Okay, where's everybody at though? Are those your feet? Are they here? Hello, feet! I'm fast as hell, boy! So, what's up, man? How's it going? We're here with the one and only Mike and Mike! Dude, it's not TikTok, bro! We're not doing the TikTok video! Hey, bro, that's all I got. Honestly, I do that for everything. You do it. He really does now. I hear him like in the toilet. Like, it's all the way over there. That's how you go about the series in there, man. All right, you guys. Well, today we are playing Dreams. It's been a while since we played this game. Since it released, we were all on it. We wanted to go like full ride, like play this game, like left and right. But we just never did, right? And then you lost it. I lost it. I thought my nephews borrowed it. Then they took it and I don't know. I couldn't find it. I asked them if they had it. I found it in my closet. Short story, long story short. Long story short, he tried to blame his little nephews. And then he had it all along. They always take my stuff, man. All right, you guys. Well, we found some Thomas games on this. Dude, it has, like, it has everything on here. Everything. You can think of a character name it right now in the comments, drop it, EXE, whatever. What character? What character do you want us to look for? Because they have it all. They have it all here. Everything you can think of. All right, so today, moving forward, we did, we are specifically finding out Thomas EXE games as you can see here. We found Thomas the Slender Engine Reboot. Look at this, man. Why is he even built like that? Probably not even supposed to look like that.  All right, man. Let's get it. You ready? Let's go. Let's get it. Oh, okay. Responding already? I already see him. Oh, no, he's right there. Excuse me, sir. Hey. Are you lost? Thank you. Do me, bro. Are you lost, sir? Bro, why do you look like that, though? Is that blood from you? Wait, you stopped? Hey, that's not the smoke you got. You didn't want to smoke my boy. Oh, my God. Excuse me, sir. He killed you? I got smacked, bro. Bro, he poked you. All right, let's run to the top of the mountain. Maybe there's something safe up there. What is that? It's closer. Don't tell me that is Squidward, isn't it? It looks like Squidward, bro. What is Squidward? Squidward's hopes and dreams. Dude, what the heck? Wait, look at him, bro. I want to see it. This is so sad. Squidward, man. Follow your dreams. Don't give up, buddy. Everybody, follow your dreams, man. Follow your dreams, but not Squidward. Oh, my God. He's pretty bad at music. Were you able to go there? I guess so. Should I jump? Go. Maybe there's another easter egg. I don't think so. Oh, wait. We've seen early. Early. Oh, chess 17. Let's get it. An easter egg to chess. Oh, they got chess 17 on here? So we have to find the easter egg. That should be our little mission. Okay, where's everybody at, though? Are those your feet? Are those your feet? Hello, feet. I'm fast as a boy. I don't want to go in there, but... Is that a trash bag? No, it's not. It's to stop the trains. Dude, can I go in here without being attacked? Oh, dude.  How could you put me on my body? Oh, he's staring at me. Oh, he's right there. Thomas, Lander. Thomas used to be a boy. Then they turned him into a tank train. Really? What chess 17 is about? It tells you. I should have watched all those videos. You should have watched all those videos, bro. Like, he's staring at him like if it's his son or something. Oh! Okay, what else do we got? We got chess 17. We got Sir Topham Hatt's house. Let's go visit him. Dude, this is epic. Hit try one, bro. Okay, let's go. Try it out. Here we go, baby. Is there like a turbo? No, no, no. Sadly, there isn't. Alright, let's go. Dude, that's Lander. I mean, Siren Head? No, it's just a tree. That is Siren Head, but it's a tree. Alright, let's see. Let's try to walk around here. Shoot, go to the fire. It's kind of cold, man. He's right there. Your house is on fire, bro. No, that's Topham's house. He's dead. Topham? I came to visit Topham and look at him. Oh my god. He's being cooked like that's a fire. Excuse me, excuse me. Oh, broken ankles. Go in the fire, bro. Go in the fire, bro. He'll never catch me in the fire. Can you go in the house? Try to go in the house.  Oh, I know what happened, bro. It's because I just dropped my mixtape. Oh, alright. Is that heat? Oh, maybe I can make him go in the fire. I don't think you can. You're dead, bro. Try to go in the house, bro. Oh my god. It doesn't give up, huh? All the doors are shut, never mind. You can't go in that. He got me, bro. Alright, there was no easter egg, sadly. We were roaming around while Mikey was roaming around. He's just kicking his Slade. Alright, the next one is the Muffle Mountain. I think that's when we joined in at first, right? Yeah, I think it is. Alright, let's go to Steamworks. Let's check that out. Oh, look at this guy. He looks fancy. It looks like he got a little fit on and everything. Got that drip. Alright, oh. I hear a chainsaw, bro. Oh, this one looks way more cooler than the other one. Yeah, this one's legit. Yo. Oh my gosh. Who is that, Mikey? Name that train. Bro, that's Steamboat. That's Steamboat, according to Mikey, ladies and gentlemen. Oh my gosh. What do you say to me like this? Who's this, Mikey? Bro, that's obviously Wilbert. My boy. Alright, you got that right. Why does that not even be his name? He's like the owner. Let's go in here. I don't even know this guy's name, to be honest. Number 16. Oh, bro, that's, ah, come on, man. Number 16 in the NBA. I don't know. I was going to give him that name. Don't ask me questions like this. Alright, let's go in here. Oh, that's who we have. How you doing? No. Oh my gosh, it's chasing me. How does he have a chainsaw? Oh my god. Bro, it's a trap. You can't even go up there. It's a trap. Okay, I see a ladder right here. Let's go over here. Oh my god, I missed a ladder. Oh my god. Oh, you can't. You can't. How do you put a ladder that you can't climb on? It's a phony, man. So, maybe you can go around the building? I think this is it. I don't think you can go around. Oh, yeah, you're right. I like it, though. I like the little map with the trains. Yeah, it is cool.  No? Oh my god. Are you sure? Yeah. Yeah. There we go, down the hole. Hey, I look like I have potential. I thought you could go up there. I feel like you can, but I can't climb. Maybe you don't got to parkour? Parkour! Parkour! Maybe ask Lil' Willy? Hey, my boy will it boy. No, I'm trying to ask you. How do you get up there now? Yeah, it would have let it dirty. Yeah, you can't climb up there sadly ladies and gentlemen. I guess just take me away Take me. Oh my god.  What are you doing? What are you doing? Well, they can't even do a job, right? Come on.   I'm up against you, dude. All right. All right. Get away from me, weirdo. No means no. Leave me alone That would probably come from this guy. He's harassing me. All right, I guess that is it This one was cool. I like the map, but I just didn't like that. It was kind of small Yeah, that was the only downside. You couldn't really go anywhere. Right, whatever, man We still got like three or four more maps. Look at this. Oh my god. We got four more. Oh Sheds This one makes you see. Oh Here try this one. Oh, let's go. I guess not all of them have Easter eggs unless the Easter eggs are like I can always get the snowmen. I can always get the snowmen Is anybody here? I need some hot cocoa. Some hot. Oh, that's on fire. Some hot cocoa. Oh, tidmets Oh, I heard something. It's like they can't open the doors and stuff. Oh, there's an open door. Oh, let's go. Oh, man I guess they abandoned this place. Let's go inside. I'm pretty cold, man Where's the door open? Was it closed? Yeah, it was Hello What the heck? Bitcha tassel Alright, that was cold. Okay. They got some coal here. Maybe I can start a fire. Oh, yeah Oh, it is right there in the middle. I saw him right there. My boy right in the middle. Excuse me, sir I'm kind of cold. Do you have a sweater?  Okay, so it says Thomas, Godse, Kotsse, Peter Griffin, Peter Griffin, Henry the 3rd, Henry Williams the 3rd Wait, is that say Gordon Ramsay? Gordon Price. That's where trains one through five. Oh, you saw how he slashes Oh my gosh. Oh, excuse me. Excuse me. So they're like trains one through five or six How many times you like the names in the order? Okay, let's see. I guess Something else here? I guess there is no Easter egg. I don't know. I don't think all of them have Easter eggs Excuse me, sir. Is there any Easter eggs? You slow, boy. Get back to my boy. Wait, what is that? What? Dude, that popped out of nowhere Read it, read it, read it, read it If you are reading, I'm going into hiding. I'm at the Misty Island with Bastion Dash and Ferdinand I'm already altered, but I'm not evil and the same goes for Bastion Dash and Ferdinand, but they're not evil I'm safe in Misty Island. Toby Turner is a tram engine Timmy Turner? With a burner? Timmy, Timmy, Timmy Turner. All right, I guess that's the Easter egg Yeah, that was it was just a message that he left behind for us. All right, that was cool I don't know. So far the best one, which one do you think is the best one so far? I liked the... I liked the first one because I had Squidward in it. No, that was the third one. It was the Buffle Mountain. Yeah, that was pretty cool. Oh, what? Is that SCP-96? Extras Easter egg? Let's do that one. All right. All right, next we want to diesel works. Diesel works. Diesel put them work. Oh Uh-oh. Oh, what?  