Just like Deathloop, this means making a ton of runs to figure out what order you needed to evacuate your people in. Unlike Deathloop, that game was far more random. Certain areas would be locked off or full of dangerous enemies or on fire which would force players to need to constantly adapt and change their plans on the fly. You couldn't figure the game out because the game was basically changing around you. You could go in with a general plan but not a detailed list of what you needed to do. Deathloop initially looked even more complicated because in Moon Crash you had to evacuate five survivors whereas in Deathloop you need to kill eight targets and only four levels by doing objectives that allow you to force NPCs to move to specific locations so they can all be killed at the same time. When I first heard about this game I was worried it would be too complicated to figure this stuff out and I find myself wondering if the original idea for this game was for it to be much more open ended and difficult. The entire idea makes the game seem like there's going to be a real puzzle aspect to it but for better or worse, this simply isn't the case. Later because when you really think about it, the game would probably be too frustrating with little or no guidance but worse because in the final product you figure out how to get the targets to group up mainly by following waypoints directly to the things you need to do. Now I understand Arcane must have thought you run the risk of frustrating your average player if you don't give them enough direction. The solution they arrived at putting very clear waypoints and the literal checklist that tells you exactly where to go at what time might have been correct, I don't know. And the game is really fun and a joy to play but there's just this nagging feeling in my mind where I wish I had actually been forced to figure some things out for myself and this is where difficulty comes in again. I have to believe that a difficulty setting that adjusted how totally directed the player is would have vastly improved things here. A hard mode that gave players zero waypoints or hints and then maybe a sliding scale that allowed players who were having trouble to get as much or as little direction as they wanted. I'm sure this is a difficult system to implement but a system that required you to earn hints by say spying on NPCs or reading lore entries. Just some way to play through the game so that it felt like I figured out what to do rather than me just following a list. Deathloop is at its very best when you feel like you figured out something clever like all arcane games and it has several moments like that but all of those moments tend to be outside the main story quest. Everything mission critical is handed directly to you. Deathloop has one final solution to the game. As far as I can tell there was only one way to kill all 8 targets in a run whereas in Moon Crash you had a certain amount of room to adapt. What this boils down to is Deathloop might have been a bit too ambitious for its own good. Clearly in something like this there was going to need to be some hand holding but I just cannot help but wish there had been quite a bit less or maybe even a lot less. Story. Arcane's games all have incredibly interesting worlds with extremely cool premises but they often fail to really tie it all together into a great cohesive story. I think Prey probably gets closest to a great story because its final ending is actually pretty satisfying and the world and lore ends up being really well explained through a mountain of text and audio logs as well as NPCs you get to directly interact with. Deathloop has perhaps the best starting point for a story yet and is filled with very interesting characters but the final story ends up feeling almost half finished.  Unfortunately the game never really answers any of these questions. Why does Cole want to break the loop? I don't know. It's not explained. It's not even really asked to be honest with you. As I played I found myself asking cool questions that I hoped the story would answer like are these people even technically alive? If you're living the exact same day over and over for eternity can you be said to be functionally alive at all? I say no and I was waiting for the game to really dig into that but it doesn't. I was waiting for the game to explain how Colt and the others lost their memory but it's only addressed to be hand waved away as being the result of getting bored. There's simply less lore and world building here than there is in Prey or Dishonored. Everything that's in the game is excellent, absolutely excellent, but there's just not quite enough of it. A great place to take the story would have been to have things change every day. If we reset time in our world every day do you think you would behave the same way each time? I don't think we would. I think there's an inherent amount of randomness and chaos in the world and we would find that resetting time would produce slightly different results every single time we ran it back. If the game had done that it would have opened up a way to change the difficulty up and keep players guessing as well as had some interesting philosophical questions to ask. But in the end Deathloop's story and world is really just a cool idea that isn't explored fully. Prey's audio logs tended to be really really great stuff. They were full of love stories, tragedies, and the political and