So when we're planning this course, we had discussed having a wet-lap heart dissection, which are always quite popular. But the few limitations to the picklap, aside from the logistics and the fact that it would have taken at least twice as much time, so cutting into our hands-on practice time, that I find that heart dissections are good for illustrating the detailed valve anatomy and seeing the leaflets. But it's not as, for that 3D morphology of the heart, they're not as good because you're cutting open the heart and it's flat and floppy. And we thought that it might be more useful to actually do this with 3D models. It's the first time we're actually running it this way. So in the feedback, if you can actually give us some comments about what you thought worked and didn't work comparing this to a wet-lap, we'd really appreciate that. Also, any feedback can provide us on the phantoms that we're using the hands-on, because that's a prototype that we're developing further. So any feedback you can give us on how to improve them would be appreciated. And my apologies also for the small size of the room. This was due to my miscounting of how many registrants we had. So I'm not to Hikoba. And so with that, we'll get started. So I have no conflict of interest with respect to the content here. So the overall purpose of this presentation is for you to develop a mental model of the heart in 3D. So be able to both the morphology of the heart and how it's oriented in the body. So by the end of this talk, hopefully everybody can just close their eyes and actually picture this model in three dimensions, properly positioned in a chest, and be able to build the entire rest of the heart around the model of the heart base. So we'll start with the heart base, then we'll build the rest of the heart around it. And finally, we'll go through some 3D echo views that we'll try to interpret using the heart base as our compass. So I'll take you step by step in terms of how to make this mental model in your head. So we're looking at the heart base roughly from the atrial or the side of the atria and the great vessels and looking towards the apex of the heart. So we have two small circles, one in the middle, one in front. So that's the aortic valve, the pulmonic valve, tricuspid valve, and then a jelly bean for the mitral valve. So if you draw that shape and mark the centers of the circles, and then you connect them, and then you divide each circle into equal thirds. At the mitral commagery, it's relatively easy to remember. But once you do this, then it's pretty easy to figure out what all the leaflets are. And it was pointed out to me a little bit like a clown face if you make the aortic valve the nose, so that's another good mnemonic. But once you have left and right are in quotations obviously because these terms are based on what's called the valentine projection of the heart, which assumes that the heart is sitting in your chest like that, which it isn't, my heart would be like this. But if we use these for naming the cusps, you can try to just think for yourselves what the cusps are. So for the pulmonic valve, that would be the anterior, right, left. So similarly, right coronary cusp, left coronary cusp, and non anterior, posterior, and septal. And here there's an anatomic view looking from the correct side. So right is right, left is left, and top is anterior. So now try to picture where the interatrial septum would be in this diagram. So we'll be cutting from the non coronary cusps, where we're used to seeing it between the two AV valves. So that would be the interatrial septum. The left atrial appendage, so it would be here. The right atrial appendage on the opposite side. And the coronary sinus would follow the back. So if we add those in, and these are the two sort of fibers trigones that are the main structural foundation of the fiber skeleton. Have the interatrial septum, the AV node passes very close to here. The coronary sinus follows behind the mitral annulus into the right atrium, which would be overlying the tricuspid valve and the two atrial appendages. Everyone's following so far? Just stop me if I lose you. So now try to picture where the outline of the RV and the LV would be from this view. So remember we're looking from the top towards the apex.  So try to picture where the circle and the croissant would go. So again, you're looking, so the left ventricle has the inflow and the outflow very closely associated. The right ventricle has them far apart. So this is fairly crude to make it a little bit more accurate in terms of the contours of the valves. The tricuspid valve is obviously not a circular. The septal posterior commissure is marked by the presence of the coronary sinus. The antroposterior commissure varies very significantly across individuals. And the dilation usually occurs in this axis. So the valve would extend out this way. The circumflex follows the coronary sinus. And I've also marked the cut planes for a four chamber and a long axis view. So you can see in the four chamber, they're cutting across the mitral valve, the entreatural septum, the tricuspid valve going down. And then you can use the left hand rule. So that's the little compass rose up here.  So this is still imprecise because we're still flattening the whole thing out. So obviously it's not flat. So now adding the third dimension, it's a famous diagram from Netter. The main thing to notice is that the aortic valve and the pulmonary valve are not coaxial. So the long axis of the two valves, so we take your model and you picture the long axis coming out of each one. You can see they're roughly at 90 degrees. So if you picture a line coming straight out of the aortic valve, one coming straight out of the pulmonary valve, they're almost perpendicular. And you can kind of see that in the diagram there. And you can see it a little better here. This is a famous diagram by Zimmerman. I've been trying to figure out exactly how this diagram was created, whether it was based on a pathologic model or it was actually artificially built. Because it seems that these things don't actually exist fully in most patients. But in the center here you have the crown shaped support of the aortic leaflets. In the distance in the back you have the pulmonic valve, and then you have the two fibrous trigones here. So the AV node passes here, interatural septum would be here. And you have the right and left AV grooves. So these are not the true annuals of the multilevel intraocuspid valve. They're actually more accurately marking the atrial ventricular groove, the boundary. Because the annuals of the intravalve valve is more saddle shaped, in normal cases. And for the tricuspid as well, but it's not planar. And on the right is the projection of this model in the same position as this.  Because these models are all online, and they can be downloaded freely. It may be a bit slow to load up, but it should work. And you can spend that around on your device. So now that's the 3D version lined up as close as possible to our 2D. I'll just leave that up for a moment, just to, are there any questions at this point? And all these slides will be online as well, as well as the diagrams. So now looking at the orientation of it. So if you can just pick up your model there, and picture the long axis of the aortic valve. So imagine a long line running through the center of the aortic valve. Perpendicular to the, to the annular plane of it. That line, if this is your heart base, would go from your right humeral head to your PMI, to a point of maximal impulse, just close to your apex. So if you orient it that way, you can actually hold it the way your heart base would be. So for me, it would be roughly this way. So this is the anterior view. And then you just rotate it so that the bottom is roughly flat. And the aortic valve would be right behind the sternum. And the pulmonic valve is in the front, and some of you have it backwards. So this is mine, so yours would be flipped over. So the pulmonic valve would be in the front, I think it would be like this for you. So this line would go from your, yeah. So this part is very important, so make sure you get this part, because then the rest of it will be hard to follow without this. So again, picture the long axis of the aortic valve, going from your right shoulder to the apex of your heart. And then once you have that, then it can rotate about that axis. So for you, it would be like that, yeah. So from most of you, it should be, from your perspective, it should be like something like this. So that's the view from the right. And we've