Hello and welcome to this webinar on Geography and Longitudinal Data. I'm Oliver Duke-Williams and I'm joined by Dr. Gundy Kniece at the University of Essex and we're going to be talking about geography in understanding society and in the ONS Longitudinal Study. In a moment I'll hand you over to Gundy who's going to start the session talking about issues to do with geography in understanding society and after Gundy's presentation I'm going to talk about the Longitudinal Study. So at this stage I'll hand you over to Gundy in a moment. I just want to say thank you to Vassilis Rutsis who in the background is doing some of the work of controlling who sees what and who's presenting at what time. So thank you to Vassilis for that and I'll now try to hand you over to Gundy who is going to talk to you about understanding society. Hello guys, I hope you can else. In the next 15 minutes I'm going to give you a quick overview of the understanding society study design and content and I will then launch into a description of what geographical identifiers we provide with the study and how it might be used. The study is rather complex so I can't really cover all of it in 15 minutes that I have for this talk but there will be some links for further information and following Oliver's talk. There's also some time to ask us more questions if you have any. As you may know the UK has a remarkable suite of longitudinal studies and understanding society has a special place in this as it provides annual data that allow us to look at short, medium and long-term effects of social and economic change on individual well-being. Unlike other studies understanding society is not rooted in a particular discipline such as demography, health or economics but it is designed to be useful for a whole range of disciplines. So it collects hard indicators such as income and marital status but it also has soft well-being indicators such as relationship satisfaction and income expectations. Now in terms of content the bulk of the questions we ask is around the six key topics listed in the left-hand side box of the slide but there is also a great detail on the contextual factors such as neighborhoods and social networks that may help explain key outcomes such as what education we do, what we work as and how healthy we are. Goody, I'm sorry, can I just interrupt you a minute? Can you just maximise your window because the slides are appearing like... Oh, okay, sorry for that. Okay, sorry about that. But in addition to that there's also some room for questions such as political behaviours and leisure activities for instance party support and participation in culture, media and sports so in 2012 for instance at the time of the Olympics we asked about whether people were following the Olympics or whether they attended. Now the best way to find out about what information is available is to visit the study website or the content highlight section of the user guide for a quick overview. Now another thing that is special in understanding society is that it has a household focus of design so we started with randomly selected addresses and then each way we follow the sample members as they move and form new households and each time we do not collect information just about one person but we collect information about all members of their household. Now in terms of who is in the sample the understanding society study really has two core elements. The first element is the continuing household panel survey sample. The sample was originally drawn in 1991 in Britain and later on incorporated boost samples for Wales and Scotland as well as the sample for Northern Ireland from 2001 onwards. So already in 2001 or since 2001 the study has been UK wide longitudinal study. The continuing sample was then integrated into understanding society in 2010. Now the second element of understanding society is the new household longitudinal study element that started in 2009 on 10 under this understanding society study brand 9. The sample was much larger than that of the BHPS and designed so that it is representative for all regions of the UK. It also included an ethnic minority boost sample and since 2015 there's also a boost sample for immigrants to the UK. Now the bulk of our data is collected using face-to-face interviews with adults so that's people aged 16 and over and in self-completion interviews with children aged 10 to 15. On this slide and the next I show you how the responding sample developed over time. So what we can see here is that there were just over or just under 20,000 respondents in the first wave of the BHPS and the sample size increased greatly when understanding society started which was in 2009 as a study. Now in 2010 the continuing BHPS sample then provided around 12,000 interviews as part of the understanding society sample increasing the total number of interviews with adults to over 50,000. But of course there's also attrition and non-response which reduces the sample size over time. When we look at the sample with use respondents the pattern is actually pretty similar. So we can see that there were around 700 to 1,200 use respondents in the BHPS from wave 4 onwards so that's 1995 I think. And when understanding society started this increased to around 5,000 young people so that is roughly 1,000 interviews for children of each age in sort of each 10 to 15 age group. So quite a large number. Now understanding society is a prospective survey with retrospective elements and the questions are repeated and that is actually what allows us to look at change over time but not every question appears in every year or is asked of every person so there are rotating modules, event and age-triggered questions for instance. In addition to the data collected in personal interviews however we also have collected really cool biological specimens during a health assessment in wave 2 and 3 and we have also got linked administrative records for instance from the National Pupil Database. And just the focus of today's presentation we have linked to a great deal of spatial context data. Now because we have interviews as I said before our interviews are mostly face-to-face so we know where each household lives at each wave of the survey. We can then use the postcode of that address to obtain further information about these places from the ONS postcode directory. The postcode directory provides a great deal of information which you can read about more in the ONS geoportal website and let's put the URL on this slide. And for our study we extract more than a dozen key administrative unit identifiers and neighborhood classifications and we make these then available for each household in the sample for each wave and the data can access by analysts such as yourselves via a download from the UK data service who distribute all our data. So in this table I list the geographical information that is readily available with our data. So if you want these data you can replace the $4 signs in the URL provided at the bottom of the slide. Here is a study number that is listed in the second column of that table and this directly links to the UK data service shopping basket and then there is a quick registration and application process that you will be guided through by the UK data service and the letters in the third column of this table indicate the access rules under which the data typically are being made available which is either standard and user license or special license or a secure data access. Now the main interview data from Understanding Society is available as study number 6614 and 6931 and this contains the region identifier and a cross rule urban indicator. Now if you want to have access to more detail indicators you can also access these but you then would have to choose between the 2001 and 2011 census versions of this and there is also other sort of versions. So we have the output area classification and then we have ACON types and what is also pretty cool is the study number 7533 which we basically have linked four waves one to three of Understanding Society data from the Department for Transport Accessibility Statistics and this gives you easy access to more than 600 unique pieces of information that has been longitudinally harmonized and provides information about key services that are available or not to people in our sample. Now if this is not enough or not what you want you also have the possibility to link your own data and for this we provide a whole range of official geographical lookup data and the important thing here to say is that sometimes the official codes and boundaries change over time so if you want to link your own data it is a good idea to try and link your external data with the ONSPD first to see whether your data are compatible with our form. So when you go to the download section of our data so you click on the URL on the previous slide and replace the study number you will find that we produce or provide a file called like a geographical lookup file and that tells you exactly which version of the ONSPD was used for which wave of understanding society for which indicators should be really easy to test it out. Now we often get asked about the smallest geographical area for which predictions can be made and in this table I list some of the key UK geographies and show you how many of these are represented in the wave 1 sample. Now the smallest geographies are listed at the top and the largest at the bottom. You can see that we have a good number of cases in all regions. This is the areas highlighted green and there may be enough cases within the local authorities and the travel to work areas represented in the study 2. So this is highlighted in yellow. For smaller geographies we also have a very good representation in the study that is for instance for the output areas there are overall more than 200,000 output areas in the UK and we present more than 10% of all of these but when we look at the number of cases within each output area that we observe there the number is very small. So ultimately what this means is that for smaller area characteristics so those highlighted in red you would probably want to link area characteristics from external sources rather than make out of sample predictions from understanding society. Now when you are analyzing neighborhood context data on longitudinal and this is true which ever scale you are looking at it is important to consider that there are at least 4 possible sources for change in the neighborhood context. As analysts we are probably mostly interested in the change that occurred to people moving and in the change that manifests itself in a particular place over time and which could therefore help causally explain differences in individual outcomes but change in the neighborhood context may ultimately also be observed because of changes in measurement. So for instance the method to draw the spatial boundaries may have changed or the categorization of the neighborhood types has been affected. So one of the typical examples here is that there were quite a large number of redefinition of output areas between the 2001 and the 2011 census and I believe Oliver is going to say a little bit more about that in his presentation later on. So let's look at an applied example from understanding society. So here we compare basically levels of change in three different neighborhood classifications which we provide with the understanding society data with the census-based classifications on the left-hand side. We need to worry a little bit about boundary changes that occurred over time as we use different versions of the ONS