social dynamics of the universe of the game. Deathloop really doesn't offer that kind of granular detail. Everything feels a bit too light hearted, a bit too jokey. There are a few powerful emotional moments, but they're very rare and the world building just doesn't feel finished. I have no idea what Colt's old world is like. Where is he from? What kind of country did he live in? What was it called? What's the nature of their society? The end of the game implies that this game takes place within the dishonored universe, but unlike those games which do a spectacular job setting you down in the world, Deathloop never gets beyond the very basic surface details. Again, what's here is very good. It's just a shame that you're left wanting more. Okay, it's important to reiterate that I thoroughly enjoyed my time with Deathloop. It's one of the best games of 2021 pretty easily. And it fits nicely into Arkane's library of titles. It is an incredibly ambitious game that tries something different by trying to take the best of dishonored and blend it with the best of Prey Moon Crash, while improving the moments in moment combat far beyond anything they've done before. One of the most impressive things about the game is that it feels smaller and smaller as you go. When you first start playing, it feels quite big and sprawling and complicated, but as you chase down each waypoint and quest and complete the assassinations, everything condenses down and simplifies. I think this is probably exactly what they wanted the game to feel like and they succeeded. The best thing about Arkane is that every one of their games is totally unique in the industry. There are no other games like Dishonored. There's nothing like it. There's nothing else like Prey at all. The only other games even remotely related are things like Deus Ex or Hitman. And those titles are so different that they're barely related at all beyond the very basic aspects of the immersive sim genre. Deathloop is another great Arkane game, but the fact that it's so very close to being something truly spectacular ended up leaving me feeling ever so slightly disappointed. The game's world building and story just aren't fleshed out enough and that's a shame man, especially considering Prey and Dishonored are amongst the very best games at world building and text and audio logs. And the game is simply too easy period. I can't help but think that the original plan was that the difficulty would come not from the stealth and the combat, but rather from the complexity of the puzzle like objectives and quests. I got a suspicion that at some point they realized it was simply too difficult to figure things out on your own without giving the player very clear directions and waypoints and they simplified the puzzle aspect of the game. But then they never figured out a way to go back and make it more challenging to complete things from a gameplay perspective. When you add it all up, you've got a game that's basically par for Arkane. It does some things like gunplay and movement better and some things like difficulty story and world building worse. It's a very good game. It's just not the best game it could have been. I have every reason to hope the next big single player game they release will be. I still don't think we've gotten the best game Arkane can make.   Alright, thanks for coming. I'll see you next time. Bye.


Välkomna tillbaka till den gamla Nagaroth. Nu, som i alla av de här episoderna, har det varit lite tid innan vi var här. Men jag tänkte att fråga alla er några saker, men jag vill bara ta turn och få episoderna starta. Så jag har inte haft det bästa konsistens i den här episoderna let's play serie, men det har varit mycket av andra saker som har varit ute. Så det har varit utav rutinerna, så att säga. Men i alla fall, jag tänkte att fråga dig, för jag tänkte att det här skulle vara det senaste av den här episoderna let's play. Så jag tänkte att fråga dig om lite input från er alla i för att komma till let's play. Det är nog något jag ska göra, eftersom let's play är kul och jag vet att jag har fått lite feedback innan. Och det har motiverat mig att göra mer let's play. Och det är människor som kanske är i en bra plats och vill metafysikala hänga ut lite i ett spel. Så det är verkligen motiverat mig här. Och det är också kul att ha lite mer lättare tid. Och också det tredje aspect här är vad jag talade om på många nya okassioner. Om jag kan få in till gamenkulturen och rekryta folk till The Temple of Iron, så har jag successat mycket. Men ja, t.ex Autum kommer in och alla de gärna kanske känns lite ner, så att jag kan lyssna till min lösning. Så anyway, vad jag ska göra är att jag ska försöka göra ett eller två let's plays every week. Probably on Saturdays going forward, so get a good consistency in it the way I had with the fast Skyrim two years ago. But anyway, comment below in regards to what game you would like to see me play. I thought about going back to Skyrim as well, but I've played so much of Skyrim so it might be overdone. I don't know, give me your thoughts below. So since this is the last episode, we will obviously illuminate some heretics with Alith Anar. And what we will do is we're going to transverse and take the black pillar for the lolls. But we need to replenish our troops a bit more first. We can build a colonnade and then we'll take the turn. So yeah, this is a truly great game by the way. If you are looking for a bit of gaming