also, for this patient, modeled the esophagus as well. So you can see where the path of the TE probe would be. And obviously, there are very individual variations in the shape of the esophagus. So things aren't exactly like this for everyone, but for this individual they were. So that's from the right-sided view. So again, so for this patient, the humeral head would be here, down to the long axis, down towards the apex, that's somewhere near the back wall of this image. And now this is the most important view. This is the posterior view from the perspective of the TE probe. So that's going to be coming down the esophagus. So down here is our metasophageal window, because the left atrium is going to be right behind the mitral valve. So these hearts actually come apart. So here we have this, and the left atrium is here. And the esophagus is passing right behind it. So if we do this with the whole heart, the heart, the whole heart would be in this position. So that's the left atrium. And you can see again, so at about zero degrees, you're going to go through the interatrial septum, the mitral valve and the tricuspid valve. And you can actually see why in many patients to get the proper four chamber is not quite at zero. Sometimes you have to add about 10 degrees or so. And this patient illustrates why that happens often. Because if you do exactly zero, you're either going to get the coronary sinus back here. And if you move it up to get the middle of the mitral valve, you're going to have too much erotic valve in your view. And then the upper esophageal window be up here. The airways are passing in between.  The front one is the one that's double scale. Unfortunately, we didn't have enough of these for each person. But you can take them apart. And what I recommend is actually take them apart now and try to position them around the heart base. These models are not from the same patient. So it doesn't sound an exact fit. But you can kind of picture where each chamber goes in relationship to the heart base. So some of the joints are a little bit on the stiff side. So you can put it back together. You can put it back together. And you can kind of picture where it goes in relationship to the full size. So this is easier with this way. For example, like this would be your right atrium. So you can work out slowly. This set is missing the left atrium, unfortunately, which is kind of important. But we have a tetralogy of fellow model here as well. Well, it's anatomically, it's normal morphology, general orientation. So it's just the developer bit stenotic. But it has the right chambers and the right orientation. That one's not coming up. There is one that is glued. This one is not glued. But that one's OK. But this ring would be the tricuspid ring there. So we want us to put this one between. No, just kind of picture. I would take each chamber one at a time and position it where it would be. So like the left atrium. I mean, this one, this is a double scale heart. This is a single scale. So you have a bit of a mismatch. You can't actually put it together. You can't actually put it together. You can't actually assemble it with the base, because especially if your base is the half scale. But you can kind of position each one. So this one would be there. So the aortic outflow and the mitral inflow. Oh, you don't have a. Sorry? It doesn't actually fit. It's more yet. You can sort of do the chambers one at a time. We're going to make another version that does fit together. And I should acknowledge an important debt here. This diagram is actually inspired by probably one of the most used illustrations in echo teaching at Yuf in Toronto by Dr. Armran, which was his map of the mitral valve model and the heart base. So what's our finish time? Because you need 20 minutes? 15? OK. It's the muscle, I guess. So with that one, you have to look at where the appendage is to figure out which way to orient it. Yeah, no, you need 25 minutes. 14, 15, 10 minutes? OK. 15 minutes. 15 minutes, OK. Do you want to give people a hand? Just look around and see if people are lost or anything. Very good. Oh, thank you. How are you developing? They're going to be able to. It took me a long time to manage this segment, this one, a CT scan. But it's been, oh, thank you. Oh, yeah, yeah, yeah, yeah. Yeah. Oh, very, very good. Thank you. So I will look up where the pulmonary veins are. They're going to be able to orient the appendage. They're going to be able to orient it. And do you want to give them a hand? I'm sorry. OK. OK.  You can see whether you have a sinus venosis, ASDs, and while you have to go past the bicable, you keep turning to get the right pulmonary veins. So you go to 90 degrees, and then you keep rotating, and then these come to view, because your kind of bicable is there, and then you keep turning right, rotating right to catch the pulmonary veins. For those of you whose hearts have a, this is from a different model, you can kind of roughly hold it in that position. So because this one is missing the left atrial appendage as well, oh, this is here, so I think it's, yeah, that's the left atrial appendage, so it would be kind of like that. And notice where the pulmonary veins are in relation to the IVC and SVC. Less clear in your TET model, but in the, yeah. And this model is also, you can look at that 3D viewer on your device as well for this one. So you have the viewer, you can download the 3D file, which you have to use the separate 3D viewer to view. So you can save it, but the viewer right now that we're using it can't be saved, but it's not ours. It's on a third-party site. We are developing our own viewer that you can download completely and view. This is on Sketchfab right now, yeah. No, no, outside you can, yeah, as long as you're online. But if you download it, it'll just download the 3D data for this, which won't have, you need a viewer. You can download the 3D printer for yourself. Yeah, so all these models are, we do sell them, but they're also available for download and for your own use for free, if you have your own printer. So you're here for us to keep or not? Yeah, so you got to keep your heart base. The full hearts we need right now, we don't have enough of them. But yeah, but you got to keep your heart base so you can, as long as you can reach consensus about who gets the full size one or who gets the half size one. So you're welcome to keep going with the hearts, but for those of you who are bored with that part, we have a few 3D data sets. So I'll put them up one at a time and try to orient your heart base to match what you're seeing on the screen. So for example, for this one, this is a mitral valve. And if there's appears to be a valve in front of it, that's presumably the aortic valve. So the heart base would be something like this. And once you picture that, then you can quickly figure out what these dimples are and what's going on there. Because once you get comfortable doing this, whenever you get your 3D data set and if your probe happens to move and you lose your mitral valve, you don't have to go back to 2D to come back. You can actually figure out which way I need to turn the probe to get the rest of my mitral valve back while it's still in 3D, which would really speed you up in the OR. In the five minutes you have to get a full study done. So this is a very similar data set, similar position. They're gonna try to picture where the heart base, how we positioned here. And for example, which way you would have to rotate the probe to see the tricuspid valve. Almost the same as the last one. A bit more challenging. So this is a bicuspid aortic valve that we're looking at almost on fast, but it's not in the standard view. And we have the mitral valve in the back. So again, if you position the heart base, so the right atrial appendage is here, the left atrial appendage is here. So what we're seeing here is the right atrial appendage and the tricuspid valve is behind it. We can press the time for this workshop to leave more time for the hands-on, but all these slides will be available online. So yeah, a similar view. This one's a 3D model based on the data sets. This is more of an on-fast view. So which cusps are fused? Nonetheless, this actually matches your short axis view. Again, if you can picture the heart base in there. And again, this part is sort of behind, but that's the orientation. Okay, I'm gonna hand it over to Max to tell us sort of a few more. So my part will look awful compared to what I thought has done so far. But I just wanted to add a few more pictures. So what we did just now was to see if from 3D