postcode directory lookup file to extract these classifications but we do not need to worry much about the changes in the definition of output areas or rule type because these are fixed to represent the census 2001 characteristics. Now for the ACON typology on the right we use the 2015 version for all waves so definitions and boundaries are identical across waves. Now in this setting change over time in the neighborhood context that we see in the data or in the link data I should say can only occur due to individuals moving and only if they move from one type of neighborhood to another. The downside of this approach is of course that we cannot then look at how neighborhoods change for nonmovers and this means that for 90% of us who do not move from one year to the next we actually do not have information about how neighborhoods change the effect of them. So how much change do we observe then wave on wave for nonmovers? Now here in the slide we can see that the lowest level of change is observed using the rural urban classification which only considers urbanicity and settlement structures. This is because most moves are to and from settlements of the same type or from rural areas to urban areas and typically then once you have lived in an urban area you do not move back to a rural area. Levels of change are somewhat higher using the output area and ACON classification which considers sociodemographic and lifestyle profiles as well as settlement structure. Now from an analysis point of view you will probably have more information about change to exploit when you use these output area classifications or ACON but really the key decision to make is probably in terms of information content. So when you analyze individual level data from 2009 and to 2011 which is the case when you look at data from wave 1 and wave 2 of understanding society do you think it is more relevant that the neighborhood or what the neighborhood looked like up to 10 years before the respondent moved there or is it more relevant what the neighborhood they moved to will look like up to 5 years after they moved there. Now both of these sort of context characteristics that we provide are approximate measures but only you can decide which is the most appropriate choice in your particular analysis case. Now I'm kind of running out of time so if you want to read more about this and for exact number of cases in the non-condense classifications for the output area classifications etc you can follow the link I provide at the bottom of this slide and there's also some further links for you to follow if you want to learn more about understanding society and the different access routes there is a link to the online documentation here and also to the understanding society data on the UK Data Service website. On the understanding society documentation there's also a link to the understanding society user support so that's also a place where you can ask further questions but first I'm now handing over to Oliver who will introduce us to geography in the ONS longitudinal studies and I'll make it for you later. For now. Thank you Gundy. As Gundy said I'm going to talk about the ONS longitudinal study and about issues relating to geography in the LS. Understanding society which Gundy was just talking about is a superb source and gives us annual observations of households. The ONS longitudinal study offers decennial observations of the population of England and Wales so it's covering a much larger time in terms of the overall length of period of time it covers but it's doing it at different intervals. The LS is based on four sample birth dates. There's a sampling rate of 4 out of 365 which gives about 1% of the population of England and Wales An important aspect of the LS is that sample members don't know that they're in the sample. The four sample birth dates are not disclosed. I could be in the sample, you could be in the sample, none of us know. The data for England and Wales include both census data from 1971 through to 2011 and administrative data. Access to the data is controlled and it gives a little bit more information about how you can use it at the end of the talk. In the UK there are three longitudinal studies one in England and Wales, one in Scotland and one in Northern Ireland. They all have different time periods that they cover and they have different sample sizes. They also differ in the range and the amount of additional data that's linked to them. All of them have broadly similar secure access arrangements. This slide summarizes some of the differences between those three studies. The ONS longitudinal study, which is what I'm talking about today mostly is based on four birth dates. The Scottish longitudinal study is based on 20 birth dates and the Northern Ireland longitudinal study is based on 104 birth dates. Very different sample sizes. One of the things to note is that the sample birth dates are each contained within each study. The four sample birth dates in the ONS LS are part of the 20 birth dates in Scotland and those 20 birth dates are part of the 104 birth dates in Northern Ireland. What's in the LS? Similar to census microdata or the SARS with which some of you might be familiar, we have all of the variables from the census form from individuals but we have more detail than in the safeguarded and in the open microdata samples. As in understanding society, we have observations of all people in the households. We only track the sample members so as they move from household to household over 10, 20, 30 years, we'll see other people in the household at the time of each census but we don't follow those other people longitudinally. We've got an illustration of that here. This is a diagram representing a sample member who was born in the late 1960s and is observed in the LS in 1971, 81, 91 and so on. And we can compare two time points. In 1981, that person will probably see in a household, they're aged about 12 or 13 then, we'll see them in a household with a sibling and with parents. By the time we see that same person 30 years later in 2011, the other people in that household are likely to be that person's partner and that person's children. As I said, we have all of the regular questions from the census, all the responses to the questions in the census forms. And this slide just summarizes some of those. And on the right-hand side, showing some of the variables that have been introduced more recently compared to the others which have been in all the way through. In addition to census data, we have linked administrative data as well. So we have births of sample members. So if a person is born on one of the four birth dates, they immediately enter the study at that point. We also know about all births to sample mothers. We know about widowhoods and widowhoods. And we know about deaths of sample members. So for sample members who die, we have linked mortality data. So we know the cause of death. And the typical usage of longitudinal data is to compare that cause of death to things that occurred much earlier in the person's life. This diagram comes from the ONS website and gives a summary of the total number of people who have entered and left the sample in various different ways. These slides, as well as Gundy's, will be shared with you after the webinar. Another couple of slides taken from ONS. This one tracks the 1971 sample members on the left-hand side and looks at what's happened to them over time. So the yellow dots, as we move across the columns, show the sample members who are still present through to 2011. And the other dots, the white dots show those sample members who've died. And the small amount of green dots in the middle shows the people who are known to have migrated out of the UK or out of England and Wales. This slide looks from the other direction. It starts on the right-hand side with all the people in 2011 and looks at how they entered the sample. So the bottom part of that diagram, I apologize that this has red and green colouring, so I'll explain the diagram. The bottom part of the right-hand column is 233,000 people who entered the sample at some stage at birth. The middle section, 64,000 are people who've migrated into England and Wales. And the larger part, the 265,000, are people who entered at a particular census. The other columns show the people in the 2011 census as they can be observed in earlier censuses. A few developments that we've done since 2011 we did a series of beta test projects related to the 2011 data. We've introduced synthetic data and I'm not going to talk about that today, but there are links on websites that I'll mention later about that. We're involved with consultations towards the 2021 census and we've done various other presentations and roadshows and so on. So on to the main body of our talk today, is the geography in the LS. The LS consists of multiple files. So we have a file for each census, we have files for members and for sample members and for other persons in the households, and we have samples for various other sorts of administrative data. When you use the LS, a support officer will create an extract linking across all the relevant files and produce one single file for your use. In this talk I'm going to concentrate just on the census files. The most detailed geographies are contained within a set of restricted access tables, also known as X files, which most researchers don't have permission to use or to see. So these most detailed geographies can't be used for standard analysis or for reporting results, but they can be used for linking other variables. When we talk about geography in the LS, it's important to remember that there are in fact lots of different types of geography that we might be thinking about. We have place of enumeration and place of usual residence. For most people, those two are the same thing, but not always. We have place of second residence relating to a question in the 2011 census. We have place of work. We have place of usual residence at some stage in the past. Each census has asked where you lived one year ago, whether it was the same place you were living now or somewhere else. We have students' term time addresses. We have country of birth. We have place of birth or place of enumeration in 1939. So for people in our study who are old enough, we have some data on where they were registered at the beginning of the war in 1939. I've mentioned that because it's quite an interesting variable, but in practice it's one that is not always complete and is quite hard to use. So it's there more for interest rather than for offering serious analytical worth. At this stage I want to launch another poll. So as I mentioned, one of the items of geography we have is country of birth. So we've got a question here for people listening. To the nearest thousand people, how many people do you think there were in the 2011 census in England and Wales who were born in Croatia? The sample answers that we've got, 12,000, 10,000, 8,000, or 6,000 are all based on the normal, if you like, aggregate census, the census that most people are familiar with that contains all people. The LS, of course, is a sample. It will contain about 1% of these people. Okay. So we've got 19% of people saying 12,000, 24% saying 10,000, 27% saying 8,000, and 30% saying 6,000 people. The correct answer is the third option, 8,000. I said that's to the nearest thousand people. The actual number was around 8,200. And for those of you who are interested of all the countries in the last 16 of the World Cup, Croatia were 15th largest in terms of number of people in England and Wales. Only Uruguay