Yeah, it's right there. I like how they just stand there Diesel. Everything. What is it? Oh, you see that? Is that? Dude, they have to go. Dude, he gutted them. He gutted them. Look at that. I'm trying to move a little close, but not too close where he won't attack me. That's a fire thumb now right there. It feels like we're playing Slendy Tubbies, huh? Yeah That's it, my boy. That's all you got.  Where does time these Tubbies... Ooh, let's go in here. Oh, it's scary in here. Okay, let's go back here. Oh. Oh, there's more. All right. Where's it back here? Who's out here? Oh, you could go up here. Oh, there we go. That's what we're talking about. That's what we're talking about. That's what we're talking about. I feel like I'm gonna get jump scared. Yeah. Oh, there we go. Oh, it's just a fire. Just a trash on fire. Oh, Lord, it's a fire. Oh, that's scary. Okay, guess that's it. Oh, man, come on. Is he turned out of the way? Oh, he's turned out of the way. You died from that. Come on. You got weak knees, bro. That'd be me a little... Okay, guess that's it. Maybe the easter egg will pop out. So scared of me. Yeah, it's because it's loud. It's just like the sound effects blast out loud. I was hoping maybe there'd be like a hidden message like on the other one. Guess not. Well, there's scratches on the wall on this. It's probably him scratching it up. Like as he passes by. Each scratch is like each person he killed. Oh my gosh. That's a lot of people, man. Oh, all right, you guys, well, I was trying to look for an easter egg. I couldn't find anything sadly. I guess we just got too excited with the first easter egg with the squidward and then we're hoping we find an easter egg on each map. That was the best one. No, it doesn't work that way, sadly. Oh, no. Oh, oh my gosh, it was trapped me. I don't know how I didn't die. All right, you guys, well, those were some Thomas CXC. I know there's plenty of more. There's plenty of more maps for us to go check. There's like five more, four, five total plus with the easter egg. You guys wanted to do the rest of the maps. You know what to do, man. Smash like, drop a comment, comment more if you want more of these videos and we would gladly do them for you guys. Do it. All right, you guys, well, we'll see you in the next video. Thank you all for watching and if you want to say anything, Mike, before we get out. Go and subscribe to our other channels and subscribe to this one and hit the notification bell also. And tell us what other games you want us to check out and we'll do it, all right? Yeah. See you guys later. Peace. It's a junk, man. We don't even, we don't like, we still have this, like. Bro. Hey, hey. Did you hear that? Yeah, I was hearing like some gunshots and like roaring and I don't know what the heck, bro. Like what is going on here?  Oh my God, what? What is that? Is that Percy and Toby? Let me check, let me check. Oh my God, what? Do they massacred everyone? Bro, bro, look at me. Oh, okay. Wait, we have to get away from here, bro. I'm not trying to die, okay? You're right, man. I don't want to die either, bro. All right, let's go. Drive by right now.  They're trying to kill these guys, man, because they've been. Dude, I don't think we can actually defeat these guys. They look like, undestructible, dude. Okay. Oh, bro, watch where you're going. Oh, he's chasing you. Oh my God. This is so cool. I am getting chased down by Curse Toby, man. And I just crashed. Who gave me my driver license, bro? I'm stuck here. Oh, dude, they're chasing me. Bro, they kicked me out of my car. Help me. Oh, no. Okay, I'm trying to get around. Oh, push me, push me. Oh, did I kill them? You killed Toby? Nice, man. Hey, let me quit. We gotta get out of here, bro, because I don't think we can kill them. Gotta go fast. I am speed. All right, let's go. Let's drive off into the sun. Oh, dude, I can't even drive this. Dude, you try to handle this machine. I can barely drive this one. Oh, man, I think we're going to actually kill ourselves. Oh, I'm dead. Hey, what's up, boys? Hey, how's it going, man? We got Almo Lucario. What are these guys doing here? Oh my God, SpongeBob. What happened to you, bro? It looks like you haven't gotten any sleep at all, man. Oh, bro, it's because I have a test tomorrow. I've been studying. I've been playing a lot of 2K. You know how it goes. It's down bad right now, brother. But anyways, hey, let me show you my new car. You like my Tesla? My Cybertruck? This thing is. Cybertruck. Cybertruck. Not fully released. Hey, hold on, hold on, hold on. Let me show you my car first. Let me see your car. I got the 2021 Speedster. You already know how I go. Bro, this thing looked like it was built in 1920, though. Come on, Doc. Come on, bro. Bro, that thing looks older than my grandma. Hey, bro. What's up with that one over there, though? I don't know. I do see some. Is that Thomas the train? No, bro, that's Thomas the train. Let's just say what's up. Hey, yo, Thomas. Why is he just... Oh, yo, Thomas. He drove into the pool. What the heck? Why did he do that, bro? Oh, my God. Oh, my God. Elmo! Dude, Elmo's dead. Elmo! Who killed Elmo? Bro, he's clearly dead. Oh, why did you... Oh, oh. I got the gauntlet on me, bro. Don't try anything on me, bro, because I got the gauntlet, all right? You better chill out. Hey, but what happened to Thomas? Thomas is still down there, yeah. Oh! Oh, my God! Yo, what the heck? He just killed... He killed SpongeBob. He killed Lucario. Oh, no, no! No! Okay, I'm out of here, bro. Oh, my God. I'm running, too. Dude, he is attacking me. Dude, I'm gonna get him stuck in the pool. Oh, Lucario, help me. Okay, where is he at? Oh, he's stuck in the pool. Oh, great. Bro, we're dead. We're trapped in here. There's no way we get out. Okay, we need some help. Somebody help us! Mama! Oh, my God, bro. He's above us. He's not gonna stop till he kills us, you know. All right, bro. I think I have a friend that can help us out, bro. All right. Oh, I'm running, bro. I'm running for it. Ow! Dude, I'm gonna go... Oh, my God! What the heck was that? Is that a man child? Wait, what is that? Dude, that thing is scary.  It's like a horse. It's like a horse baby human. Is that my cousin? I think that is your cousin from Alabama. Oh, that's my Alabama cousin. Oh, no! Yep, I'm never going down to Alabama. Oh, dude, he's at the 7-Eleven. Oh, my God, he's chasing me. He's chasing me.  I think he wants to buy a water or something. Wait, where are you? I don't even know where you are right now. My boy, I'm in 7-Eleven, chilling. Oh, you're in 7-Eleven? Oh, dude, he's fighting Cartoon Cat outside right now. Cartoon Cat? Okay, let me get around this guy. Oh, my God, that is so creepy. Bro, they're over there. They're over there. Behind you, behind you. Oh, Cartoon Cat versus Thomas the Tank and the Spider. Oh, we're gonna win. Oh, wow. Oh, you better run. Wait, now you know who wins.  No, check it out. Hey, bro, you gotta stick with me, bro. You can't leave me out here by myself, no?  Oh, no, he's fighting. Who is that? He's fighting. Is it somebody down there? Oh, it's peeping Tom, killer.  Wait, where is he going now? Where is he going this time? From Alabama? Yep. Oh, he killed him. He killed your cousin. Wow. Hey, bro, I see an elevator down here. Wait, where is he chasing now? I don't know. Where is he chasing now? Let's go check it out. I'm going my truck. My cyber truck. Because why not? This thing is literally a tank. Oh, yeah, he is fighting somebody right now. He's right here. Who is he fighting? SCP 106. Uh-oh, now there's SCP. Uh-oh, peanut SCP. That boy is thick. He's fat. Why is SCP peanut so fat and thick?  Dude, this guy literally sharded his pants. He pooped himself, bro. Disgusting.  Leave me alone. What is cleaners doing here? Oh, I mean no.  