models can understand a bit more of the anatomy of the valve. And so I start with this slide very quickly just to highlight something that adds to the confusion and complexity. And I'm glad Wendy Tsang is here and she's one of the authors of these guidelines. But something that's a little bit confusing is the fact that I think at minimum right now, pretty much everybody can recognize a mitral valve in 3D. And pretty much everybody has understood that how we can show and display a 3D mitral valve. How do we display it in the surgical view? So surgical orientation on-fast view, which basically means that we show it to the surgeon the same way the surgeon will see it when he opens the heart. That means the posterior leaflet is at the bottom and anterior leaflet is at the top. So then before these guidelines came out when we, with a net in 2010, wrote a review on 3D for anesthesia and algeasia, we wanted to display the 3D data sets. We went to our surgeon and asked, how do you see this structure? How do you see this other structure? And try to present the 3D block just like the surgeon sees them. Because we thought that the surgical orientation was the correct one. Unfortunately, what you will notice in these guidelines here and actually Professor Ender has mentioned it earlier today is that not all of the structures are actually supposed to be displayed in the same orientation as the surgeon see them. Also probably because there's no surgeons. I don't think there was any surgeons in the panel that wrote these guidelines. But I think there's still something that people sort of, I think it's underestimated is how much of the three-dimensional cardiac anatomy have we learned and I'm better understood and being finally able to show our student with 3D echocardiography. And this is sort of, I just put together a series of slides using an example from a porcine heart. This is a porcine heart.  And you can recognize the structure. This is the base of the heart. And then again, you can use the model that you just got and the Arctic valve of label them. These are all of the structure. And this is the dataset of the heart base. And actually we can take this dataset and rotate it around. And here we can see that there's a perfect match from this model here with the mitral valve here. Here's the mitral valve in the surgical view. And actually when you orient the big dataset what I find because, and you can see on the structures. So Azad used the Arctic valve as the center of your block. But it is difficult when you see the Arctic valve alone to understand which casps is which, right? So you can, if you see a little piece of interraterial septum, you understand that one is non-coronary sinus. But if you look at the casps or the root alone, they are symmetrical, so they're all pretty much the same. But that doesn't apply, and the tricuspid valve, if we see it, then it's also very difficult to orient. Something that it's easier to orient, definitely is the mitral valve because it's a smiley, right? So the commissure is open upward, right? So if we orient the mitral valve in unfast looking upward, then the other structure sort of will come into the same sort of surgical orientation. And in this case, actually, when it comes to the Arctic valve, you see this is the interraterial septum. That's a non-coronary casp. The one at the top is gonna be the right coronary casp. And when the surgeons open the aorta and look in, what comes at the top? And we all know, as cardiac anesthesiologists, very well, that's the top is the right coronary casp. And that's where the air would go at the end of the cardiopulmonary bypass if we don't the air the heart properly. But then if you look at the guidelines, the way the aortic valve is supposed to be displaced is actually upside down. But that's sort of one of the things. So here is, again, it's one of the things that before I always use these images and this dissection because this is something that helped me a lot as a trainee to understand caracanatomy is that the aortic and the pulmonic valve are perpendicular to each other, are 90 degrees to each other. What does it mean that when I see one in short axis, the other one is long axis and so on? So in here, you can see it very clearly in this dissection. So here we see the aortic valve is at the top. This is the pulmonic valve. So here we look into the aortic valve. Here we have the interatrial septum that comes here. That's then at the bottom will be the right coronary casp. Yeah, left coronary casp and none. And here on the side, you can see that you don't see it because it comes this way. You have the pulmonic valve. And now to further demonstrate what we just said, as soon as I get a picture, okay? So if I take this block that I had and I rotate it on the other way, so I look inside the pulmonic valve. Here I can see I look inside the pulmonic valve. This is now unfast for the pulmonic valve and this is the aortic valve in the other direction. So here I can see look into the pulmonic valve and the aortic valve comes on this side. So this is another feature that we can easily appreciate from 3D echocardiography. And so we can clearly see here coming up there. So it's very nice. And the casps of the pulmonic valve, this is the case where, yeah, we need a lot of imagination to see them. But if we could ever see them, then they are named basically based on the adjacent aortic casps. So the most anterior is anterior and then we have right and left casps. They are just next to the right and the left casps of the aortic valve, yeah? So when it comes to tracaspid valve, tracaspid valve here on this big heart, usually because there's stagnant blood and clots, it's never so clear, but we always struggle a little bit to identify and figure out which leaflets are which. And I think what Azad just pointed out is with the model that was brilliant is you can see clearly that the adjacent structures are the coronary sinus and the aortic valve. So the coronary sinus is brilliant because it comes right at the commissure between septal and posterior leaflets, the coronary sinus. And then the aortic valve is here at the top that comes adjacent or close to the commissure between anterior and septal leaflet, yeah? And so then when we have a data set, the other thing that sometimes it's helped or relatively helpful in these 3D data sets is when we have patients with pacemaker. So here is the pacemaker wire that comes in. So you can see in 2D where the pacemaker is and that would help you orient yourself. So in here, if we orient ourselves in a sort of the same view as here, which is sort of a surgical view with the aortic valve at the top, then we have the aortic valve here. This is the interrational septum. The coronary sinus here kind of comes and goes. So then here we can appreciate this is septal, this is anterior, and this is posterior. So this coronary, this pacemaker cable as often happens it's sitting in the commissure between the posterior and the septal leaflet. So this is actually pretty nice. And then like last but not the least, the mitral valve everybody knows. So and as Dr. Tseng was mentioned in this morning, it's always important when we take a block, we need to try to keep the block as small as possible because that gives us the higher temporal and spatial resolution. But we also need to have a little bit of something else that allows us to orient our block. Because otherwise we look at something, we don't know what it is and how to orient it. And obviously for the aortic mitral valve, the reference is always to the left, is the left ather appendage and at the top is the aortic valve. So when we have a block, a 3D block with the mitral valve, then it becomes pretty easy to orient. And here we can clearly see this is a left ather appendage to the left, this is the aortic valve at the top, and this is the interraterial septum here. And here we can clearly see the two sort of commissure of the aortic valve. And next to the commissure on the side of the aortic valve are the two trigons of the heart, which are two structures. They are cartilaginous structures that the surgeons like very much because they are very solid and they can suture stuff too, but we don't normally see them on echo. You can feel them in a porcine heart, but you don't really actually see them on echo. So that was pretty much it. I think, yeah. So just when you have 3D data set, just look at them, play with them. And I think I've learned and I continue to learn a lot of stuff every day just by looking around and appreciating the different geometry of the different structures.