had fewer people. Of course, that was based on data collected in 2011, and the situation might have changed since then. And I asked that question not just to try and maintain interest in the webinar, but also to point out that we need to think a little bit about geography. Croatia was recognized by the UK and by other EU countries as a sovereign state in 1992. But of course, many of the people in the census are old enough that they were born before 1992. And I haven't been able to look at the distribution of people born in Croatia by age, but I presume at least some of them were born before 1992. And this makes us think about how we relate to a field like country of birth. Is it the country that exists now? Is it a country recognized as a sovereign state? Or is it something else? Okay, I've now got a series of slides in which I want to look at each census in turn from 1971 through to 2011 and consider some of the types of geography that can be used in each census. So starting with 1971, our earliest census data, you can use a number of special fields. Standard region, county and district, local authority, new towns, regional health authorities, area health authorities and health districts. There are two types of geography mentioned at the bottom, in red and in brackets, wards and grid references. I've marked those in red because they're in the restricted files. So you won't be able to see those identifiers, but you may be able to use them in some way in discussion with your support officer. The grid references in 1971 are a mixture of 100 meter level accuracy and 1 kilometer level of accuracy, depending on whether you're in an urban area or a rural area. 1971 is also a little bit messy in terms of the way that we've got both pre and post 1974 variables. 1974 was when the effects of the 1972 Local Government Act came into force. I know from looking at the institutions that people who signed up for the webinar mentioned, not all of you are from the UK. One of the things that is notable about the UK, as Gundy suggested earlier, was that we change our local geography an awful lot. Between every census, there'll be changes in local geography, which makes it difficult to do any sort of analysis over time. So in 1971, we've got both pre and post 1974 variables. There's a slight issue with that in that I'm hoping I'm getting this the right way around. The post 1974 variables are about place of enumeration, and the pre 1974 codings are about place of residence. As I said earlier, of course, for most people, place of enumeration and place of residence are the same thing, but that's not always true. Moving forward to 1981, we've got a broadly similar set of types of geography that can be used. We introduced another type in 1981, travel to work area, and we also have a new low level observation enumeration district, which were the smallest area units available in 1981. Again, those ones at the bottom, ward and enumeration district, are only available in restricted files, so you can provide data to link to them, you can use them in certain ways, but you won't be able to see those values and you won't be able to use them to report results. Moving on to 1991, again, broadly we have the same sort of sets of headline geographies, although of course it's important to remember that some of these change over time in terms of detail. So we have districts in 1971, in 81 and 91, but they're not always exactly the same, those districts. In 1991, we also have an additional restricted observation of postcode. Moving on to 2001, there were quite a lot of changes. We no longer use standard region, we use government office region, as our large regional identifies, and those two sets of regions are similar, but not quite the same. Reflecting perhaps political interest and things that were important at the time, we no longer have Newtown as a coding. We've introduced national parks for people who live in national park areas. There are parliamentary constituency, Westminster parliamentary constituency, and European parliamentary constituency codings as well. We have a larger set of restricted area codings. Wards, parishes, primary care group and primary care trust, and grid reference. In 1991, we had enumeration districts. In 2001, these had been replaced with output areas, which are the smallest unit with which most people that are used to doing census analysis will probably be familiar with. Grid references in 2001 were more detailed than those used in previous censuses. Then finally, most recently, in looking at 2011, we have a similar set of headline areas, government office regions, counties, districts, and so on. Again, we have a much broader range of restricted level geography that can be used for linking other data and so on, as well as output area. We've got LSOAs, lower level super output areas, MSOAs, middle layer super output areas. We have workplace zones. Workplace zones were a new geography introduced in 2011, and then were introduced because of a problem that had arisen in trying to look at workplace statistics. In the past, all data about workplace statistics, including place of work and journey to work, had been tabulated using residential geographies. In many parts of the country, that's not terribly helpful. The easiest example that we always quote for this is the City of London. Thousands of people work in the City of London, but very few people live there. It makes sense to break the City of London down into multiple small units and not to try and use the residential geography, which wouldn't be very helpful. These small units are called workplace zones. In city centres, they tend to be very detailed. In more residential areas, they're larger than output areas, and they're designed to be large enough that we can tabulate data using them. For both 2001 and 2011, we have output areas. An implication of that is that if you want to use another sort of geography, then anything that can be built using output areas can be produced. Before moving on to the next slide, I just want to point out one thing I didn't mention there. In 2011, we have a set of 1991 district codes. As well as districts changing their boundaries, they also change their codes over time. 1991 districts are available almost all the way through our sequence. They're the easiest thing to use if you want to do long-term change over time observations. With a bit of fiddling, you can use other sets of districts as well, but the 1991 districts are the easiest ones to use. And districts are the smallest areas for which we can normally tabulate results. In some cases, districts might need to be joined together, typically for City of London and City of Westminster, because nobody lives in the City of London. As I mentioned, using output areas is relatively easy for data to be recoded. If you want to do this, you can supply to your support officer a lookup table with every output area and the way you want to recode that output area, and your support officer will be able to assist in recoding the data. As well as using OAs to recode data in that sort of way, we can also use them to attach contextual or area level data to the rest of the data for the purposes of analysis. So again, users submit a data set with an observation for every OA, and it's possible for that to be attached to unit records. However, in doing that, it must not be possible for someone to deduce a location smaller than district size from the final results. And the way that's normally suggested to get around this is to convert the raw values in your table of observations to deciles or a similar transformed form of the data. And people have done a wide variety of projects using this approach of attaching data at small areas. People have attached environmental data, such as weather data. We've done a small project attaching house price data. And essentially anything that can be produced at output area level can in principle be attached. If you want to use the LS, it's free at the point of use. And it can be used in one of two ways. Either you can use secure setting at the ONS offices, in which case you'll be able to run your own code and see results, but you won't be able to take any results out of the secure setting unless they satisfy disclosure requirements. And the disclosure requirements are that you can't have any values in a crosstab or a similar set of results smaller than 10 persons. If you're unable to attend an ONS office and they're limited to London, to Tishfield, to Southport, and for most people it's the London office that they attend, if you're unable to do that, you can submit code remotely and that code will be run by support offices. Again, if the outputs of that code satisfy disclosure requirements, then those outputs can be returned to the researcher under usual restrictions that those results can't be passed on to anyone else until final clearance has been granted. If you want more information, there are a couple of URLs on this slide. ucl.ac.uk slash Celsius for information about the ONS longitudinal study and about Celsius who supported. And calls.ac.uk which supplies information about all three longitudinal studies. So it also provides information about the studies in Scotland and in Northern Ireland. Finally, because I'm running over a little bit, if you want to apply, you need to be an accredited researcher and the website explains how to do that and you need to have an approved project. And with Celsius and with the other longitudinal studies as well, the support teams will assist you and advise on how to complete the form, etc.


Welcome to the panel session. I hope you had a nice morning tea break. This is Deteal, aka the web princess, a project manager at HumanMade, and she is going to be MCing slash moderating the panel. I'm going to hand over to her to introduce our panelists. Thanks, Kirsten. Can you hear me? Is my coming through? Awesome, great. To my right, and your left, this is Luke Carvis. He's the product manager, head of product at XWP. We're a press development agency. Next to him is Rob. He works for Automatic. He's a developer, a JavaScript developer, so he can answer your really gnarly technical questions, so we'll hand all of those to him. And Kath is a designer who's actually going to do a talk about design after this, but she can answer some questions around.  You haven't done your talk yet? You haven't done your talk yet? Yeah, so she's going to answer some questions around that, so she can answer design questions. I will do my best. The mic, it is on. Okay, cool. I'll stop turning my head away from the microphone and turn all of me instead of just my head. Sorry. So, just to get us started, I've got a couple of questions that we prepared earlier, and then we'll open it up to the floor. So, let me just pull those questions up here. Right. So, there was obviously quite a lot of conversation after Luke's talk yesterday, so I'm hoping that some of these questions will have already been answered, so I'm going to answer some of the slightly gnarlier questions. Ask them some. I'm not answering questions. I'm just driving. A developer agency, WebPerson, says they've never heard of it. What do I need to tell them? Is there anybody in the room who's actually never heard of Gutenberg, who wasn't here first thing yesterday morning and didn't actually hear us talking about it? Great. Let's start, Luke. Will you explain, Sena's given the elevator pitch about Gutenberg? Sure. Gutenberg is an entirely refreshed approach to editing content on the Web. It learns from the mistakes and also from some of the good things that other publishing platforms that exist in our ecosystem use to create a new tool for editing content, and it replaces the existing WordPress editor. So, that's a pretty big deal. What should you tell your clients? I think you should tell them that WordPress is getting an update and the editor that you're used to is going to change, and it's going to get way better and it's going to be much easier to use than it's ever been before. If you just go ahead and add a new post or edit one of your old posts, you'll notice that it's really easy to use. If you do need any help, then give me a call and I'll be able to talk you through it. That's what you should tell them. Cool. So, here's a good one. I've half built my site. Do I have to start again? No. I have a website. I've got a couple of them. I've built a few of them, like hundreds of them. I turned Gutenberg on to my own site yesterday while we were doing the talk. It didn't break. Nothing broke.  