Oh my God, no. Can I help you? Take the money. I'm sorry. That looks so funny. This is literally what 7-11 employees have to deal with every night, bro. They get a drunk person in here trying to fight them all the time. Oh, no. He's trying to grab your toes or something. He's like, can I please have the $0.99 waiting please? I'm sorry, sir. We only have $0.99 coffins. We can't even shoot them. Where are the Gleezies at, brother? jalapeno cheater sausage? Oh, that sounds like a bad trip to the restroom. I don't know if I want to go to the restroom for $1.99, bro. Hey, bro, we can't even kill this guy, though. We can, but the thing is he takes a lot of damage. Like a lot of damage. I don't see any damage going on. Oh, you just got to keep shooting, bro. You just got to believe it, bro. I'm going to run to the elevator, bro. What about me? Are you going to leave me here? I'm out of here. Oh, I shot a rocket. Let's go. Come on. Come on. Come on. Hurry, he's coming. Press it. Press it. He just grabbed you. He teleports. He teleported, bro. He teleported in the elevator with us. Oh, my God. That is not fair. Wait, where are you right now? Did you die? Yeah, I spawned back up here at the top. All right, bro, just follow me down there. All right, just go downstairs. All right, I'll meet you down there. I'm coming. I'm coming. Don't worry, bro. Wait, hopefully he's not here anymore. I'm calling the elevator up. I'm calling the elevator up. Wait. Let me know when you're going downstairs already. Dude, I think you're stuck down there. I'm pressing the elevator button. I'm pressing the elevator button and nothing happens. Oh, there you go. Never mind. Okay, there you go. Okay, I'm coming, bro. Don't worry. Coming down here. What's down there, by the way? Bro, okay. Like this big-eyed monster just came. Oh, my God. Oh, my God, dude. I see some red eyes. What is that? Dude, there's a dead body. Okay. Oh, no. This is your cousin. He's back and he's killing me. Heck no, bro. I closed the door. Wait, where is he, though? Where is he? I don't know. He's back here. He's in the wall. Oh, no. Oh, no. No. Yes, he killed me. Dude, he's trying to close the door, but his head is too big. Oh, my God. He don't need to fit in there. I don't like that, though. Oh, good boy, old Thomas. Oh, my God. What the heck is that? It's a siren head. Oh, my God. This is the battle of the gods. We got Siren Head versus Spider Thomas. Dude, who's going to take this dub? Oh, oh. He just chomped him. Oh, my God, Thomas. I believe in you, Thomas. Oh, there's another Siren Head. Dude, they're jumping Spider Thomas. That is not fair. My gauntlet. Oh, they're smacking me. Dude, that's not cool. I keep fighting Thomas. Oh, now there's three. Oh, my God. These Trevor Henderson creatures just keep popping out and keep jumping. Thomas. And it's so unfair. Hey, Thomas. Oh, Thomas killed Milk Walker. No, Thomas is pretty OP. I mean, taking so much damage to my right. Another Thomas. Hey, come back here. Dude, okay. Thomas really took down Siren Head's blood version. And he took out Siren Head's ice version. Oh, my God. Oh, oh. Yo, chill out, my boy. Elmo's attack. Oh, poor Elmo. I don't even stand a chance. Look at this, guys. How he mutates. Wait, wait. Shoot him. There you go. Oh, my God. That is terrifying. That is freaking terrifying, man.  I'm going back to 7-Eleven. I'm going to hide it here forever for eternity till they go away. Uh-oh, what is that? What is that? Hey, bro, the Thomases are OP, bro. Yeah, they are. They killed both Siren Head's and Milk Walker. Like, I don't know, man. I don't know who can defeat this guy. Because I'm sure we cannot. It'll take a lot of bullets to defeat it. Who is that? Is that the rake? We got the rake chasing Thomas. Oh, what's up behind you? Thomas is trained. He killed House Head Minion. Oh, my God. Now it's an even bigger spider. Dude, this is nuts. Uh-oh, it's getting laggy. Oh, my God. They're going to make us crash. Come on, you got this. Who's going to win, bro? There's two Thomases and one House Head. Oh, they took out House Head. I think I've seen enough, man. Thomas is just going to win every battle. I feel like it has to be a Thomas versus Thomas. Is that the sheep killer? Cartoon sheep? Oh, ow. Okay, ow. Okay. Oh, no. Oh, no. It's creating errors.  It's going to kill the computer, bro. All right. I think we've seen enough. Enough of this killing. Oh, my God. The game crashed, guys. It couldn't handle it. Couldn't just handle this. It's too much. But, hey, Thomas looks cool, though. No, I can't. I'm, like, literally frozen. I can't do anything. Oh, no. All right, you guys. Well, that was Gary's mod. I mean, I'm sorry to froze. It was just too much for the computer to handle. Next time, we'll try to tone it down to notch or something. Oh, man. Well, if you guys want us to do more videos, let us know down in the comments. It's pretty fun. I like this game a lot. I know it's been out for a while. We slept on it, but, hey, we're here, man. Here we are. We're playing it now. Finally, we got it because Mikey had to buy it. So blame Mikey in the comments, if anything. Blame Mikey is his fault for never owning the game. Come on, man. Come on. All right, so, guys, well, thank you guys for watching. Thank you guys for the amazing support. If you guys enjoyed the video, make sure to smash the like button. And if you're new to the channel, make sure to subscribe and turn that notification bell when you do so. And we out. These changes ways. Wait, what? There's another huggy buggy. What the heck? Oh, what? They just decided to go crazy on them. What the heck? Oh, my God. You need some help. You need some help. Who is that? Oh, Mikey. Where did you come from? What the heck? I've been here the whole time. I was just making sure you were good, but... He just came out of nowhere. Oh, they're killing us. Oh, they're... Oh, they got Mikey. YouTube, what's going on, man? And today, we're going to be surviving a zombie apocalypse. Not only zombies, there's going to be other creatures. For example, like a huggy-wuggy, minion spider. Lots of crazy stuff, man. Oh, it has begun. Oh, my God. Oh, they're going at it, bro. Oh, dude. Okay. What? Even Pluto has a gun and he's shooting the zombies. It's got to be the craziest thing I've ever seen. Okay, let's shoot up. Oh, okay. I just have a magnum right now, but let's put it work. Oh, my God. This is so terrible. Dude, why won't they die?  Shoot up. Okay, they're dead. Die. Oh. Oh, my God. That's one way to die, right? Oh, get away from the minion spider. Oh, get away from the minion spider. What the heck? Where did the minion spider come from, dude? Oh, and he has like a little minion that's shooting rockets at me. What the heck? Oh, man. All right. I don't know if they're... What the heck is this over here? Look at this. Is that a Trevor Henderson creature? I think it is. Oh, my gosh.  Oh, that's nasty, bro. Oh, huggy-wuggy. What the... Oh, my God. We're being... We just got killed by huggy-wuggy, man. Oh, my God. They're zombies crawling to me.  What the heck?  Okay, maybe with my SMG. Dude, they take a whole freaking mag. Take that, you creatures.  What the heck, dude? Okay, crossbow. Yes, crossbow is one hitter. Dude, there's a whole giant horde of zombies over there. I want to show you guys the trick I have up my sleeve. Look at this.  Dude, it's like we're bowling with zombies. I almost had a strike there. Oh, man. Come on. I can do better than that. All right.  Dude, what the heck is going on in this city, man? It's so apocalyptic. What the heck, Greg Goblin? Dude, Greg Goblin is getting shot by everyone. Oh! Dude, he just killed everyone in like one move. What the... That dude is OP. Can I... Oh, okay. No, that is not cool, man. Okay, I'm shooting him with the RPG, but I don't... Oh, what the... Dude, he's doing like kickflips. He's on X Games mode right now, bro. Okay, I don't think we can actually defeat this guy. He looks pretty OP. Yeah, I don't think we're going to be able to defeat him, but oh my... Bruh, he's... Oh! What is going on, Hulk? The Hulk versus the Green Goblin. Who's going to win this? I can't even tell. Okay, they're fighting, but the Hulk is not fighting back. Dude, the Green Goblin is doing like the most right now. Okay, he's trying to target me and the Hulk at the same time. Oh, a red-huggy-wuggy. And he just killed the Hulk. Wow. Okay, now it's the Huggy-wuggy versus Green Goblin. Dude, is this the new Spider-Man movie?  Okay, let's throw grenades. Dude, what are they doing? They're just like hugging each other. Huggy-wuggy is actually... No way, Green Goblin killed Huggy-wuggy. Okay, Green Goblin is pretty OP, man. Die! Ow, ow, ow! Get him! Okay, let's get away from him. Oh, Siren Head just killed... Okay, he didn't kill him. Dude, where did... Okay, oh, Green Goblin's over there. Siren Head! I think he's trying to grab me, actually. He is! No, get away! Get away, get away! Let's go on a building. Let's see if he can get us up here. Okay, let's go on a building right here. No, I can't get in the building. Why? Oh! Dude, he just stomped me out. Or he ate me alive. Oh, wow, he's actually up there. Dude, he's eating someone! Oh, no way! Oh, Siren Head! No! Run! Dude, he... Oh, my God, he's trying to eat me. Ah, you can't, sucker! Okay, oh, my car! Get in the car and go. No, he stomped me. Oh, he ate me. Dude, he keeps eating me. Oh, my God, the way he crawls. What is Siren Head doing? What in the world? Okay, that is so weird. I don't know what the heck is going on. Oh, he died! Okay, great, now he's running at us. Go, go, go! Yes, okay. Where is he at? I know he's somewhere around here. No! No! He got me! Dude, he just can't escape this guy. He jumps, he crawls, he climbs. He does it all, man. Okay, now we got Thomas to trade. I didn't order to make him transform.  