Welcome to the Everyone Can Contribute Track for our 2020 GALAP Community Event. My name is Annie and I'm a Community Advocate here at GALAP on Community Relations Team. It's an honor to introduce our speaker, Arrow Fox. Arrow has 10 years in digital product design and user experience, and also has been involved in community work for seven years and two years in free and open source space. Arrow's presentation is titled Design Contributions to OSS. Learnings from the open source project. We will dive into open design to try to investigate and solve the question of, why aren't there more designers in open source? Hello, and welcome to this talk delving into open source design contributions focusing on our workshops project called Open Design. So my name is Arrow Fox. My pronouns are they, them, theirs, and I worked as a lead designer Ushahidi, and I worked on a project called the Open Design Project, which was looking at open source design contributions. I've been in the design industry now for around about 10 years in different places. The humanitarian sector for around about seven, both voluntary and working. I've actually only really been in the open source space for the last two or so years. So I'm quite new to open source really. So I'm also doing a PhD starting in January 2021. And I'll be looking at the research that looks into the humanitarian open source projects, like the ones I'll be talking about today in this talk, and how designers interact with those as well. So doing lots of research around this subject. And I now work as the lead designer at the Open Food Network, which is an open source tool for producers and farmers and people that make food to sell their produce through an open source e-commerce tool. So when I started my first job in an open source technology organisation, like I said earlier, Ushahidi, I was working on all the different kinds of things that I was used to as a designer, lots of technology products, getting used to reading issues in our repositories and interacting with our other people that I work with in those same repositories and in those issues. But as I grew to know more about what the open source ecosystem and community was, I was seeing something happen in the issues that the developers were working on, where they would talk to members of the community. And this was not my first time that I heard about open source software. I'd heard about it a little bit before in some other roles when other developers that I worked with started talking about how they engaged with open source and I was curious and asked them. But really this was my first time working on a technology product where I came face-to-face with community members and people working voluntarily on the same things that I was working on as I paid members staff. And one of the big questions I had was that we had all of our design issues as well as our development issues and technology issues in the open source repo. But I had this question, which was, why aren't there many design contributions to our open source software at the time? So I was getting quite, you know, envious of the developers having this connection to the community and having community members engaging with what they were working on. And I just didn't see it as prevalent within the design side of our tool. And I had conversations with the other designer that I was working with at the time around whether he had also seen this happen in other organizations that he'd worked in. And he had noticed as well, there's just not as many contributions to open source software in the design side of things as there is in the coding and development side of things. So as designers typically are, we got quite curious about why this is and whether we could change this and started to investigate this question. And one of the things that we decided to create as a prototype as a test was a project called Open Design. To really delve into this question about why designers aren't necessarily contributing as much as developers in open source. So we had a few different conversations with organizations like the Mozilla Open Design Organization to see what they had done previously and started to talk to different people, different open source organizations about how they did any open source design work and still really found no clear, large sustained projects that were dealing with open source design contributions at the time. So as we were delving into this question through different projects, different engagements that through Mozilla and a few other organizations that we worked with through our work at Ushahidi, we came to know two different organizations, one of which was a global design agency called Designer and the other was Adobe. And they were also curious about this question. So they initially engaged with us because they were interested in humanitarian work, but we came to a deeper conversation about how to engage designers both in humanitarian work but also in the open source contribution side of things. So together, these three organizations, Adobe, Designer and Ushahidi, piloted a couple of different workshops in Berlin in 2018 and in Seattle in 2019 for the IXDA, the Interaction Design Conference. We did these two test events, trying to basically see that if you got designers together in a space around a particular open source tool or a particular open source product, would you have any tangible or tangible design contributions to that tool? And what kind of challenges do those designers have when they're working together in groups on an open source tool or product? And we basically just really wanted to learn what we could do to encourage and explore this question of open source design contributions in more depth. So after these two pilot events, which you can look at a promotional video that Adobe created online, which I can share with the GitLab team so that you can take a look at that. We really learned quite a few key things about how designers engage with humanitarian challenges and also open source software. But the key thing that we took away from these two pilot events that we ran was that designers, regardless of where they're coming from, whether they're coming from a commercial and corporate background and never done humanitarian or nonprofit work before, or whether they had some kind of humanitarian experience or some kind of open source experience before, they still really wanted to work on projects that were for good and projects that had a purpose in both their spare time and ideally with some time that they have at work as well. For good is often really, really obvious when you're looking at a particular humanitarian topic. And the things that Isshihidi created were really clear to understand the humanitarian purpose. The tool that we worked on and talked to designers about in these workshops was a crisis response and crisis communication tool. And that was really easy for the designers to understand the humanitarian purpose of. And then open source was kind of something that we taught alongside the humanitarian purpose. But one of the tricky things that we had to tackle with when designers really told us about wanting to work on for good projects was that really from our perspective, all open source software does some good by the nature of it being open source software. Its foundations of the open web, they enable us to make other humanitarian tools. A lot of these open source software development tools are the things that enable people to create things for good. So we then started to tackle this problem about how to better explain the purpose of open source software in this for good frame. We then regrouped as three different organizations wanting to still continue to tackle this problem of designers contributing to open source software. And we came around this one statement which was we wanted to continue to work on open design projects and the open design workshops and continue to enable designers to collaborate and contribute to humanitarian open source software and tech for good at different challenge gatherings. And we also wanted to investigate and research and analyze what we were doing alongside running the events. So we also wanted to make sure that we were doing this in the open as well. So making sure the research, the planning and all of the different aspects of investigating this problem was also in a open source and shareable way. So that we could use it to also teach the designers how to work openly or work more openly. But as we started to investigate this in a formalized way after talking to Adobe about certain funding to support the project and support the open source tools that we wanted to work on with the designers, we started to discover multiple different challenges with the problem around designers within the open source contribution space. This is just a sample