It didn't break. It's still there. I don't think that you're going to have too much problem with backward compatibility. I think that you have to be mindful of the new blocks and the styling around those blocks and it's actually going to open opportunities for those of you who are theme designers or people who are getting new themes in the next year or two are going to be able to take advantage of the new little design components in the regular editor. But for those of you who are building a site or who's developed as a building site for them, just be mindful of it. I'd reckon just give it a crack, turn it on, see what happens, and I think you'll be pleasantly surprised. How do they turn it on? Rob? Yeah, so right now if you install the Gutenberg plugin, it will be on for all of your posts. If you install the plugin or later if you upgrade to WordPress 5.0 which would have it included, new posts would be entirely Gutenberg and existing posts you would open. All of the post content would be in what we call the classic block and there's an option to migrate that old post over into full-on blocks. What's a block? A block is... Someone yesterday said there are short curds 2.0. You can kind of think of them like that maybe. The block is the unit of... A post is going to consist of a series of blocks. The block is going to be the basic building block if you will for WordPress going forward. Luke might be able to explain it better. You're good at the elevator pitches. Okay, so I have one more question here and then we'll open it up to the floor. What do I need to learn to develop a new Gutenberg block? JavaScript. Take a deep breath. We've tried to make it as easy as possible but you're going to need some JavaScript. There's a lot of good resources right now. If you go to WordPress.org slash Gutenberg slash Handbook there's all sorts of documentation including how to extend to Gutenberg and how to build your own block type. There's also a few talks if you go to WordPress.tv. That's a really good place to start too. Right, so that pretty much answers all of the questions that I had already organized. How many of you have come with questions of your own and who would like to go first? Luke has a question. I have a question, a development question. So I'm pretty sure I can find tutorials online on how to build a block but the part that I'm confused about as a developer the part that maybe is the most scary for me is all of this business about NPM and having to use the command line and what's Webpack and things like that and that's not something I'm used to. Could you tell me how do I get started with that sort of thing? Yeah, definitely. JavaScript tooling can be pretty complex nowadays. It's a good question. You don't need to use Webpack or anything to build a block in Gutenberg. The API that we expose is all kind of ECMAScript 5 compatible so just regular old JavaScript that you can run in the browser as is. And just using, and on the handbook the wordpress.org slash Gutenberg slash handbook we have snippets in both ECMAScript 5 which is stuff you can just kind of copy and paste into the browser straight away. You don't need to have any tooling set up at all and that will work fine and that's completely supported. Many JavaScript developers prefer to use newer JavaScript features in particular because Gutenberg users react. Many people prefer to define their components using JSX which is the kind of HTML looking syntax for JavaScript and you can opt into that. That's when you would have to set up Webpack and something like that to compile that fancy new syntax into something that the browser can understand but it's not necessary. Does that answer your question? Why don't we take one from the floor and then we'll come back to your question, Kat. Yes, when you say use JavaScript I spoke at a very experienced developer and he says no one uses JavaScript. That's yesterday's news. You need at least a solid IDE to actually do something with that. How does it integrate with any extra IDEs because cutting JavaScript may not necessarily work very well for a lot of people? Yeah, of course. You would define your block probably in a plugin that you're building and most of us who are writing plugins would use an IDE Visual Studio Code or PHP Storm, something like that. Most of us would use something like that to build our plugin and I can't name an IDE that doesn't have good JavaScript tooling in it so it should work very seamlessly. So is the question then you don't need different JavaScript tooling for Gutenberg than you would for any other JavaScript development that you were doing? Exactly. Okay. Is anyone here a front-end developer, a theme developer? Okay, so this question is for all of these people. You people. How much more styling needs to be added into their themes to accommodate for all the blocks and the spacing and the new components that are actually in the editor? Yeah, that's a great question. So Gutenberg defines a small amount of CSS for all of the blocks that are included in it. And as a theme developer, you could introduce more CSS than what comes built in to tailor the blocks for your specific needs. Maybe you want to match the appearance of your website or maybe you want to customize the block styling somehow. The styling you introduce in your theme would add on to the styling that comes with Gutenberg. Does that answer your question? I think that would be an interesting exercise for someone to do to kind of catalog the blocks that are there to be able to say, if you are a theme developer, you might want to look at tailoring what your in-store Gutenberg, have a play with it, and then have a look at the kind of blocks that you might want to customize for your own. Hi, I have a couple of questions from Twitter, actually. So the first one is a reference to yesterday's keynote Advanced Custom Fields says, super impressed with the demo. So congrats, Luke. The reusable shared blocks feature is a great idea, but only works with a single paragraph block. What about images and text? Yeah, shared blocks, they work for any single block. So if you have an image block, you can convert it into a shared block and use it throughout your website, throughout posts and pages in Gutenberg, or a paragraph block, any block, a shared block, any block can be made into a shared block. Is that the kind of answer? I think so, yeah. That's how I understand it as well, yeah. And the second question I have is from Robi Lawrence. Can you create Gutenberg templates or layouts so that post design is always consistent without recreating the layout on each one? Yes. Yes, you can. I think it's when you're defining your custom post type, you can specify the kind of initial set of blocks that will appear in that post. You can even lock it down so that the user can't add any more blocks. You can even lock it down further so that the user can't rearrange the blocks, which is kind of nice. You can build a custom post type that really matches the kind of design for your site. Does that happen in the interface that you know the editor, or is that something that has to happen in the code? That's something that you're specifying the code, yes. I know it's not really a complete solution to replace things like ACF, but if you are able to write that code and you're able to develop your own custom blocks, then templates and custom blocks combined would go a very long way towards solving that ACF problem actually in a much more user friendly way. So that's starting to sound like Gutenberg becoming more of a page builder than just a content editor. Is it there yet? Is it that? So page builders, I'm sure, is a topic we'll get on to. I'll say one more thing about this ACF topic and then answer what you're suggesting. So where I think ACF may go in the future or a plugin could replace it doing a similar thing. ACF, all it does is it provides you with a user interface for adding custom meta. We could do that with code if we wanted and create custom meta options for a post or we can use ACF which is a nice user interface that stops you from writing the code. So there's no reason why another plugin couldn't come along and help you define custom types with preset block templates. Which is basically what ACF does in a different context. On the topic of page builders I think there's a lot of confusion because I don't define Gutenberg as a page builder. I define it as a content builder. Because when you start to pick up page builders and things like this, a lot of the time it goes far beyond just the content of that page. Sometimes you can do things like, I want my header on the right hand side, my logo, and then put the navigation at this point and three widgets in the footer and things like that. Gutenberg doesn't do anything in terms of the layout of your website. It just handles the content of your blog posts and your pages and your post types. So there's a bit of a difference there. On that thing that you guys are talking about just now, even if you code from the code you have all these blocks in Gutenberg in the content in order to replace it with the ACF pro, how are you going to do that a base query on that field specifically because they're going to be all sitting in the content instead of sitting in different fields. So when you're building a custom block in Gutenberg you can specify that the content from that block is sourced from post meta rather than from the post content. You pretty much create a new field from a code perspective and then you put whatever content in that block into that field. Yeah, so for example if you're defining an author bio block or something that might have two attributes that might be like name and description and you could source the name. You can specify in the kind of schema for that block, you can be like this is the name field and it comes from meta. This is the description field and it comes from meta or from content wherever. Thanks. Sorry. With the editor, I guess I come from an ACF background as well my idea is to not allow people to change things like colors and that type of thing just for no reason. Is it easy to turn off some of the features of the blocks like some of the say colors or sizes and things like that? Yeah, there's a lot of different ways to extend Gutenberg. Colors specifically I think we have like an array of allowed colors or something that we source from that you could specify but in general any of the standard types there's many different ways to customize we could for example disable a particular block type or if we want to lock that type down a little bit we could maybe remove one or two features from it there's hooks and filters in Gutenberg to do some of that customization and if that's not