Dude, activate. Why is he not turning evil? Oh, okay, now we got him to work. Okay, oh, great. There's two Thomas now. Oh, no, dude, fight him! Why aren't you protecting me, dude? Okay, I don't know if we can actually defeat the spider, Thomas. So, let's try. The cursed Thomas. And I have no idea why.  Fight each other, go! Oh, there they go! Yes, this is the ultimate. Oh, and there's a cartoon cat spider. What the heck? Dude, it's like the spider omniverse going right here right now. Why am I getting hit? What is going on? Oh, my God. And I think the cartoon cat spider actually lays like little eggs. And then you see like baby cartoon cat spiders. Freaking terrifying, dude. Okay, who's... Oh, the cursed minion spider loves to Thomas. Oh, okay. As we can see... Oh, okay, Thomas won. Well, it seems like the ultimate spider is Thomas. You just can't defeat him, man. Okay, get away from me, weirdo. Why are you following me? Okay, you can't follow me up here, huh? Okay, well... We can actually see the battles from up here. Okay, where are they at? No, okay, let's go back down. Oh, Siren Head just ate someone. Siren Head ate spider, man. What the heck? Oh, great. Oh, he's coming after us. Please don't... Oh, my God, not this over again. Dude, how am I supposed to get away from this? He snatched me through the... He snatched me through the walls, man. Oh, freaking way. Oh, Godzilla. Wait, he's gone. Where'd the Godzilla go? Dude, there was a giant Godzilla. Oh, there he is. Oh, he's charging up. He's doing the thing. He's doing the thing where Godzilla splashed through his mouth. Oh...   Spider-Man! No, he killed Spider-Man! Where is he going? Dude, what the heck? He just took off. Oh, my God. Okay, we got Minion Baby Spider. This is Thomas, and he just died. Oh, there's another one. Get him! Get him, Baby Minion. I believe in you, Kevin. I don't know if that's Kevin the Minion or not, but he is doing some damage. Cartoon Cat hatching? Oh! Okay, so he just killed all the babies right now of Cartoon Cat. Dude, Godzilla... Oh, Cartoon Cat just came out of nowhere! Get him! Get him, Cartoon Cat! I think he's going to lose, though, because, uh, Thomas did it. I think Thomas beat him earlier. Huggy-wuggy, what the heck? This is a purple Huggy-wuggy. Oh, look, there's a Cartoon Cat spider. Die!  Oh, my God, dude. Oh, Thomas actually died. Oh, no, run! Run, no! Please don't do this. Come on, man. Hey, what the heck? Is he waving at me? Hello, little Minion. Oh, hey! He's throwing stuff. I think he wants to be my friend, though. Oh, my God. Hey, he got hot. All right, now, what's up, Minion?  Why is he not killing me? He wants to be friends. Oh, okay. Well, you want to be my friend? I have a little issue over there. There you go. You see it. Oh, you have a little... Turn around. Shoot him! Oh, no! Oh, he just killed my friend! No freaking way!  I will remember you forever. Oh, I'm behind you. Oh, what? Mikey? Where the heck did you come from, bro? Hey, bro, I'm here, bro. Oh, you're old now. You're old and bald. Oh, yeah? Oh, damn it. Oh, I think I see this exit. Come on, come on. We can't die here. Door locked. Yes. Oh, great. Now, is this a boss battle? I think it is. Oh. Yo, what the heck is that? No freaking way. Oh! It's like a Santa Pete Thomas the train. Oh, this is bad. This is bad. Oh, please don't come this way. Uh-oh.  What is up, you guys? Realistic Gaming here and we are back on this Thomas the shank engine. Before we get ahead and start with this gameplay this game was created by the same by the same person that made that Shrek horror game and they sent it to me. Okay, we go in here. Okay, he's gone. Oh! And FYI, to let you guys know he did send me an email that he's working on the Sonic EXE one for us too. So, before we begin a round of applause in the comments for our boy Mike, man. Huge shout out. Alright, so let's begin with this. Okay, controls, WSG to move ships to sprint E to pick up slash shoes escape to quit. Alright, and play tape. Looks like I fell asleep waiting for the train. Wait, where am I? Oh, what? Hey, yo, what? Oh, there's us. Hello us! From another dimension. Dude, that's pretty cool. Okay. I see the work you'll be putting in the game, Mike. Alright, oh.  Okay, that was definitely a lot weird. Okay, what is this? A boombox? Ah, yes. It does magical wonders and it plays music for us. Yo, Thomas is right there. What the heck, man? I'm not liking this. Okay. Did we walk down the tracks? Thomas? Oh! Wait, what is that? Yo, there's a giant frickin' Thomas the train over there. Thomas the tank engine. Oh my God, what is he doing? Please don't kill me. He's just over there. What the heck, bro? I can still hear him. Whatever, man. Oh, look, it says where is that radio? Oh! Dude, that came out of nowhere. Okay, it should be right there next to the gate. These tunnels haven't been used in a long time, so there should be a few rooms to power up the exit. Great, so we gotta go in here. I think we have to beat this before our battery actually runs out. Press E. Oh, great. Oh, Thomas is down there, bro. Wait, what happened?  I accepted my fate and everything, man. Wait, what?  Go! Go, go, go! Dude, I can't run that way. There has to be like a room or something here. Oh, I see it. I see it. We gotta run in that room. Thomas just, like, raging towards us. It reminds me of that game, raging Thomas. It, like, runs everybody over. Oh! Please don't tell me he comes back. What the heck, bro? I don't trust this. I feel like I'm gonna die. Here goes nothing. Dude, he's covered in blood and everything. Oh, my God. Okay, I can't sprint. No! Okay, nice. We can actually dodge him. Is he, like, a ghost, right? I wonder if this is multiple. Oh, oh! We gotta hurry up. He's coming this way. Go, go, go! Oh, there he goes! Okay, go. This is our chance. This is our chance. Oh, no, he's getting closer! Go! Oh, my God, dude. Okay, so I wonder where in the heck do we have to go? Do we go in there? I'm gonna check it out. Let's go check it out. All right, go in there, Thomas. Oh, great. Okay, so now he's coming from this way. Is he not? Yo! Oh, my God! Dude, he spawns in right there. He almost killed us. Oh, wait, I see something. Okay, security code. 2592. 2592. Okay.  Two, five, nine. That does not look like the code. Do you have to put it backwards? 2592. Finally, you have to, like, do this weird thing. Okay, whatever. Where's the door? Oh, it's pitch black now. Great. Oh, I think I see this exit. Come on, come on. We can't die here. Door locked. Yes. Dude, that was insane. Thomas was just speeding down those tunnels. Okay, what the heck is going on? Oh, great. Now is it... Is this a boss battle? I think it is. Oh. Yo, what the heck is that? No freaking way. Oh! It's like a... Santa Pete Thomas the train. Oh, this is bad. This is bad. Oh, please don't come this way. Uh-oh.  Dude, what in the world is that? That thing is going to give me nightmares, man. Oh, gosh, I can't even... I don't even want to run. Oh, I'm scared. He's freaking dead. Okay, this is our time to go. Go hurry before he turns around. Oh, no, we're dead. Please don't kill me. Oh, please don't kill me. Okay, there you go. Okay, so he came at us from the tracks. So when he comes around the full circle, let's get off the track because we're going to get a freaking squish. Obviously. Okay, there he comes. Dude, he's so quick. Like, how does he move so fast? Oh, that was a little too close. Okay, go. Oh, my God, this thing sprints so slow. Oh, okay, go, go. Dude, come on, we're right there. Dude, this is nuts. Oh, come on. Dude, he is too quick. Oh, no, go, go, go. This is our chance. Please don't kill me. Oh, my God, the sprint. The sprint stopped. Yes, train whistle. Oh, what the heck was that out of battery? Dude, there was a giant freaking Thomas right there. Wait, this is the end? No way. The Dev Shouting Software, shout out to the Dev, man. You always outdo yourself. Hey, my name is right there. Release the gaming, Corey Kenshin. Hey, my name up there with Corey, man. You know, I made it. That's it. I quit my career. All right, well, shout out to the Devs of the game. Awesome game, as always. I really loved it, especially the whole Thomas horror theme. He actually outdid himself with the, like, Santa Pete-looking Thomas, dude. Like, there was a freaking Spire Thomas, but this guy made a Santa Pete Thomas. That is, like, a billion times scarier than my point of view. All right, you guys. Well, once more, shout out to Mike and the Devs. Appreciate it. I can't wait for the Sonic game that he's going to drop for us to play. It's going to be freaking awesome. I already know it just by looking at that little clip earlier. All right, you guys. Well, thank you all for watching. Thank you all for the amazing support and happy holidays, most importantly. And I'll see you on the next one. Peace.