during the autumn, I can definitely recommend Warhammer Total War 2. And Warhammer Total War, the first one for that matter. Both really, really great games. And me being a Warhammer fan, since a long time, I am very satisfied with how they have portrayed everything. As I said in the first episode that I really wanted to play Alith Anar, because that's a... All right, game on. Game on, sister. Yeah, as I was saying, that is a fancy character that I've always felt quite inspired by the Shadow Warfare. So to speak, always a motivating image when you're up against perhaps overwhelming odds. With that said, they will probably have a garrison there as well, which... Aha, we're suffering attrition there. We're gonna see if they will actually attack us if we stand there. That would be nice. We still have the eagle of superior morals. People are resting. Anyway, you can also, since we are on the topic of a bit of feedback etc. Feel free to come with some feedback in regards to other things when I do Let's Plays. And a good thing with Let's Plays also is that I can elaborate briefly on something that perhaps do not warrant a video of its own. So yeah, that's many uses for this Let's Plays. But I've done an awful lot of talking and not as much fighting. Let's try this. Would be a shame if I got absolutely wrecked in this battle. But it's all good. We have our Alit Anar. Anyway, so that is all good. So anyway, in regards to training, I have a training video coming out on Saturday or Friday or Sunday. I'm not ready yet. I'm gonna film some more in it. And that will be a deadlift focused. Deadlift and some boxing is what is up in that particular video. So stay tuned for that. I did some deadlifts today as well, which was highly enjoyable. Four repetitions at 210 kg. I'll get back to my glory days when I was a bit stronger in the deadlifts. All right, we are in the battle and we're starting the deployment. And these particular mad guns, they look so aesthetic. That hoodie. Very appealing. We find another word for an aesthetic there because I feel that I have used that word to describe these guys too much. So I had to vary my choice of words. Now these guys will be put off skirmish mode so they don't break the line. And what else can we do? Alit Anar is also a scout so he can be put in there. As for everyone else, I will actually move forward a bit with them. Or I will actually not because they are coming at us as it is. Now the eagle, he will have to deal with these guys. Because I don't want to get charged by cavalry. Oh, there they are coming with some more blasphemous cavalry. Because if it is something that my shadow... What are they? They are shadow walkers. They are not obviously particularly resistant towards cavalry but good against other things. And now they have to... Aha, I see what is going on. They have a balista over there. That is not acceptable. So the eagle of superior morals will illuminate them. It would be awfully horrible if we lose this battle. But that's actually not an impossible prospect that we do. Oh well, it is what it is. Get out of here. Are you thinking about running away? That's not worthy of Ulthuan at all. And now their special ability, the dark of special ability, is kicking in where they get blood frenzy. And get a lot of boosts in their abilities. Her, however, our main man himself is killing these heretics. Very joyous to witness. Ok, so our eagle has decided to do something else. Ok, now it's getting back to it. All right lads, get at them boys. Glory awaits. Still a tight battle this. I wish I had some dragon princess that would be a very suitable counter to all of these archers and other units they have. All right, what is going on over here? They have a lot of ammunition that they can utilize. And the eagle must obviously not die. That would not be a good ending to this let's play series. Since it's been with us all this time. If only we could reach him with our elite units. Which is then Alith and these shadow walkers. All right, this looks good enough I suppose. As long as they do not rally their units. And on another note I've gotten a good few questions. When Jodan nutrition opens up for more options as the shipping. Because we only shipped to Sweden at the moment. We will keep you all posted when we find a good solution. Both to the rest of Europe and to good old America. But what I can say is that the rest of Europe will probably be earlier. And America within a year hopefully but I can't promise anything. But it is indeed quite frustrating to find a good solution yet. Especially since so many American lads are keen on getting the best supplements. I'm saying the best supplements because they are tastiest in my humble view. And obviously good high quality since I use them myself. Now that being said the eagle has survived. And boom, there we go. A glorious victory for Ulthuan. And that will also be the conclusion for this series. But yeah, final words. This is a great game. I think it is, I hope they will come with more DLCs and expand this game a lot more. I'm looking forward to the next cut more also. But yeah, comment below. Comment below which game you would like to see next. And I will try to get the good momentum and make a let's play every weekend at least. So that will be the weekend video. Anyway, thank you for watching and I hope you have a really productive week ahead. And don't forget to hit the temple of iron with force and passion. XOXO, boho!