flexible these blocks are open source you could create a new one that's kind of based on one of the existing blocks. You touched on something briefly there which I think maybe needs to be reset because it's huge, especially if you are a theme designer or you work at an agency how many of you have had that experience where you build a beautiful looking theme handed over to the client and two days later it's the most ugly thing you've ever seen. Yeah, not just me. So one of the one of my favorite features in Gutenberg I don't know if you would have noticed during the demo yesterday but you know there's a sidebar and it's got the block options there and for some blocks you can do things like specify a background color or specify the text color well two interesting things with these color palettes you can choose as the theme author which colors it's possible to choose from and lock it down so maybe you can choose one of just three different colors and not the color picker where they choose blue or pink and the other cool thing with this is that so maybe you've got five colors that you use in your theme you can just set those for the text and the background but the other really cool feature is that suppose I set my background to white and my text color to pale yellow right Gutenberg will give me a notification give your users a notification that says this is going to be really hard to read you should consider changing the color of the text or the background because it's not enough contrast so yeah that's one more question hi I read online that this is going to be default feature in WordPress with WordPress 5.0 I have a concern with it we have plenty of websites online and once it's going to be default feature we use some other plugins like Visual Composer and various others in different websites so once this gets launched and we update our WordPress is it going to affect the current website or is there any option that we can use either this one or other content editor if there is a problem yeah so I actually ask the same question from the team that are developing and designing Gutenberg and working on it at the moment and it was one of my fears as well so firstly the initial release of Gutenberg and correct me if I'm wrong Luke but is going to give you an option to actually try it that's the next release of WordPress so the next release of WordPress and then when Gutenberg drops into core it is going to give you an option to disable it or to replace it with the classic editor or to be able to download the classic editor plugin to override the Gutenberg so you will have some options there is that correct does that answer your question I think my I was going to add something if I may I think one of the recommendations is the plugin is available now to download now and so my recommendation is if you are fearful about what's going to happen in the future download it and try it on a staging server or on a local development environment to see what kind of effect it's going to have and then you can plan ahead for that just to make sure that it doesn't all go to custard when it does become core okay so you use visual composer right so right now in visual composer isn't there an option when you go to create a page with the visual composer tooling to just create that page with the normal editor instead we don't want to do that I know I know what I'm saying is once Gutenberg lands that same option will still exist you'll open up your visual composer be able to compose a web page just the same way as you do now and then if you want switch to Gutenberg you can choose it's the same with beaver builder it's the same with divi you can choose whether you want to use their interface or the built-in editor and so right now it's you choose the classic what we're calling the classic editor or the page builder and in the future you'll choose between Gutenberg okay is that that default content editor even like if we download this plugin and install on the website on stating server is that other plugin also available so that we can try both like installing this one and then if it doesn't go well then we install the other one you mean the classic editor plugin available now yeah the classic editor plugin is available now if you install it then and activate it then when WordPress updates then you won't get Gutenberg okay but don't do that and here's why I'll tell you why is because Gutenberg is more than just a new editor the block paradigm the Gutenberg users is going to make its way into every part of WordPress in the future WordPress won't have widgets maybe they'll still be called widgets but they'll be completely under the hood translated into blocks content blocks in the future when we go into the customizer we'll see our content blocks on the front end of our website and maybe update them from within the customizer so you can imagine all of these different ways where content blocks as a paradigm are going to make their way into all different aspects of WordPress if you want to install the classic editor that is definitely an option available to you but you'll be left behind Luke has a question no I have a question for Luke the previous question is actually to me very relevant because it's a bit of a sample of what I hear from a lot of people in the community so I know Luke has a great vision for where Gutenberg is going to take us and if you'd like to share it I'd love to hear it again but on the flip side of that we also have a lot of people that I suppose in essence are a bit scared of change and is this going to break my site what do I have to do to get on board what is this going to mean for my business for my blog and you've got these two total opposites opposite views of Gutenberg that puts us as engineers and developers in a very tricky spot because now who do you cater for if you take on any project right now it's very hard to know all in Gutenberg because soon WordPress is just going to be Gutenberg or the need to cater for everybody that's still using the classic editor so I suppose from the panel I'd like you guys maybe to take out your crystal ball and have a look and think what's the adoption for Gutenberg going to be once it hits course everybody just going to see this is great let's just get on board and within a month everybody is just Gutenberg is there going to be this long trail of people kind of trickling in and what does that mean for us as engineers and developers let's all have a shot at this hey and then we can compare later on my prediction is that we'll hear a lot of very vocal descent in the first three days after 5.0 comes out within a month there'll be less than one percent less than half a percent of websites that don't run Gutenberg I mean already I've noticed in the last year since WordCamp US the attitude in the community has shifted somewhat from that of a fear of the unknown to a positive attitude how do we make this happen what can we do to help I hope it's an instant success is that what you said yes that would be my hope okay so I'm going to approach this from the the small business user and my clients so the users of the websites that we create and also I do a lot of WordPress tutoring one on one and for the last few weeks at least I've been turning on Gutenberg and so the first instance of these people seeing WordPress editor is actually these blocks and it's surprising me actually how quickly people are embracing that and going I thought it wasn't going to be like that I didn't know we were able to do this so there's a sense of kind of a little bit of excitement when people see it because it's quite refreshing and when you compare it to things that have been around for a while like Squarespace where you've got these drag and drop kind of blocks and still limited but like within content and it's just quite natural and I think people are going to be quite pleasantly surprised that WordPress has kind of brought it in and making it native I don't know if that is future but I know that it is present and I think that it's exciting not scary I would like to add something too may I so I approached this question from the other end of the market which is the large scale enterprise and we as an agency have embraced Gutenberg very very early on and there is pain there has been pain for us in some cases because we look at some of the things that we want to build it takes longer than we thought it was going to because there's a huge learning curve and even for our guys who are very experienced PHP developers in a lot of cases having to embrace this new paradigm with developing a lot more closely and react in the JavaScript on the other side of that are the clients who are we're putting them in a place where we're almost free not so much future proofing them things do change the stuff that we're building now we're not going to have to go through the technical debt of then converting them into a place where they're actually using the classic editor sort of going forward but we but it it has come with some pain and some challenges and but I think we're all on this place at the moment where we're prepared to embrace that for the good of the community and for our clients going forward the thing that I wanted to add to the conversation on this particular topic is that I love WordPress as much as the next guy right but the current editor is objectively bad it just is bad it's old and it's clunky and it hasn't been updated in years and so if you're going to tell me that you don't like Gutenberg fine but show me what's the alternative to the current editor because you know we need we need it to be updated we can't just love it because that's the way it's always been exactly and on that note I think Matt Mullenweg said something that I agree with which is like it would be very profitable and easy in the short term to do nothing but if we want to build a WordPress for the next 15 years you know let's do it I think the beauty of WordPress in general and the way that they have added many changes over the last few years that we actually really they you the automatic team and the team behind WordPress really respect the users that have been using it for a while they respect the different different capacities that people use it and that you know they understand that not everyone is looking at their WordPress website every day so they do tend to make things backwards compatible and I think that they've done a really good job of giving us options with Gutenberg and giving us an opportunity to test it and to disable it if we need to in order to get our sites ready and I think that that's kudos to the team they haven't just kind of you know slammed it down and said good luck there's been a lot of respect and care taken to make sure that too many people aren't affected by it. Who's next? Ricky Hi guys. Just want to a little developer question back to what you said at the beginning what do you need to create a block? You said JavaScript, that's a great answer. You didn't say react. So my question is about Gutenberg compatibility with other framework, JavaScript frameworks if it's possible to create a block in other frameworks and if it is possible like I heard with Zoomer would you assuming that you have different skill set or you could have a team in UJS or whatever Angular or stuff, would you actually even try or would you just like build a new team and react or a high react person? I mean how flexible the API that's my question. We've tried to build the APIs to be as react independent as possible I think I've even seen a just somewhere or maybe even a poor request I forget where I saw it where someone had built like