of some of the challenges that we discovered in the next phase of our research around open design. There's actually really not enough time ever to talk about all the different nuances of the challenges around open source design contributions, but let's take a look at just some of them. So the first one is that when speaking to designers about what open source software is or can be, they're often really surprised by the diversity of projects from both a subject matter point of view to the build of a certain open source software and the tech stack to what the output actually is through the open source software. And the idea of open source software being hugely varied was really confusing for a lot of designers because as the statement says, they really don't have much of a clue about what open source software is or can be. And we found within the first steps of our research that obvious humanitarian purposes are more accessible and that things like dev tools and things that are tech related are the things that designers might assume they think of when they think of open source software, but it's harder to connect that for good purpose and it's harder to understand where they fit into those other tools. So the idea about designers not really having much of a clue about open source software and not really knowing where to start is a huge challenge for the project going forward. The next challenge is that open source software as a whole really isn't included explicitly within designers' education both formal and informal. So this is when you maybe go to school for design but also maybe when you're learning design along like in the evenings in your own time. It's not really explicitly described within the different kinds of things that we look to to grow our design skills. And this is really interesting when you think that a lot of designers often use open source tools within some of the things that they learn as designers whether it's front end development or whether they're actually maybe using an open source design software tool. There are some institutions now introducing open source software specific modules for designers, but it's still quite rare. And a connected issue to the fact that open source software isn't really explicitly educated within design spaces is that even if it was and it became a norm now for students and designers coming up in the industry if we aren't doing that education piece from another aspect like in workplaces where people have been maybe in the design industry for many, many years when they're looking to hire new designers, new graduates if they're not as educated on open source software from a design perspective as well they're gonna find it really confusing, really difficult to look at these new portfolios from designers and see lots of design contributions to open source. And if they don't value that as interviewers and as workplaces looking to hire designers because they haven't had the opportunity to learn about it then the designers using it and learning about it as they grow in their skills, the students and the early career designers it's just gonna be this kind of this problem that comes from two different angles, two different aspects where the younger, the early career people are not valued for taking on this new way of doing open source design contributions and building their portfolio pieces from it if they're not getting recognized when they want to be hired for that engagement with those contributions. So it's a really tricky challenge in the education piece. The next challenge is that if designers know about open source software and some of them do some of them maybe have come from a coding background or maybe they've like me heard developers talking about it in their roles and been curious and asked questions. They really, really struggle when it comes to actually engaging with and finding those projects. And I have to say that one of the biggest barriers one of the biggest challenges is using interfaces like GitHub and GitLab to really explore and learn about these projects. They're seen as places really for people that can code and people that use terms like pull request and merges and know how to use the terminal. So when I speak with designers about contributing to open source software and contributing to projects for good and then go on to speak about accessing them through these places like GitHub and GitLab, they really do get this look of horror and assume that it requires this proficiency in coding terminology and coding language. And really this is a challenge about changing how these spaces, these places where we access open source software are viewed who they're viewed for that they explicitly include many other functions as well as coding functions and developer functions. It really does take some time to help a designer to onboard onto these spaces and being patient and helping with that really goes a long way. As well as new features like the design management feature in GitLab and lots of work being put into these interfaces and these places to be more welcoming for these other functions like design. So the next problem, the next challenge is that when you talk about design to open source software projects and maintainers and contributors that look after these open source softwares, they often hear, when they hear the term design, they'll hear something like logos or graphics and icons. And maybe if you're lucky, they'll start talking about UI or maybe even design systems. And this is really tricky because while those things are really valuable contributions from designers and they're really needed and they're really valued things from an open source software maintainer and contributor and project point of view, they really leave out a huge part of the design contributions that could be offered and also leaving out really key aspects of product development such as user research or user experience or even things like service design and interaction design, especially when you're talking about digital products where people interact with and use an interface. One of the tricky things about this problem specifically is to do with terminology and jargon. So just like how development and software has its own jargon design has its own jargon as well. And maybe some of the terms that I just described of design and service design and maybe UX or user research, maybe these are the first times that you're hearing about some of these design terms. And that's really, I think about how we as different functions across a product software cycle, regardless of whether it's commercial proprietary or open source, how we help each other understand the jargon that we use within our roles and how we include people in what we mean when we talk about what we do and what we can contribute. The next challenge is kind of a difficult one to explain but I'll do my best. It is about how we construct and word our issues that we have in our open source software repositories. So this could be quite a controversial challenge because what it really means is that we have a lot of issues in open source repositories that I see that are very focused on a technical problem. So they might be describing something like a bug or maybe a new feature for an open source software. And what we assume when we write those a lot of the time is that they're purely a technical coding problem. So we write them in a way that, oh, we need a coding solution fix for this bug that is to do with writing some code. And the problem here is that when you restrict an issue to just a problem around code, it means that somebody else from a different function couldn't step in, understand what that issue is trying to solve and come at it from a different kind of perspective. So this is especially important in things that could be out like broadened from just a coding problem. So if we're talking about new features or even bugs that might have a slightly different solution than just fixing it in a certain way, it could have a different kind of problem to solve. But this is about taking how we write issues and how we think that we should be writing issues just for one audience that maybe knows how to code in X language and needs to fix this and how we can possibly take it wider and explain and write issues in a way that could invite other kinds of contributions to that issue. So it's about not being restricted by what you think this issue is trying to solve and opening it up more. On the flip side of that challenge is a similar challenge which is about how designers engage with certain ways of working on a problem. So as well as things being restrictive, being tricky for designers to engage with, when you've got something that's really open, too open, you might say, what can happen and we saw this in our workshops, our early workshops, is that designers can really lose