Let me get into a kind of an icebreaker question, right? So I know there's possibly more people over here that have not paid for fonts than have paid for fonts, right? So it's almost a designer milestone to get a client to pay for a font. So that's, but that first step towards making them pay is an important one. So can you describe like your first experience of actually making a client shut out money for a font and how you convince them? Yeah, so I actually haven't worked with like, you know, agency, like I worked primarily with agencies in the past. So the clients that we had were kind of large companies. So they were typically not like, you know, the smaller smaller size brands. So there was one that I worked on like years ago, it was a project for I think, home center if I'm not mistaken. So there, you know, the audience, the audience is primarily in India, but also in the UAE, like it's primarily a brand from the Middle East. So there we needed, you know, something that had both Latin characters and Arabic characters, right? So I forget which is the exact family we ended up using. But like I said, that was something that simply we could not find, you know, freely available, you know, a good family that had good weights, good variations in both Latin and Arabic. So, you know, paid fonts were the only way to go there. But I think I mean, if you're just looking at like, like the smaller clients or the smaller brands, I can kind of see, like it is a bit difficult to kind of, you know, fit something like fonts into the budget, especially because I think like, you know, the likes of Google fonts and others have really raised the bar also in terms of what you can get for free now. So like, I remember looking at Google fonts way back, you know, comparing it with Typekit, when I started using Typekit, like, and I was like, I was literally appalled by like the quality of typefaces on Google fonts. But they've come a long way. They have like so many excellent, you know, high quality typefaces. Like the one I've used in this deck is a free one from Google fonts called Inter. So as you can see, like it's really, really an excellent typeface. It has so many weights and stuff. So yeah, it is a challenge. I really can't, you know, say more than that. I think that's a good answer where like a good requirement where like a free font just doesn't cut it and especially with multilingual where you want the families to kind of look together. I think that's a good constraint to kind of make that pitch for a paid font as well. So this is a good time to tell the audience that's listening that use a chat box on this window to post any questions that you want to ask. If you're actually asking from, if you're on the Zoom call right now, you can just request that I unmute you and I see Akshath, I'm going to get to you right now. So you can just raise your hand and unmute yourself and directly ask that question once we kind of order it. So Akshath, would you like to ask your second question? Your first question. All right. All right. Perfect. Thank you, Karl. This was such a great presentation. So I actually had two questions. Hamza, is that okay if I ask two questions? Yeah, go for it. Okay. Karl, my first question was, can you talk a little bit about like, you know, one-on-one about what vertical rhythm is? And so I mean, I have seen the difference vertical rhythm makes when using the right fonts and you do it right. The overall, the readability of the page improves a lot and it looks a lot more cleaner. So that's the first question. And the second question I wanted to understand from you is using set of fonts in web applications and like online systems because that's something that I've not seen a lot. So like on a e-commerce website, for example. So the fact that you talked about, you know, set of fonts are more authoritative, they are more fact-oriented, I completely agree with that. But I've not really seen a lot of designers use that for web apps. I've seen a lot of them, a lot of designers use it for like content websites like journalism, journalism articles or blogs and everything else, but not really for web apps and e-commerce sites. Yeah, so the first question about vertical rhythm. I think it makes a big difference in terms of readability for sure. Like you said, it's a question of using I think your CSS wisely and having like like a good, so you start off with a good body size. You decide what your body size will be, like whether that's 18 or 20.  In fact, I also think, I think Hamza is planning a session around something of this sort in the future. So yeah, maybe that's something we can talk about in detail later or maybe Hamza if you want to jump in. But yes, it definitely makes a big difference vertical rhythm and spacing. There was this attempt I think in the web design community many years ago to actually nail this down very precisely, actually with grid lines and stuff. But what I think we realized was with the onset of the responsive web and wits varying all over the place and images needing to resize, it wasn't really practical to have vertical rhythm nailed down on the way you have it in print. Like in print, it is very, very important to have it. And if you look at like any well-designed book, you can actually see the difference your consistent vertical rhythm makes. But I think because the web, by virtue of it being a fluid medium, accessible on devices of different sizes and display qualities, it's a little bit more difficult is what I would say. Hamza, you want to talk about this before I get to the second thing. Sure, I think we are definitely planning a session where we are looking at how once it's kind of like, this is a great segue, Karlstock is a great segue to that session where once you select those typefaces, how do you kind of like size them? What is a system that you follow to kind of make them production level as well as like use them, like if you're not working, if you're not developing the thing yourself, how do you kind of hand that off to a developer as well. So we will be covering that in a future session for sure. And that's going to be, and Karl, thank you. This has laid a great ground for that. Sorry, no, I think Akshath had a second question. So we will be covering that in a future session for sure. Some sort of echo, I think. Yeah, but I think Akshath had a second question which I can maybe also answer regarding serif faces, and why we don't see them a lot in web apps. I think the reason is also partly, like I actually see them a lot in e-commerce sites, but I think by web apps, you mean more like, you know, products like maybe Google analytics or something, you know, really, you know, like an analytics tool or like a fintech tool or something maybe like that is, I assume what you're asking. I think the reason is that again, by virtue of serifs being the more historical of the two, like serifs are a lot older than sans serifs, sans serifs came around a lot later. So by that virtue itself, most of the great type faces, you know, historically speaking, have always been serifs.  Or trust with your customer base.  Yeah, that's what I would say. I'm going to ask one, like one question before jumping again to an audience question, which is, I think unlike like what you had mentioned earlier, which is the history of type is not kind of important or we're going to rush through that. I think it's wonderful that you covered it for a couple of reasons because when, first of all, it was very reminiscent of my graphic designer days where we used to speak about lino cut and things like that, that were physical artifacts to type faces, right? But for web, I think this context is really important because it's kind of gearing everything towards the fact that we want to make more performance and more performance and accessible like interfaces. Like so, I think that the fact that we covered that is a great thing for this, for this exercise. So is that a lived history for you? Like you mentioned something about like having experienced that. So is that a lived history for you? And how does that kind of like help you today? Yeah, so if I had to breeze through that because of, you know, time constraints, but maybe I can just go back to, yeah, all this stuff. Like a lot of these things I actually have done before, not image replacement. So this was, I think, this used to happen like 2010 or maybe even earlier. But definitely I have done Flash. This happened, I think this started happening just as I was entering into, you know, web design, just as I was starting out. So Kufon as well. I actually remember, I think it was font squirrel, if I'm not mistaken, font squirrel is to actually allow you to upload any, any, you know, desktop, you know, face, and they would give you like this font map out of it. And, and then, you know, I remember using all of that stuff. So I think, yeah, in terms of just experiencing all of this, I think it, that personally for me, it gives me a better appreciation of the journey that we've had. And just a better appreciation of where we, where we've arrived at, you know, in terms of, as an industry, that today, you know, we can just use, you know, font base, we can just link, you know, to something like a Google fonts, and it just works. And, you know, with all the steps that I think the W3C is taking, right? You know, with the, there's also, I think a CSS module now called fonts, the CSS has its own fonts module, if I'm not mistaken. So they're taking like, you know, typography very seriously. So the future also, you know, looks, looks very bright. Yeah, if you can go to your website font slide, just back a few. I think what's very interesting, because we are moving to more performance interfaces as well, what's very interesting is that these website fonts or OS saved fonts are kind of making a comeback because of how performant they also are, like, where you're kind of like looking, using a source as if declaration font declaration just so that it and this is mostly like a trend that we're seeing more and more in apps and not so much in content websites where they just declaring a source that if so that the entire app looks like it's part of your OS. And so that the native feel of it looks more like that. So it's really nice that while we started with this, it's kind of making going a full circle and maybe making a interesting comeback at least in that app space. So, Pratik, you have a question. Would you like to just unmute yourself and take it? Hey, Pratik. Hi, Carl. Hi, Hamza. Great talk, Carl. I enjoyed it a lot. And yeah, I have two questions. So you started off with Oliver's article about 95% of web design being typography. And then we went through a lot of slides about selecting the right typeface and the variations possible. So I wanted to get your thoughts on how much of typography, web typography, do you think is about getting the typeface right and how much of it is other aspects like Afshad mentioned, vertical rhythm, things like the legibility of the font sizes, the measure, the colors, contrast and so forth. And the second question was on performance. So one of the legacy methods for using typefaces, which was the flash method, Siffer, you pointed out that it would often cause performance issues. And in the current method of using fonts on the web, do we still run into performance issues? Do you have any thoughts about that or tips for avoiding performance issues? Yeah. So with respect to the first question, I think with respect to typography on the web, you can look at it at two levels. You have something called macro typography and something called micro typography. So the macro typography refers to what you started off with, which is selecting typefaces, body typefaces and display typefaces. I would also argue at least like having a line height and vertical rhythm. But then you have also the other side of it, which is micro typography, which is the other small things like using m dashes, the small things that make a difference like that. So I think it's like an even split, I think. So you have to pay attention to the larger issues of what typeface am I using? Does this resonate with the content that I'm using it for? That is a good fit for the brand. Balancing all that on the one hand with also making sure that you nail down, if there is a character, like if you're writing something in French and there's something with a cellular, actually using a cellular, using a typeface that has those characters or those ornaments. So that's all like micro typography that I was talking about. So I think it's like it's a balancing act between both. And yeah, the second one about performance. Yeah, I think with Siffer it had a big effect on performance. But even with web fonts today, I think there is scope for abuse. You can't really just go wild with web fonts. I mean, typically, depending on how many characters you have and what characters that you're using and how many ways you select, I think on an average, the font kit could come up to something like maybe 200 kb, at least from my experience.  