an interoperability layer between view and what we expose so it's definitely something you could look into doing I don't really know how to answer what I think you're asking which is like is it worth retraining your team to use react I don't know maybe where we can we have tried to make it as framework independent as possible you've seen any UJS Angular implementation of blocks out there or is it not? find me later I'm pretty sure I've seen a view implementation of a block so we've got maybe eight or nine minutes to go so just giving you that heads up basically we have eight minutes to go so if you are desperate and busting for a question then get it up get your hand up the question they're going about the structure of Gutenberg there is a word that it's not only JavaScript but also PHP hence when you start testing you've got to have a specific hybrid environment to do that is that correct could you just put more light on that what is that actually mix of JavaScript and PHP for example a block yeah so it depends on the block you're building if you're building a kind of a user facing like an entirely user facing block then I think you would only need JavaScript where you would need PHP to enter the mix is if you're building a what we call dynamic block which is for example the latest Posts block that Luke demonstrated yesterday that's a dynamic block because when you view it on the front end the content you know is generated on the fly and that's done with PHP is that can I help one is in terms of framework one is entirely browser based JavaScript and the PHP goes into a back end as you're saying doing some operations so you need actually some setup for local environment or what's the advice on that yeah you if you're building a block you would be doing that in a plugin and your plugin would contain both JavaScript and PHP code in that case did you have something I think I would look at WordPress.TV and there are lots of good talks there on setting up your IDE so there was a talk just yesterday about setting it up with using XD bug for your PHP and then there are different things that you can use as well for debugging JavaScript in the browser so in terms of your IDE setup and all of that sort of thing I'd just refer you to some of the previous talks at WordPress question over here sorry just we also have seen in the community a tool called create gluten block which might be useful too as like a boilerplate for getting started awesome yeah hi so during the keynote yesterday Luke you were discussing some social media orientated content blocks for Instagram, Reddit, YouTube etc I was wondering how they were implemented regarding whether the content was brought in directly through the browser or if it was possible to cache some of that content PHP or server side and what we can do to make those content if the service on the other end wasn't serving fast interestingly that is not a new feature you can do that in the current WordPress editor only there's no button for it you just have to know that you can paste a link if you were to paste in that same Reddit link into the current editor and hit enter it would actually embed that in a very similar way users technology called that it would embed and I don't believe there's any caching layer but correct me if I'm wrong I think it happens on the fly in the browser yeah my understanding is that those blocks are implemented by the front end hitting the or embed endpoint if you wanted to implement caching on the server you could maybe look at customizing that block to have a to make it into a dynamic block I would note that a block doesn't necessarily have to be static or dynamic you can have a hybrid you can have the static content that renders you know everywhere like in an email client or an RSS reader or something like that and then also define in PHP a render callback which will replace that block with some dynamic content on the main front end of your website if that's a use case that you have I've really enjoyed the Gutenberg experience in developing websites but my question is around this what usability tests have been undertaken in assessing high performance bloggers workflow and performance in writing content lots actually I've sort of been involved watching the Gutenberg development process from the designer perspective and there's been some a bit of design led work done on the customizer in the past but to me Gutenberg is really the first major WordPress component to be created with designers sort of implementing the first idea of how it should work and then the developers coming in around that so to me that's a really exciting development and I've been a part of and seen a lot of user tests taking place actually a lot happened in Brisbane surprisingly and all around the world at word camps like this one and I've seen them at a word camp in Europe and in the US and basically there's been a lot of user testing and there was published on Anna Harrison's blog the user test that she got people to do and that I think was used as a bit of a template around the world so yeah it's exciting because this is really the first time that's been done in WordPress and I hope we see more of it in the future okay we got time for one more question so what would you suggest as the perfect transition to get used to Gutenberg for the for a website is it to install the plugin and be proactive I guess and if so what will be the difference between the Gutenberg as a plugin and once it's in a car will there be any difference there'll be less bugs in core so is it ready to go live now as a plugin on a live site I use it in production so I don't know I think I think it's a good time now we're using it in production as well we've been bitten a couple of times but it's changed but now that there's code freeze or feature freeze I feel like that's going to happen less and less so my advice is install it there's still people that would say install it locally and try it out before you commit but I install it and use it and give people feedback there's plenty of opportunity to be able to give feedback to the team to be able to help make it better I'll ask you since you guys are using it in production now what's going to be the best way to flick over from being using the plugin to when it drops into core what's the kind of process do we turn the plugin off or will it automatically turn the plugin on for us I have the answer on that one if you install the plugin version of Gutenberg now when Gutenberg makes its way into core in 5.0 the plugin version automatically deactivated so it will be completely seamless that's awesome, thank you that's a good place to end it we're around if you guys have any other questions you want to ask us directly we're more than happy to do that thank you thanks to our team


Damn son, some of this music though, got that bass. What's good YouTube, real estate gaming here. Today we are in Nightmare Squidwell. Now, if you don't know what Squidwell is, it's technically where all the Squidwards related looking people, where all the Squidwards basically live in Bikini Bottom. It's like a neighborhood gated community where all the Squidwards live and they're like stuck up and yeah. So let's go ahead and begin with this. So apparently something crazy happens like an alternative ending to Squidwell. We must find Squidward. It's already dark. Oh, I must have fallen asleep. Patrick? Let us knock on some doors to find out where he is. They click left to knock. Oh, oh, okay. That we're about to punch on Patrick right in the face or something, man. What is that? Who are you fighting? Okay, so we're supposed to look for Squidward. Hello, have you seen Squidward? Hello, Squidward. Dude, so we're just gonna bang on every freaking door till we find Squidward, no way. Like how do the people not get mad? Where is everybody? That is a good question, Patrick. See, that might be like the smartest questions we've ever thought about. Okay, so we- Did you hear this? Hear what? I didn't hear anything. Wait, I see something on fire back here. Wait, let's check this out. Maybe Squidward is back here. Oh, wait, there's like something on fire. Why is that light flickering? Totally not scary. Is that Squidward? What? What the? Did he just disappear? Do you remember that crazy flying guy with a leaf blower? Dude, that was- Yes. Well, I guess he crashed. He crashed with the leaf blower. So if you guys don't remember Squidward at the end of the Squidwill episode, he takes off flying in a leaf blower and it just ends the episode like that.  But, oh my God. As a matter of fact, it was Squidward. And it seems like he crashed that into here. Okay, what? Okay, now what do we do? I'm kind of confused. Do we go in there? Patrick, where are you? Okay, where's Patrick? Patrick! He's under his house. Is that his house? That's not- Patrick? Where did Patrick go? Oh, Gray, what do we do here? Nobody opens. That does not seem to work. All right, nobody. Yeah, this is like nobody's here at all. All right, I guess let's go look for Patrick or something. Oh, wait, I see Patrick. What the? What is he doing out here? Of course he's at the vending machine. I was just looking for something to eat. Sorry.  Patrick, I about knocked some sets into you, man. I thought like Squidward took you away or something, bro, that I lost my best friend for a second, man.  Right, um, come on, Patrick, let's go. Let's go over here. Wait, I think I see something. Oh, we have a flashlight, cool. I see like a blue light. Oh, wait. I didn't know the flying Dutchman has a- What the flight Dutchman has a bicycle? I didn't know the flying Dutchman has a bicycle. Why is there a car? Okay, we're driving right now, bro. I didn't know what's going on. Oh, Patrick's in the whip with me. Right, uh, why is that bicycle like moving on its own? I'm gonna try to catch it.  Come back here. All right, I'm not gonna be able to catch up to that thing. Let's go back to the car. Maybe we need to destroy these barriers on the road. I'm gonna try it. Come on, Patrick. There goes nothing. Brace yourself for impact. Oh, oh, okay. Oh, oh, okay, that was easier than I thought. Literally just moved out of my way. Okay, so what am I supposed to do? I'm just driving around the neighborhood.  My pants are already wet. Wait, I died? Wait, did I die? I'm not, wait, oh, I see a flying squid. What? Okay, I don't know what just happened. I think I got ran over by the freaking flying Dutchman bicycle. Follow me, Patrick. I see like some red buttons. Maybe this might do something. Oh, wait, I see- Okay, Patrick, go to the outer switch. Dude, I think I should like some dead squid words and actual squid word right there. All right, Patrick, you ready, man? Three, two, one. I don't think this is gonna work. No, I was not ready. Dude, come on. Let me cannon press when I say so. Or, Dude, all right. What? Well. What's comes next? What is this man saying, bro? Now, now. No, I was not ready. Are you kidding me, Patrick? Let me cannon press when I say so. Oh, this is terrible. Seven, 12. Whoa, what's comes next? Now. No. Thank you. I don't know who's dumber, Homer Stinson or Patrick. That would be a cool, we should put them in who's smarter than the fifth grader. That would be awesome. Okay, squid word. There is Squidward. Squidward, we have been looking for you all day. Bro. Hi, Squidward. Why are you in a cage? SpongeBob, Patrick. I am happy to see you, really. Would you be so kind and help me out? The tentacle acres is a trap. The tentacle acres. They are cannibals. That explains it. They are the ones I am next. I tried to fly away with a leaf blower, but I crashed. Oh, okay. Hey, knock me out. I'm through me in cage. The tentacle must be somewhere near here. Maybe you see them gathered at the park. Please hang in there. We see what we can do. Either we find the cave or there is another way. Yes. Oh, no. All right, so we're supposed to find this freaking key that he's talking about. And he's talking about some people that gather around the park. So there might be like a billion evil Squidwards out there from what we know of. I'm not even sure Patrick could do this, bro. Just look at his face, man. All right, let's go, Patrick, come on.  