focus and lose relevancy and they actually then create things, design solutions which don't take into account the restrictions of your technology and this can get really close to something we call design fiction. So they might create something which is nowhere near implementable because the issue or the epic or what you've asked the designers to engage with is so broad and so open that they kind of go really, really wild with this kinds of solutions that they come up with. Another problem is about version control. Version control doesn't really exist in our software as designers at the moment or in our language and processes and how we communicate to each other. If we want to do version control as designers, often we have to have a conversation. We're not quite used to having conversations about what we're working on, whether it conflicts and until we really have software and tools that help us do this, this is gonna be a challenge for designers around learning how to communicate version control in using our voices and using communication methods. So version control, very much a new concept for designers. So after learning about these challenges and a lot of other ones, we reworked the design, open design workshops from the initial ones. We included five key activities in these workshops that we think are accessible ways to start doing design contributions to open source software. These are empathy mapping, defining the problems, ideation, storyboarding and prototyping and sketching and prototyping. These are really great things to include in your open source repositories for designers to work on if you're curious about what will get contributed, but they're also great ways for the designers to really explore your software as well and to learn more about your open source software from a design perspective. We then did two more workshops in two different locations, one in India and one in Taiwan. We focused on one of Ushahidi's open source softwares and we focused on a crisis as a problem to solve. And we learned many, many things, but two key things I'll talk about in my last few moments of this talk. One is about inviting users or experts or what we then called witnesses into the process of how your designers contribute to your open source software, especially in a workshop context, what the designers will do with these witnesses is they will use them to validate what they're designing and they will ask them questions about how they use the software that they are designing for. So these people, these witnesses are absolutely key to the process of including designers in open source software. The second is about translating the design, the issues that are maybe written in a technical way to more of a design challenge language. You can see an example by following the link and it's just about explaining what you need to solve in a more user focused and design friendly way. The last thing that I want to put across to the folks listening is that designers are very much the same as coders in that they really felt great when they offered a tangible design contribution at the end of the workshops or at the end of there or within their process of contributing. So adding in prototypes, clickable prototypes that are created in the design software of the designer's choice is a great way of encouraging that kind of real tangible, real clickable contribution by designers to your open source software. And the aims of open design as a project going forward into the next phases are about helping to increase and sustain contributions to open source tools, not just using Ushihidi's tools that we worked on in the initial pilot and in the phase one of these next rounds of workshops, but opening up to other different, more open source tools to support the community going forward, to make sure that they have support networks to ask questions and learn different skills around open source software from, to build understanding between design and open source to keep that dialogue going and that understanding of different jargon, different terms to bring open design and open source design to an education and a workplace environment to help build those bridges between these different functions are within the open source software kind of framing. One of the key things about doing lots of talks at different kinds of places like the, like with GitLab here at the moment is that we want to build new relationships and more relationships with open source software going forward so that we can deliver more workshop and support more open source software as in their relationships with designers going forward. And if you would like to take a look at the methodology and take a look at the frameworks and all the different resources that we created in the open design phase one and ongoing as we create more resources and learn more things about open source design, you can find it if you follow the link on the screen at the moment on the slides. And the last thing is that I would love to see folks engaging in the community forums at the open-source-design.net website and on the forums that we host there. There are lots of designers currently on the forums having conversations about design and open source and we would love to have more people having the same conversations and having different conversations with us. So with that, I would like to say thank you very much for listening to the very quick version of the open design workshops and open-source design contributions. Thank you very much.


Hi, everyone today. I'm going to talk to you about on the topic of tests. I'll talk to you about speeding up your tests with So I'll show you an example on our current code base on a speed I work at on a speed and just a brief introduction We are an online grocery delivery services company So we have a flexible workforce of drivers and shoppers who we call as bees and they are available So as and when orders come in we dispatch it to our flexible workforce of bees and they execute the orders Very quickly. I'll talk you through the use case that I'll show you for the purposes of tests first things first if there were no tests there would be no slow test and in that case We wouldn't really have to spend so much time in today's talk or you know ever writing tests, right? But then tests are important How many of us have had moments where we have changed a line of code and then sighed and said thank God There were tests for this particular piece of code. I certainly have had many of those moments And tests are not only important. They also need to be really fast True fact There was a point in time where our test cases took 35 minutes to run doesn't seem like a big number But imagine what the consequences every time I make one line of code change I need to wait for 35 minutes to make sure my test pass if something goes wrong if there is an unstable test I wait for another 35 minutes times the number of developers in the company So that's really a lot of time spent waiting for test cases to run So we brought it down to 10 minutes and we actually use really simple steps to bring it down to that that particular time frame So let's see what those are Before I get started the test framework is our spec and I'm using factory girl for those of you who haven't used factory girl It's just used to create model objects in your test fixtures so a Very quick introduction of our database so you understand how the tests look later We have orders that come in the orders come in and they belong to many many different stores So one order can have sub orders, which we call this order fulfillment Each of them have stores that are basically outlets of a particular Brand and then you have the brand and you know, you can imagine that this goes on so there are products and so on So that's how the database looks like All right, so Before I get started, I'm going to quickly load my oh, sorry before that. Let me just tell you one thing In order to know whether your tests are slow or fast the first thing is to measure them and the process of measurement has to be painless and efficient and This is where I really recommend you to try Zeus or spring So what happens in rails is that every single time you run your tests You have to wait for your rails environment to load every single time and so you don't only wait for your tests to load But you also wait for your rails environment, which is kind of unnecessary Whereas what Zeus does is it allows you to load your environment? Once in for all and then you can keep running your test cases You can even run your migrations, but for the purposes of this topic, we'll talk about this Okay, before I talk about the actual tips, let me just quickly Show you what the scenario is and meanwhile, I'll just start running the test because they will be slow Okay, so this is what my oh, okay That's unfortunate. I