And then you have, like we used to have this thing of flash of unstyled text and flash of invisible text and all that kind of stuff. So I think that's another technical consideration which maybe I also omitted. Keep performance in mind and just use a subset of only the characters that you need. So if you're looking at an English kind of website, choose only the Latin character set. Don't go for extended characters. And use only the weights that you need and the styles that you need. Stick to only that and really keep the font kit as light as possible. That's awesome. And I think this kind of segues into my next question also, where you said that like, let's keep it performing. Let's have multiple weights and multiple styles and this still keep it performing. So limit that choice considerably. So what are your thoughts on variable forms, which is now like the new, the future of typography? And maybe you could also like explain that for people who are not aware of it? Yeah, sure. Yeah, so right at the outset, I just want to say that I don't have experience with variable fonts. I haven't actually tested them out myself. But they are kind of, yeah, they kind of fall somewhere in maybe in this slide. So variable fonts, the technology itself is an update on the open type specification. So it's actually like an update on the open type specification. So what this allows is so typically now you have, like, let's say, inter, right? So you would have inter regular, you would have suppose you want inter regular, you want inter semi board, inter board, right? That's three different fonts, right? So if you if you go and use a service, or you take the font itself, there's a three different, like either OTF files or TTF files, right? With variable fonts, what you have is all three different weights or all three different variants compressed into a single file, right?  So the user can can select not just regular semi bold and bold, but he can actually select like a whole different like range of weights. Like so if bold was 400 and semi bold is 600, and sorry, regular is 400 semi bold is 600 and bold is 800. You could even do like something like 750 or 650, right? Because I mean, the mathematics of the vectors are included in that font file. So that basically enables the browser to display any range of weights, any display any range of, you know, even weights, like you can you can combine like a condensed, you know, with with a regular width and an ultra wide width in the same font file, and just, you know, have the browser use that. So in terms of, yeah, go ahead. Do you see yourself using that a lot more in the future? Personally? Yeah, yeah, yeah. Yeah, as soon as I get some time to kind of, you know, set up a playground and you know, try try something out for sure. Yeah. It's definitely something that I think a couple of good sites have already started using it. Yeah, I think when I did my research about it like few years ago, I think maybe like the browser compatibility, you know, may have been an issue. I don't know how many browsers supported it like two years back, but now I think support is a lot better. And it also ties in with the whole, you know, war format. And since, you know, since most browsers like you can see, like, you know, Chrome 5 and Safari 5, like it's quite good in terms of support. So I think today most browsers that support the war format also support variable fonts. And one thing to the listeners as well that that is in the Google fonts, in the Google fonts, like a website, you also most of the fonts are kind of becoming variable now. So you can actually select that filter saying show me variable fonts. And it actually gives you that. So that's a that's possibly a good place to kind of start exploring. And I'm going to there's also Roboto, I think Roboto flex is something on Google fonts, which is already available. So if anyone wants to try it out, you can actually go to Google fonts and look for Roboto flex if I'm not mistaken, it's an actual variable font here. Variable font, okay. Roo had a question and Roo, would you like to ask it yourself? That is, it just says Roo here. Okay, so let me ask it because they have mentioned it here. They say how do you say a certain font has enough glyphs? Okay. So if you if you go to the actual type foundry, they will always like mention, like what is the included glyphs.  So if it's just a Latin face, all you will see is just capital A to capital Z, small A to small Z numerals and the usual punctuation.  So just I say, just go to either the service, you know, the detail, the font detail page on the service or on the foundry side, and you would get a sense of what clips are included. Okay. And she had a follow up, which is what steps could she take to just make sure that the font works for the use case. So if you can give an example of say a use case of New York Times, maybe, and then think of like, what are you looking for that blitz set when we're looking? Oh, I love that. Read the label slide, by the way. It's really cool.  So with the New York Times, I'm assuming like that most of their audience is either US based or most of their audience is English speaking. So for me here, it would be a question of, you know, balancing performance with the glyphs and the characters that I need. So here I think, I mean, if I understand the question correctly, I think here you could probably get away with just a Latin or a Latin extended character set. You wouldn't need, you know, glyphs, like any other glyphs in there. I'm sorry. I don't know if I understood the question correctly. Is that what she was asking? No, she said, thank you. So yeah, I think you answered it perfectly. Yeah, but that's an interesting font, that interesting font name, interesting point that you raised, which is the point about multilingual, right? So New York Times, you said it's mostly Latin. But can you tell us like, say, for example, in India, we're doing a website which has, which is a Latin based thing, but the client or the requirement from the website is that we need it in Hindi as well. So what are some of those steps where you identify this and then after as an afterthought, you need to kind of include this new language, right? What are some of the steps that you can do to your like, to your files and your layout so that when you switch those typefaces, it kind of works? Yeah, I would say that select. So you already have like a Latin face or a Latin family. So if you're now if you're looking for like a Dev Naagvi family to add to that, I would say try to match it, you know, as closely to your Latin face in terms of like, you know, what is the size of the ascenders and descenders, you know, the overall size of the Dev Naagvi face, try to match it as close as possible. Look at the Dev Naagvi face, which, you know, side by side with your Latin face, the heights more or less match the thickness of the, you know, strokes of the characters more or less match, right? And the overall metrics are the same. So I mean, if you look at different fonts, a 1.5 line height on font A might be different from a 1.5 line height on a font B, that even though the line height is the same because of the way the, you know, the typeface designer designs the metrics of the font, one might be roomier than the other, one might be more, you know, compressed than the other. So ideally, you know, you should use a like, I would just use a like a super family for something like that. So a family that has both. But if you've not kind of, you know, not maybe done that research or it was an oversight, then just try to match it as closely as possible. This, I think you mentioned something about home center and using an Arabic typeface for that. And Arabic is typically right to left. How do you kind of manage that when you, when you're creating a layout and you need to find the typeface that works both from left to right in Latin and right to left in Arabic? Like how did you navigate that problem? Yeah, so that I think was kind of a close collaboration between like me, the designer and also the content person, like the person who writes the copy. And it's, it's, it's a, it's down to having a discussion about the same copy or the same heading, like what is it in Arabic? Can be like, if the, if the English heading is like eight words, like in Arabic, is it longer than that? Is it shorter than that? And if there's a, is the big difference between the two, if it's like down to like the English heading fitting on one line, but the Arabic one needing two lines, then I would say like, it's a discussion you need to have with your, with a copy person, maybe, maybe can be reduced that or just designing, you know, your, your header to be flexible to account for both a single line heading or a multi-line heading. Yeah. And just to remind everyone that we have 10 minutes, 10 odd minutes left on our site on, on our webinar right now. So please put your questions in the chat box. I must say that there's a lot of conversation about variable fonts happening in our chat box, as well as some Twitter love for this presentation that has been shared kindly by Xenna for you Carl. So let me go into my next question, which is when, when you, when you present something, and I'm guessing that if you're not creating a website for yourself, the fact that you've chosen a certain display typeface and a certain paragraph typeface is, is still subjective, right? Like, because you're kind of creating it based on certain design principles that you have. But when you, when you pitch it to someone else, how do you make the case for the fact that this is the typefaces you need to go for? And when there is resistance on that end, where, you know, there is no, this doesn't work. Come back. Like, what is your usual process of like pitching a typeface to the person who needs to adopt it? And how do you deal with their feedback? It's, it begins with like, like a formal discovery process in which like, you know, you ask the brand or the customer, like, essentially, what, what is the brand? Like, what does it communicate? You know, what does it stand for? You know, what is the general personality of the brand? And not just typography, but everything, you know, should kind of mirror that or align with that. Right. So if you have like a brand, like something like maybe, yeah, like the New York Times is a good example on one side, but you have something like maybe Airbnb or something very modern, right on the other side. So the characteristics, the general characteristics of the brand differ a lot. If you have something like, you know, Nike, right, versus something like Harley Davidson. So Harley Davidson, like it stands for a whole set of values like freedom and the open road. And Nike is about victory, you know, and perseverance and all those kinds of attributes. So trying to kind of align, not just, you know, typography, but even other things.  But I mean, figure out what the brand stands for and then, you know, apply that in terms of, you know, type of selection. Two books I can highly recommend, you know, if anyone is interested in not just web typography, but typography in general. One is the elements of typographic style by Robert Brinkhurst. I have both of them on my bookshelf. I think that's the most important book on typography you can read. And a primer for, you know, someone just getting started would be thinking with type by Ellen Lupton. So I think these two, you know, if you're really interested in, you know, aligning typography with an existing brand, I can highly recommend both these books. That's awesome. And what I was just going to ask you, what are some of those resources? So that's good that you covered that. I found one particular thing super useful, which is a nuances to consider, right? Where you spoke about, and I think that comes through the, like it breaks down the subjectivity a lot. If you can go into the nuances where you had the Black Lives Matter slide, I found that really interesting because sometimes you want to, you, it is very heavily based on like a philosophy or you want to have a hidden story where like the person who is kind of owning the site, which is applying also kind of jumps at it saying, yes, like, you know, because sometimes it does not have to do with how it looks and stuff. Is it the right choice is the question, right? So what are some of the, have you had any experience of doing this activity where you discovered that you went the nuance to it and what is like an example of that? No, honestly, there's like, there's no example. I personally, you know, implemented this way. This is just something that I have kind of, you know, read and researched about. I think it was Robert Bringer's in the book itself. He says that, you know, typography should resonate with the audience. So, I mean, there's just one of those things that, that literally very few people could probably even, you know, notice that for me, like to actually find this out, you'd have to actually go to, you know, either the style sheet or do an inspect element on their site.  