Guess the world. Is that something about the park? Oh, I see. I see some Squidwards. I think they're either eating someone. Okay, Squidward is not lying, bro. They are really cannibals. Oh, great. I think that dude might have the key. What is this, Patrick? This does not look good. Oh, whole shift to red. Patrick, go distract them. Be my meat shield. Be my human meat shield, Patrick. Be my sacrifice. Yo, my boy. They're really going in. Oh, okay. Oh, he's low. I could do this. Oh, I got the key. They killed Patrick. Patrick, my boy, Patrick is dead. Okay, maybe if I go do this. Wait, what? He moved. Okay, he's not dead. I think he might be playing dead after all. I don't freaking know, but okay. He's not dead. He just got up. What the? Dude, I was so scared. Oh, let's get us out of this place. Okay, I think we need the car, right? Patrick, come on, let's go, man. All right, let's get out of here. Oh, the car's right here. Okay, cool. All right, we need to be quick because I'm pretty sure there's going to be millions of Squidwards. People, Squidwards coming out of everywhere. Okay, we're Patrick. We're all in here. Go, go, go. Okay, this thing is super slow, man. I don't know if we're going to be able to escape in this car. Like this slowest car on earth. Or should I say bikini bottom? Oh, what? Do the houses transform? Oh, oh, oh. Sorry, guys, my driving, not the best.  Okay, go, go, go, go. Oh my God. Well, can I run him over? Oh, you can. Take that. Oh, you're even Squidward. You too. Yeah. All right. Who's that, man? Who wants some of this? Bro, this is fun, running over Squidwards. Oh, the house. Heck no, man. That's the monster house. I am out of here, bro. Okay, go, go, go. Nice. Dude, I think I can do this all day. Okay, I'm just kidding. No, we need to get out of here. We need to escape. And, but that's the thing. I don't know where the heck I'm driving. Oh, wait. Oh, oh, the house. Okay, this has to be it. This has got to be it. What? Who's this place? Oh, cow is rising. What? Oh, no.  Is that a giant Squidward head? It is. Bro, what? We should do fireballs. Oh, okay, we need to dodge these fireballs. Oh my God. No. Squidward. I thought we were friends. Okay, but you're not actually Squidward.  Dark squid. Come on, man. You have some mercy, dude. Why you got to be so evil? It's only eight in the morning for me, man. Come on.  No, no. I'm just gonna keep spinning in circles till I actually get close to hitting one. Then I'll go the other way. Oh my God. Look, why is there so many freaking fireballs? Whoa.  I thought I was gonna die there. Okay. Oh, great.  Look at this. This is madness. I'm telling you, this is madness.  Oh, oh. Okay, go, go, go, go, go, go. Dude, when? Am I supposed to, like, honk at him? We boosted out of there, baby. We gotta go yet. We are trapped inside a drink. Clare, Squidbill love the demons the brightest spell. Oh, what? I have the burning leaf blower. Let's claim this play. Dude, we got a flamethrower? No way. Hey, that's what I was talking about, baby. Okay, where do we? Oh. Oh. Oh, Hicknow, man. What? I did not sign up for this. Actually, I did, as a matter of fact. Ha-ha, take that. Have you guys ever had fried squid? No? Well, today's the day. Oh. Oh no, Hicknow, dude, I'm getting jumped. Dude, I need more fuel. Okay, this is a little dangerous because they're gonna look crazy, man. Start ganking up on you. Oh. Okay, where's the fuel? Hicknow, to the no-no. There's too many of them. Dude, why is there like, a trillion freaking flying squid heads? Burn, baby, burn. Dude, this is so satisfying. Yeah.  Oh, man, I have a lot of blood on my screen. That's not good. Okay, chill out, man. Stop screaming like that. You wanna scream? You wanna reason to scream? Here's your reason to scream. Now you can scream all you want. In agony and pain. Okay, come on. Dude, how many? We're literally like, flaring up this place. Oh, there's actual Squidward's out. Oh, burn.  Okay, do I just keep burning these guys? I feel like it's never ending. Oh, oh no. Oh no. I need more fuel. Look at all my face. Burn, burn. Why should I'm supposed to like, go somewhere and I keep burning these guys? That's why it's never ending. I feel like that might be the case. Okay, I'm gonna walk around. Maybe I find something. No. Okay, no, I think I literally have to burn these guys. All right, except there's no fuel over here. Great. What do I do? Somebody help me. I don't have any fuel. Okay, I don't see any fuel canisters anywhere. Squidward, Patrick, I need your help. Okay, I think I might actually be close to the ending already because I don't see as many popping up. All right, let's grab this gas over here. Okay, I'm gonna run over there to them because it does deplete even though you don't use it. This seems to be the burn. I mean the end of it. There you go. Right, so do we burn the houses? Hello? Anybody here? Okay, there you go. I'm like, what the? Thank you, SpongeBob. You saved us. Oh, you're welcome, Patrick. Anything for my best of buddies, man, you know? I risked my life for you guys. Okay, in memory of Stephen Hill, oh yeah. I might be the voice of SpongeBob. He's a legend, man. Hey, why are you T-posing? Hey, Patrick, stop doing that T-posing, bro. Hey, hey, hey. All right, I'm not gonna lie, it was pretty dope. I like this game. The graphics were on point. I liked how they picked off of an episode which was the Squidward episode. It just wasn't like a random SpongeBob game. It kind of felt like it was canon, you know? Like it was supposed to be like a SMB episode or something of SpongeBob. I don't know. It was a cool idea, fun game overall. Guys, well, thank you guys for watching. I'll link the game down in the description so you guys can download it, play for yourselves if you're a SpongeBob fanatic. And yeah, thank you all for watching and I'll see you guys in the next one.


Hi everyone, Joe for Jasper's Case Breaks dot com coming at you with another two box break of a 2021 Panini Mosaic Football Choice Edition. Pick your team number eight. Remember breaks nine and ten are the last last breaks of that case that we popped open. I don't think we have any more choice in the store. So maybe we can run another couple of breaks back tonight. Now if you follow the instructions here, you have a chance at the Patriots. So let's go to the list. Big thanks everybody here. Let's gather everybody's names and sort by column A. If you bought at least two teams to get one entry like Brandon did, Craig got two teams. That's an entry. Daniel got two teams. That's an entry. Other Daniel got two teams. That's an entry. Jeremy did not. Patrick with two teams. That's an entry. Sean two teams. That's an entry. Serenity two teams. That's an entry. And Steve Burch bought 16 teams. I bought half the break. Half of those become entries. So that's eight. Basically buy an even number of teams and half of those become entries. So I got Brandon, Craig, Daniel, Daniel, Patrick, Sean, Serenity and Steve. Alright so let's gather all your names. New dice on random.org. New list. Name on top gets the Patriots in this two box break after six and a six. Full twelve times. Good luck. One, two, three, four, five, six, seven, eight, nine, ten, eleven and twelfth in final time. Good luck and congrats to Daniel. Wow, beating out Steve for the Patriots. That's Daniel D. Let's delete that column there. Resort by team and let's print and rip. Good luck. Alright so here's the final printout. Thanks everybody for getting in. Appreciate it. On a Sunday, March 6th, 2022. Really nice stuff popping out of this choice. Not too many of these breaks left. Just two left. So the next one is already up if you're watching live. If you ask these casebreaks.com get your teams. And if you're watching in a later date in the future just keep checking back on the football section. There's always fun stuff there. Jaspyscasebreaks.com. That's the auto right there. Alright let's see what we got. Are there two peacock parallels in here? Interesting. Alright we're going to start off with Derrick Brown. Silver for Carolina. That's going to be for Steve Burch. We've got a 76 out of 80. Brian Dawkins. Eagles. Craig. And a nice 5 out of 1 off the jersey number. 5 out of 8. Derrick Carr. Let's see if the Raiders will probably get an extension deal done with him. Nice one. Who's got my Raiders? Steve Burch does. Nice. He's out of 8 parallels. I've been selling really well. I think it's the black and yellow. Black and yellow, black and yellow. We got 3 peacocks here. What a box. Peacock parallel number 1. Gardner, Minshew. It's for the Jaguar. Steve Burch. Got another peacock parallel. Jerry Rice. Super Bowl MVP's insert. Sean Mattick with the Niners. Now we got man of the year Charles Tillman. Chicago Bears. That's Sean Mattick. 3 peacocks in this box. Yeah. That's right. Are they extra cards or is it the same amount of cards? I don't actually have them in keeping count. There's 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. I guess extra cards. They threw extra cards in there. Wow. And we've got a Trey Nixon for the Patriots, Daniel. Yeah, I guess so. 70 out of 80. And then we got a Quitty Pay for Jeremy and the Colts. And behind Michael Carter is a Patrick Sartain autograph. Rookie autograph for my rival is the Denver Broncos. I think he had a pretty solid season. Steve Burch with the Denver Broncos. And there's Michael Carter. And Michael Carter goes to Steve Burch and the Jets. Yeah, exactly like that, Jay. There's the Otto over here. And what is that? That looks different. Sort it like that. All right. We've got Jerome Bettis, the bus. Yeah, I have two. They're odd creatures. They're loud too. 60 out of 80. Jerome Bettis, the bus for Steve Burch. We've got Stefan Diggs peacock parallel. AFC insert. Can you dig it? Steve Burch with the Buffalo Bills. Jacob Harris, another peacock parallel. Wow. Jacob Harris rams Brandon Hall with the rams. And the other peacock parallel is for Tennessee. Des fits Patrick. That's for Daniel and the Titans. These are really sharp. These are nice. Behind Silver Tua is Terry McLauren. One of one. Wow. Patrick K with the Washington Commanders. With the one of one. And out of fives and under get the train whistle. All aboard the Big Hit Express. That's nice. And we've got a Silver Tua for Miami. That's for Daniel F. I think the one of ones are called Nebula maybe? We've got a Tom Brady Super Bowl MVP's insert. That'll be for Daniel. Daniel D. And our autograph is going to be a rookie autograph. That's Jamie Newman, Philadelphia Eagles. That's going to go to Craig and the Fly Eagles Fly. What a break. So there's only supposed to be eight cards per box. But we've got one, two, three, four, five, six, seven, eight, nine, 10, 11, 12, 13, 14, 15, 16, 17, 18. Yeah. So we've got a couple extra cards in that first box. Some extra peacocks, which were pretty awesome. I'm Joe for jaspeaskasebrakes.com. Another two boxes in the store. If you're watching live, jaspeaskasebrakes.com. Check out our football section. I'm Joe and I'll football with you next time. Bye bye.