thought I could show you my class Can I do that actually? Oops Sorry technical issues Okay. Yeah. All right So because this is this takes so much time. I'm just going to do it once okay, so Basically, this is my service and what what the service does is it sends out notification to our shoppers every single time They finish an order and when they get the notification They there's a bunch of numbers in the notification that tell them how many order How many items have they shop for which kind of indicates what's their salary going to be so you see? I just ran my test cases and there's seven test cases and they took about Over here you will see 22 seconds. It's a little bit slower But generally if you run a run it a couple of times it takes about 15 seconds not more than that So I'll just go back to my presentation and from here on I'll just show everything why are the presentation itself? all right so One thing that we did in our test cases was this statement right here Which is forceful database clean now This seems a very natural thing to do because you want to make sure that every time you run your tests You're running them on a very on a clean database But this is not only very expensive, but it's also unnecessary because our spec runs your test cases in a transaction Which is rolled back at the end of the test so you actually don't really need to do this and Removing it I intended to show it to you through by running my test cases But trust me in this it brings it down to seven seconds Which is 47% savings on what it was Previously about 15 15 seconds step number three To declare and reuse your associations now one common issue that people have with factory girl is that you you saw the model That I showed you just now which had order and order fulfillment now if I create an order fulfillment Which is basically the small sub-order, but I don't specify the order factory girl Will just end up spinning new orders for each fulfillment that I create and new stores for each fulfillment And so on so you can imagine that every association that I don't specify gets spun out and gets created in the database And that's the most expensive part of your tests as well So what I typically do to deal with this is I would declare a common, you know hook in our spec It's basically something that runs before all your examples and in that I will declare anything that is You know going to be initialized more often than once and then in my test cases you see I'll basically use it each time. It's the thing is misplaced, but basically I would use it for order I would reuse an order inside the order fulfillment every single time So when I do that in my test cases It comes down to five seconds which is down from you know two more seconds from seven seconds Step number four use build stuff until you really cannot use it Now what does that what does that mean? Factory girl has three different strategies one is create two is built and three is built up Create actually is the slowest because it actually it creates the object inside the database Build does not create it, but also does not give an ID So even though your object is not created all the associations that are linked to it will be created in the database Build stubbed is like a sweet spot in between which gives a mock ID to your object So your associations can load and if your test is not really doing any saves to the database You are actually good to use this option. So what I did here for example for two of my Two of my test cases I replaced instead of actually creating an order fulfillment I just used your build stubbed and when I do that It does bring the time a little bit down But this example is a little contrived because I'm only using it on two out of my seven specs So it's only 4.8 seconds But if you choose to use it more widely your cost savings would be higher and one tip here would be that Sometimes I would just replace all the creates with build stubbed in a particular test suite and then see what fails and then go You know from there I figure out whether I can use a create or a build stubbed step number five is to use mocks and stuffs to imitate slow operations and if you notice the test cases previously there was a post Request that was being sent to the parse application that we used to send notifications to our bees now This is really not necessary again because one it's slow and two if parses down our test cases fail again So it's better in such situations to not do integration tests and and instead use mocks So you basically just imitate What the method should return and you return that instead and when I do that so you see over here I do that and then when I do that it brings it down to from to three seconds So from 15 seconds it's come down to three seconds which is 80% savings on seven examples just in the last seven minutes and So imagine when you try it on all your different test cases across your code base Imagine the savings then so try it out and also don't forget to check out our jobs portal. Thank you


Hello and welcome to Facebook Ads Friday, week 15. So if this is your first week here, the way it works is every single week on a Friday, I show you two proven Facebook Ads that are selling dropshipping products. So these are very successful Facebook Ads with millions of views, thousands of comments, that sort of thing. But the best thing about these ads every single week are they are all current. So all of these ads are currently active and working right now. So essentially what you're gonna see in this video is two proven dropshipping products that you can go out there and start selling right away. We are indeed on week 15, so up to this point you've missed two times 14, 28 winning products up to this point. So to make sure you don't miss out on any further weeks, make sure you subscribe to the channel and of course, if you enjoy the video, then drop it a like. This is a series that I plan on continuing for the longterm because when it comes to dropshipping the hardest thing is finding that one product that brings you all of that success. That is truly the hardest part and as cheesy as it sounds, it really does only take one product to change your life pretty significantly. So to help you get started on the right track, every single week I show you two proven products and we also take it one step further each week too. So I'll be showing you the Shopify stores selling these products so essentially you'll see what a proven and successful product page layout and description looks like and I will also show you where you can source these products from too. And with that being said, let's take a look at product number one. For a bit of a mix up then rather than show you the creative to begin with, let's take a look at how many engagements this ad creative has and what people are saying about it too in the comments section because if you've been tuning in every single week, you'll know that engagements doesn't always equal purchases. So the company selling this product is called Louise Carter Jewelry. If you wanna go and check them out, take a look at the other ads that run in on the Facebook ads library. This particular one we're looking at is called Flash Tennis Sale. This particular creative, this video has 11,000 reactions, 3.2,000 comments and nearly 3 million views. It's pretty safe to say that with that level of viewership and comments and engagements that it probably is making the money but just to double confirm this, let's take a look at what people are saying. So we can see that Rhonda here ordered these for her bridesmaids. Dan here says just this second ordered for his wife. Susan says she received her necklace yesterday and she's very pleased with it. Kazza says her handsome son bought a one for this Christmas. Jackie says she's just bought one for herself because why not? Julie says she's just ordered this. Selma says she's bought three of these to give as GCSE presents. Danny says he's just ordered one for his partner and Siobhan here says that she absolutely loves her so she must have ordered one as well. So it just goes without saying there's a significant amount of people buying this product. Now let's take a look exactly what a winning Facebook ad creative looks like and essentially what this product is. I'll play it through then so you can see exactly what the product is. It's quite a nice looking necklace that has two different ways of wearing it. As you can see, it's got magnets in it. What is a bit naughty is they show the products in a jewelry box but it doesn't come in a jewelry box. It just comes in a paper bag. So all in all, quite a cool product. It has that kind of USP in the way that it kind of magnetizes and clicks together. What we've also seen is there's many different occasions and markets for this product. So we're seeing that people have ordered it for bridesmaids, people