You know, yeah, it's just another society we use.   I think that makes the whole thing make a lot more sense also. Yeah. And do you feel that, I think Sawvik has a question I'm going to get to that. There is, do you feel, this is a controversial question and a subject, but I saw a lot of code in the earlier part of your website, of your presentation, right?  Oh, it's a very, it's a very controversial topic. And I don't know whether I want to, you know, dip my feet into that, into that river. But I can just say, like, from my personal experience, it has been an immense help that I, that I know HTML, you know, no one's saying you need to know, like, react and stuff like that, right? But knowing the basics of HTML, like semantic, good semantic HTML, knowing the, you know, what elements to use, knowing CSS, you know, at least how to apply basic decorations. And, and, and just, you know, being able to do a very basic kind of design in the browser, right? So you have a design in your, you know, render tool in your Photoshop or your Sketch or Figma. And maybe just, you know, just, just knowing enough to at least render something on a page and just test it out in a browser. Because I think what makes a big difference to me. So I won't say whether you should code or, you know, you need to know how to code. I can just say that it has helped me a lot. And I think Hamza, you as well, right? It's been a big help knowing CSS and HTML. Yeah, for sure. And I would encourage actually quite a few people to just look at only your font declaration CSS things for, because it's just nice to know how line height gets described on the web. And it's almost, it's almost very similar to any design software like Sketch or Figma that you might be using. So I think just any of those CSS properties that start with the word font or type would be a good thing to just be aware of so that because even variable fonts is moving to using these properties while declaring fonts as well. So I have, there's a, there's a fun question question from Sovik and I want to add to that question also. His question is, do you mistype it? And if yes, how are you coping with it? That's his question. And my question is thanks for demystifying or comment is thanks for demystifying how Adobe pricing works because ever since Adobe font has come, I don't understand how a subscription is going is supposed to be like God, do I have to pay for one of these apps? And I think, yeah, like it just, I don't need the app, I need the font. So I don't understand how the subscription model works. So thanks for covering that. And I'm going to go back and look at it. But I want you to answer Sovik's question, which is, do you mistype typekit and how are you coping? Yeah, I really, really mistype it. So a little bit of history, like, I think I, I, I became a customer of typekit very, very early on, like, I think, 2000, maybe 15 or something, or maybe even earlier. But like, like, basically, they started off, I remember with, I think $36 a year was where they started off. And then they made it 48, like a few years later. And then the whole, you know, Adobe acquisition came and stuff. But yeah, I really really missed like the OG typekit, which was, you know, an independent, small independent company, and they had Jason Santamaria, creative director, and all these, you know, people that we like to follow on Twitter and read about. So I really, really, you know, miss them. So what I'm currently doing with Adobe fonts is I actually have a subscription to, I think, Adobe in copy, you know, like, like Hansa, you were saying, so that's one of the, that's the cheapest app that they have in their catalog. Yeah. So I think, like I said, in that last slide, it comes to, for me, it comes to around, yeah, it's almost like 4800 a year, if you use Adobe in copy. So that's, I'm just a creative sweet, you know, creative cloud user only for, only for the fonts. So I'm just like using Adobe in copy. So it's like 300 a month or something, 4000 something a year. Okay. But I really, really missed like the old type here. I think that answers this question as well. So I think you've already pointed out the resources about the technical things like the two books that you recommended. Maybe we'll tweet that out also just as a, as the primer, but I wanted to also know other any good web resources that we can kind of point people out to where it might be helpful to kind of like read or look, look up your website on the, look up your fonts on these websites and things like that. Off the top of my head, no. I think there is one called a practical guide to web typography. It's like a microsite. I don't know the exact URL or, you know, offhand. But I think you just Google a practical guide to web typography. I think you can get the website. Got it. I think, yeah, cool. I think it also like, there are many sites also like type in use and this type in use and things like that where these aren't directly like the resources, but they're also helpful to just see if your font that you're considering for a project is being used in a website because it gives a better feel of it. So yeah. Yeah. Type wolf is excellent. If you're looking for just like, you know, web font inspiration type wolf is excellent. I highly recommend that. Yeah, there's also another one I think called elements of typographic style applied to the web. So someone has basically taken the book that I was talking about and actually like, you know, applied it to like the web context. So all the stuff that the book talks about in terms of print, the, you know, the author has applied it to the web. So that's another one you can also Google.


Good morning. Bon dia. Buenos dias. It's great to have you all here again This is the start of day two of our event on AI and inclusion just a quick quick reminders About our our events especially for those who are not here with us at the start of the events So these events is on record. So make sure that you remember that when you make your comments When you make our comments during the the sessions make sure that those comments are Direct quick and that you state your name before you make the comments Since the event is on record and there is photo and filming being done There is a special area for those who don't want to be on camera That's on the way back off the auditorium. Make sure that you used it If you if you need it, but I think those are more my practical details of today today It's a very different day from day one So day one was all about plenary sessions and us having a discussion here in the auditorium today We will use the museum quite a lot and we are having the breakouts to discuss specific topics doing some deep dive and some of Issues and of course we have a second round of our beloved animal oriented cluster sessions In in the afternoon, but this time with a more complex challenge So make sure that you're up for it in a good spirit by mid-afternoon so we will begin with a quick recap recap what happened on day one and Some introduction on the global network of internet and society research centers And for that being the moderator of this first session I would like to to ask my my dear dear friend earth gasser from Brookman Klein Center to to to come to the stage to to have this first session. So first, please Thank you very much. Good morning everyone. How are you? Good.  I know I know but we'll get through a great day that will energize us So I was hoping to do three things quickly first Say a few words about the global network of internet and society Centres being aware that some of you are deeply familiar with that network, but others not since we opened up this event also To guests who are not part of the network. So say a few words about that second as Carlos introduced it to capture a few Highlights from yesterday As a kind of a first attempt to bring some themes together And I'm sure Malavika and her panel will then also continue the conversation And later on in the breakout we will link back to some of these themes and then finally turn over to Becca for a few words and Instructions about the cluster group meetings.  So by the way, who represents an internet and society center of some sort or think tank in the room Well, great. Okay, that's critical mass So the global network of internet and society center started actually Five years ago. So happy anniversary network of centers to all of you guys with a symposium that we hosted in Boston and The idea was very much To bring together not only individuals who think deeply about the impact of digital technology and society But really builds institutional capacity around the globe The motivation behind that I want to be very honest about it is twofold on the one hand side, we all know we live in a truly globally interconnected world and many of the policy debates many of the big Questions about the future of society and technology like the one we're having here today, of course is global in its DNA But if you look at the question who can actually participate and who has a voice in these global debates It's largely either powerful governments or powerful companies civil society and then Academia I think are still catching up to build the global capacity that is necessary to Participate in meaningful ways in these global debates. We have made a much progress Thanks to all of us over the past few years But particularly for academia to find a voice in these global conversations. That was one of the driving forces and The second one also more closely related To to the academic work Although the network also includes centers that are more think tanks and not based at universities is We need more evidence-based Decision-making right so many of the topics we're talking about of course run the risk that they produce bad headlines The killer robots will come and take over the world, right? And that's What may make it into the newspapers that may shape the public perception and the perception of policy makers So how can we as a community provide? evidence or at least better More accurate more grounded information for decision-makers both in the private and public sectors so these two factors led to this birth of a network building institutional capacity we started with eight centers and Today, I'm happy to report that we are over 80 centers around the world So for many of you representing centers, this may be the first event actually It's also worth pointing out that in the meantime we even started to build regional hops including the one in Asia Digital Asia hop let by my wonderful colleague and friend Maloica, but also recently led by another wonderful friend and colleague Wolfgang who's somewhere over there now in Europe Starting to bolster the collaboration and strengthen the collaboration regionally. Of course, you see we have much work to do We have a good representation, but at the same time the African continent is still You know largely Not represented in the network So I'm particularly thrilled that for today's event We have actually a strong group of colleagues and friends from Sub-Saharan Africa joining us And I hope we can work together as individuals, but then maybe down the road as as institutions to strengthen This network and make it more diverse and more inclusive. So so thank you particularly to the African colleagues for making this trip We will have a network of centers discussion tomorrow afternoon Well, we will talk more about the roadmap the work that is ahead We will link it back to this conversation about AI, but of course AI is only one of the many topics whether it's issues around Encryption and our surveillance or hate speech on the internet There's so many issues where the network can play a role and we'll talk more about that tomorrow afternoon