Alright folks, we have to talk about something we switched to today that really wasn't on the plan. I had this Metroid video in the works and maybe I'll still drop that video today if not sometime this week but you guys know I want to make sure I get the latest news about the Nintendo Switch 2 out to you guys as quickly as possible so if you really do appreciate the news we're about to drop right now and this is something that I don't think a ton of people are talking about yet go ahead and drop a like on this video subscribe to the channel where we got this goal to get 150,000 subscribers by the end of the year and you know what why don't you hit that bell icon to be notified of all future uploads so what are we talking about well how about a major third party game coming to Nintendo Switch 2 now this isn't a for sure thing but the track record checks out so what are we talking about well it's at Sushi Izuka Lizuka I look I don't know how to pronounce his name he is a Nintendo employee and he is an employee whose job is to coordinate with external entities to plan and approve third party projects and then obviously accept submissions when they're done you know here's like a direct quote we receive ROMs recording media with built-in software programs submitted by licensees and send it to our factory for mass production we also receive new game proposals submitted by licensee since the business department serves as the point of contact for licensees it also plays the role of coordinating with other departments within our company so the point is that this guy works for Nintendo and handles a lot of third-party relations right he works right out of Nintendo of Japan and it turns out that he has a credit in a certain game this year that is very difficult to run a game that is well not even out on some platforms obviously not on a switch there's no chance it comes to switch and we are talking about Baldur's Gate 3 so in the credits of Baldur's Gate 3 there is a special thanks to Ed Sushi Izuka now Baldur's Gate 3 is listed on this little website here as 2020 Windows and that's not what his credits for it's not for the Windows version of the game that's just when the early access for Baldur's Gate began so that's just what the release window is listed but if you actually dig through a lot of the legalese in it it looks like his credits actually date to 2023 now why does this matter as I said this guy's a Nintendo employee well he handles all these third-party relations and if you look at all of the games he's credited on and again this is an every game that he's credited with period this is just what he's credited with on this website you'll see games like Disney Illusion Island right coming to Nintendo switch Shemigami Tensei 5 we know that's on switch Marvel Ultimate Alliance 3 the black the black order you'll see other third-party games and they're like Dragon Quest 8 you'll see other ones Dragon Quest 7 what about Dragon Quest Monsters and Dragon Quest 6 Samurai Warriors 3 so every game that he has any credits in special thanks or otherwise has come to a Nintendo platform which again isn't a surprise because this is what he does his job is to help get third-party games onto and approved for Nintendo switch it's literally his primary role at Nintendo so while he's a little unknown employee he actually has a very important role now this is where we get back to the Baldur's Gate 3 listing where he also is listed as a special thanks why is a Nintendo employee who helps get third-party games on Nintendo platforms given a special thanks credit for Baldur's Gate 3 again every other game came to Nintendo switch or came to a platform for Nintendo right whether it was we or we you DS 3DS etc etc right he has a lot of credits across the board so why what does this mean well clearly Baldur's Gate 3 is not coming to Nintendo switch right it didn't come to Xbox because of a parody clause or they couldn't even get switch screen to run on Xbox Series S there's no way in heck that Baldur's Gate 3 is going to be coming to Nintendo switch what this can only mean as that Baldur's Gate 3 is potentially or I guess if you look at the track record 100% for sure coming to Nintendo switch to and that folks would be as close to a confirmation as we can get without the game being announced for the first major third-party game that isn't Call of Duty because we obviously know once that deals done Call of Duty is going to be coming coming to Nintendo switch to now doesn't mean it's gonna be the right launch it doesn't mean it's going to you know be out next year but if he is getting credit for work on Baldur's Gate 3 what kind of work do you think he was doing well his job description is literally about getting third-party games on Nintendo platforms and since this game literally cannot run on switch it's very clearly for Nintendo switch to now this is a multi-platform third-party game so this would be the sort of games that Nintendo would want to try to get now why is this so impressive what Baldur's Gate 3 is a very intensive game look it might not look the most visually pleasing to you all the time it's all going to depend on what you are personally impressed by but it's a very difficult game to run it does there's no the sort of this way there's a reason that it is next-gen and PC exclusive it is a very very difficult game to run PlayStation 4 can't run this game Xbox one can't run this game the Steam Deck well technically can run this game runs it very very poorly and if they're going to bring this to Nintendo switch to obviously they're not going to want to release a poor running version now there are some things to consider we probably aren't going to get the split screen multiplayer if it was cut for the Xbox Series S I presume it would be cut for Nintendo switch to if they somehow pull it off on Nintendo switch to while they couldn't do it on the Xbox Series S they must have created some voodoo magic and maybe they did maybe DLSS help them run this thing at super low resolutions but all of a sudden it still looks really crisp I don't know that's obviously something for them to figure out during development but that is massive this would make it the most impressive game yet expected to come to Nintendo switch because we talked in the past now hey maybe they could have like Elden Ring be a showcase game for the platform to come out at lunch well what if you know like last time they showed off you know Skyrim and stuff and people were just so impressed that I was coming to switch which is a little weird because it's a bit of an older game but you know what you know what would be impressive what if when they show off Nintendo switch to they show it off they have all their games or you know some third party their NBA 2k is maybe Madden and obviously the first-party stuff but then they also show up all there's gate 3 running on Nintendo switch to remember when folks were talking about how the demos out of gamescom had to be fake they weren't real this can't be a real representation of what this system can do what if those demos are real and definitely were a representation of what Nintendo switch can to can do what if all there's gate 3 is on Nintendo switch even if or Nintendo switch to in this case even if it doesn't have split-screen multiplayer let that sink in for a moment if this game can be there then pretty much every major triple-a third-party game that's exclusive to next generation could also be there Nintendo will have somehow put out a platform that is a portable that can be docked and yes go toe-to-toe with the best most powerful systems on the market now again it's not gonna perform the same I get it but it getting the game at all and having it run well at all would be damn impressive so folks again links to all the sources down in the description big credit obviously over to family boards that did some initial research on this reddit as well as a reddit thread that sort of brought this up and and look I dug through the website I went through all the sources everything's checking out this guy it this is his job is to get third-party games and every game that he has a special thanks in came to a Nintendo platform every single one of them so if this one didn't come to Nintendo switch to this would be the first game in his credited history from this Nintendo employee that didn't actually come so when we talk about confirmations this is not an announcement I am not an employee at Nintendo I cannot confirm that bulgers gate 3 is coming to Nintendo switch but what I can do is point to this credited Nintendo employee and show you that he has a 100% track record with game credits to releases on Nintendo platforms because it's his job let me know you think about this down in the comments below I am Nathaniel Rumpeljantz from Nintendo Prime and I'm gonna catch you guys in the next video