How do we prioritize and where are the opportunities for us to collaborate? All right quick recap second point Thanks much to Elena. Where is she? Elena is there She was working till three o'clock in the morning to compile these slides So what I'm doing is like slight karaoke, you know, I sing two slides that she made Till late in the night. So thank you Elena for the summary. I think it's really good It's highlighting a few points The first couple of points that that we distilled from yesterday Can be grouped or clustered around conceptual issues I think one of the themes that emerged yesterday was really this question of how do we deconstruct AI and Inclusion is it AI and or versus beyonds also including inclusion, you know, what's the relationship between the two and Unself led us off. I think with a very powerful slide with four circles that Suggested four key dimensions of of the interplay between AI and inclusion and they won't repeat that These are just kind of mental links back Nishant of course in his keynote then Reminded us that we have to or urged us I should say that we should be moved beyond computer and computation to the lift realities of the computed and actually Think more of a mutual common core between AI and inclusion We sent it quite quickly around this question Do we even need to have a new vocabulary as we as we think about what was previously Called inclusion in the age of AI. So that's an open ongoing discussion also for today. We also touched upon the question of Education and and and supporting policies or policies that are actually Making existing gaps widening We then had another Really important point. I thought in the discussion with this shift potential shift as a hypothesis Are we move we should we move from a from a view on inclusion towards? self-determination particularly in the light of some of the Imperialist Western values embedded in AI the questions of power the burden we placed on the underrepresented Communities to actually perform inclusion. We had a few very powerful narratives and I think got a sense over all of the urgency of this debate as the technology is progressing so Quickly and is rolled out into society Well, we are still catching up to have these normative and value conversations as a society as a global Community, so I think these were some of the the threats of discussion coming out with respect to the conceptual throughout these debates of course Given where we are and the commitment of this event. We had a very strong Lens or perspective and looking at these issues from the perspective of the global south, but also Underrepresented populations more generally There was one line like that that in some Parts in some regions of the world. There is still a lot of excitement and that's also great I would say as as AI is kind of making it into into the regions We heard from Kenya and India an overall very positive view on on the use of AI and its Implications, but the question came up in that context. Well, how can we actually have a more balanced discussion? In these cases, it's also about bringing in some of the challenges to the conversation And I may add in other parts of the world It may be the other way around where we talk so much about the challenges But forget to talk about the opportunities and as Ronald and Carlos mentioned yesterday Of course also during this event. We want to keep both in mind We also talked about Binaries and whether or not good and bad AI are actually the right categories to have a Conversation or whether we have to move beyond such dichotomies. We heard interesting examples from South Korea We also looked at corporate practices briefly in an exchange during the plenary and and the discussion about Palantir and and some of the hard questions that arise at this intersection between public interest organizations and private technology companies providers, so Ultimately many of these points cumulating in the question what are actually Mechanisms and and new new designs that we can implement to hold Those who have power as they shape as some of us shape with industry in the room The future of AI and also the future of who participates in society Now, of course, it was more about Introducing big questions is about already answering all of them. We will answer all of them today naturally, right? Hopefully some of them and so here are a bunch of open questions How do we Incorporate the perspectives of those who cannot participate in AI and development Obviously a key one. I just mentioned the oversight mechanisms The broader question can we even is it even worthwhile and to what degree to think about technical solutions to societal problems? clearly came up when we were talking about bias and the question of amplification of existing biases through AI and Also the question of Should we take some sort of an individualistic approach as to what extent is it about the individual and It's autonomy versus kind of bigger ecosystem questions and how do we bring these Perspectives like Luma and Habermars for the Germans among us. How do we bring these two perspectives together? So these are a few quick points. I was particularly excited throughout the discussion that we also identified a number of action items Here are a few we talked about The potential of an AI interoperability framework as I'm interoperability freak. I have to mention that We also had a very interesting Proposal by mark and I hope we can talk more about it about the formation of connected Cooperatives for machine learning training data and several other suggestions and I hope we can continue to collect such examples And also use cases and case studies Here are a few listed. We want to collect more both in terms. How can AI be used? To address some of the challenges previously known as inclusion challenges But also where are some of the bad examples and what can we learn from it? We will have a session today at 430 where we continue the This study of use cases from different regions and I would love to use the network to create some sort of a Repository of good and bad cases and what can we learn from it? So these are a few quick remarks from my side again, thanks to Elena for compiling Some of these notes. We will share a report Right up of these conversations together with all the inputs you you helped to produce Thanks for that again. We were amazed last night to see the Number of inputs we received from you on sticky notes and cards really really helpful So keep going please with these inputs Speaking of which we'll have to do more work today. Now. This will switch around as we said it will be peer-produced We will have lots of working groups after one more plenary And we will do cluster meetings and the cluster meetings are a little bit more complicated today So Becca will briefly describe what the plan is as as we will Have the cluster meetings later on but not much opportunity to have everyone in the room and explain how it works So over to you back and thank you again so much. This is we're off to good start. Thank you Thank you or so I have props in my hand because today's cluster groups Are to invoke creativity and you get to create some flip books with one another So currently the time is from 315 to 4 we will have our second cluster group meetings You will be going directly from breakouts to the cluster group meetings So following the afternoon breakout you will meet re back in the foyer and people will be holding up The animals again, so you'll refine this team. It will be the same team as yesterday You'll go back to the space you were in yesterday and the goal of the breakout is to create a collab two sets of flip books Each will involve five cards that tell a little bit of a story of a challenge and an opportunity that you've identified As a group so before I tell a little bit of details about that Levin Kim I don't know where you are. She's been driving so much of what's happening today huge props to Levin Can we see a video of the flip books from a previous event? So this is from an event that we held in Cambridge digitally connected And so the teams also were were implored to create challenges and opportunities And so across five cards they created a little bit of a story You can see the numbers in the corners for some of them So it sounds very scary to say I'm gonna create a flip book out of five cards But it can be a set of five words or set of five images one that lead to another that your groups will identify so When you first meet together as the break or the cluster group We ask you to sort of share a little bit of feedback from the cluster group that preceded it and to use that as A time and a space to share your ideas about a challenge or an opportunity that you might collectively illustrate in the flip books And because you have to create both a challenge and an opportunity We suggest maybe your team break into two teams one Responsible for doing the cluster one responsible for doing the opportunity. You'll have two folders each of which have Five cards in them. There are some pens in there You can use some of the materials that were in the Wonderbags if you wish you can design them In any other way And so we hope that it's a creative exercise in a way to create something fun at the end of this that aren't just words on a page Though those are very important and fun too, but a little bit more life in these flip books So that will be today It's from 315 to 4 at 4 o'clock. We had it into a break until 430 where we will then Reassemble but you can take into the break to keep working on this assignment of the flip books If you wish and when you're done with them at 430 you'll take the two folders and you'll bring them to the info desk There will be baskets for you to deposit them. So There we go. That's with that and so thank you so much and I'm gonna hand it back so we can keep moving


If you made this video and someone uploaded it into their video, even in the middle, we can find it and automatically monetize it because we have YouTube content ID in our CMS. How this helps you get more views and earn more revenue, let's find out in today's episode of Welcome to the George Show. My name is George and today we're going to see how content ID helps you get more views and earn more revenue. Use the video bar to jump to exciting moments in this video or click the next video button in case you missed that one. When you partner with Freedom or one of our networks, every time you upload a video that isn't gameplay, we can fingerprint it and YouTube will pay us on your behalf anytime it finds a copy of your content, whether it's in the middle of a video or it's a full copy. That works for audio as well. Now the whole process, you don't have to do anything. All you have to do is make original content and then we take care of all the rest of finding all the copies. We are the YouTube police in the sense that we do all this for you and you just earn the revenue. I hope you found this helpful. If you want to join Freedom, visit our website, www.freedom.tm and the link is down there beneath this video. My name is George and you've been watching, we're launching our first network, Marquis Dragon. Look at the website behind me. We designed that for Marquis and look at the forum. We helped him set that up and we are the technology partner. We're doing this for any network that wants to join Freedom.


The study aimed to identify barriers to COVID-19 vaccine acceptance among medical students in Kazakhstan and develop a scale for measuring hesitancy. A cross-sectional study was conducted among 888 students at Astana Medical University in March 2021, revealing that only 2 percent were currently vaccinated and 22.4 percent showed potential for acceptance. The most significant barriers to acceptance included concern about side effects, lack of sufficient evidence on effectiveness and safety, belief in the immune system coping with COVID-19 without vaccination, and lack of trust in vaccine effectiveness. Factors associated with acceptance included contextual influences, individual and group influences, and specific issues related to the vaccine vaccination. The study developed a 12-item 6-factor model for measuring COVID-19 vaccine hesitancy scale, C-O-V-V-H-S, that showed good validity and reliability. Overall, the study found low potential for COVID-19 vaccine acceptance among medical students in Kazakhstan, highlighting the need for effective vaccination education and policy to combat the pandemic. This article was authored by Aidos K. Bolotov, Telman Z. Saizem Baikov, Altenay Z. Askarova and others. We are article.tv, links in the description below.