have ordered it as Christmas presents, people have ordered it for Valentine's Day, people have ordered it for themselves because they just like the look of the product. So all in all, a great product so it's gonna be a consistent seller all year round. Now let's take a look at the competitors. Let's take a look at the people who are selling this product. Now, this is something that I still haven't quite been able to get my head around which is how they can sell this for 10 pound and make a profit. They're potentially break even or maybe even taking a hit on the Facebook ad just to acquire people's details because once you have somebody's email address, once you have somebody's phone number, if you deliver on what you say and they like the product, getting them to come back and buy another piece of jewelry is gonna be very easy to do. So where many people think you have to make a profit on the upfront, they don't have the bigger picture in mind. Your customer is worth more than that one-off purchase that they make after they see your ad. That is potentially a customer for life that you can keep remarketing to and keep reselling to. So instead of a customer being worth 10 pound in this case, the lifetime value of the customer might be over 100 pound because they keep coming back time and time again to purchase newer pieces. What's interesting then, which we can see about this store is there's a free template, it's a default template. There's nothing too crazy or special about it, a very typical layout and actually not that much work has really gone into it. If it was me, I would try and make these images a bit more professional and a bit more uniform through the store. That's like a random image. This one has a background. This one has like a light pink. There's lots of different colors, some with backgrounds, some without backgrounds and all in all just looks a bit kind of messy in my opinion, but who am I to argue with them? They're clearly making money. So if it's not broken, you don't need to fix it. If you wanna check these guys out in your own time, do a bit more research. They're called louisecarter-official.com. So we've seen the selling the products for 10 pounds plus they have the three pound gift wrap plus they're charging for shipping. And if we come onto AliExpress, we can see we can buy this product with free shipping for two pound 51. So in this case, you probably could make it profitable on that front end which would be a bonus. We've seen that the product sells well at 10 pound. I definitely would start it at that and probably take the hit to begin with. But once you've established some traction and you've seasoned, you've pixel and you've got a consistent flow of customers start bumping up that price to see where the true sweet spot is. And so with that being said, that's the first Facebook ad. We've seen a proven Facebook ad creative. We've seen a proven Shopify store product page and we've seen a proven product. Before we move into product number two though which you wanna take 30 seconds to show you my free training that I have available to everyone. It won't cost a single penny. It will show you how to build and launch your own profitable drop shipping business in the next 21 days. As you can imagine, there's a lot to cover if you're starting a business from scratch. So it is one to two hours long. So make sure you block out some time and bring a pen and paper. If you do watch the training, you won't come away empty-handed. Everything is 100% free and you'll also get a copy of my 194 profitable product ideas for 2023. So if you want more help getting your business off the ground and launching it in the next three weeks check out that top link in the video description below. Move on to product number two and definitely save the best till last because not only is this a cheap and easy product to get started with it'd be super quick as well. So there is no video involved in this one. What you see is what you get. It is just a single image ad of what the product is. So if you wanna check these guys out see what other products they're selling and what other ad creatives they're running they're called Olivia Jewelry. Head over to the Facebook ads library, put their name in and you'll be able to see exactly what Facebook ads they're running. So what we can see from the image then it's a ring with quite a nice design to it but there is a clear target market for this and this is for a daughter which pretty much includes anyone out there. We can see just by the volume of engagements how successful this ad, this product, this business has been from the fact that it has 38,000 reactions, 5,000 comments and over 6,000 shares. 6,000 shares is huge. They will have reached from that probably quarter of a million, half a million people 100% free just from people sharing this picture of their product. As always though, it's super important to check out if people are actually buying this thing and what they're saying about it because yes we wanna sell our products that people are buying but we wanna make sure that they're happy with it as well. We don't wanna go out there and sell six figures of goods if six figures is gonna get sent back for refunds. Melissa said she bought this for her daughter for Christmas and she loves it. Erica says her mama got her this and she bawled her eyes out so I'm assuming she was happy with it and not completely distraught. Amanda says she's just ordered two of them for her daughters. Jackie said she ordered one yesterday. Stacy said she's just ordered one for her daughter. Connie says it's a lovely ring and she got one for her 12 year old. Rebecca says she's just ordered this ring for her daughter. Julie says she's just received hers. Jamie's posted a picture of two people wearing theirs. Lisa says her daughter loved this gift and as we can see, Megan, another person says hers just came in the mail tonight. These are all from the last few weeks. What we can double check to make sure this is still current and still active and still working today is if we go to the top and instead of most relevant comments, we take a look at newest and see when they're from. So 20 minutes ago, 21 minutes ago, one hour, 11 hours, three weeks but there will be a reply. So 14 hours, 16 hours, 17 hours as significant and these from people posting a picture of the ad. There is no doubt in anybody's mind, I hope that people are buying this product and it is a winning product. Let's now, though, take a look at the Shopify store selling this. So again, a very simple setup. When it comes to jewelry, you don't want to overcomplicate it. Keep it clean and keep it professional. So Oliviajury.co, if you want to go across and check them out. So to my daughter, fidget ring, adjustable one size fits all. So you haven't got to worry about returns so much and they have a bundle offer as well because the chances are there's people out there that have more than one daughter and you can't just buy it for one daughter. You've got to get it for two, three or all of them. They have a countdown timer, which we can see and then they just have some nice imagery. The same image that people saw on the ad with some generic information about what it's made out of a super easy and quick product to get started with. So 24.99 is what this particular company is selling this products for. If we jump on to AliExpress, I found it super quick by putting daughter ring in and you can get it delivered within two weeks with a guaranteed delivery for £2.61. That is over £20 profit per sale. So a super profitable product, a super effective product, a super cheap, quick and easy product to get started with. So if there's anyone out there and this sort of thing appeals to you, then I'd highly recommend at least giving it a go. And so with that being said guys, that is two proven Facebook ad creatives, two proven drop shipping products and two proven Shopify product page design and layout. I hope you've enjoyed the video. I hope I've motivated you to get your drop shipping business started. Like I mentioned earlier, if you want some help with that, make sure you check out my free training 100% free. Won't cost you a single penny and it will show you how to launch your business and start making money in the next 21 days. If you wanna tune in every single week and get more product ideas, just like these ones, make sure you subscribe to the channel, leave any comments or questions down below. I will answer them. And of course, if you've got any value whatsoever from this video, please drop it a like so we can reach more people. Thanks for watching guys. I'll see you in the next one. Cheers.


Oh, yeah, we're talking about the switch pro but Hold your horses a bit because before I talk about it because you've got a couple pages of stuff here to go over I need to remind you that we did a story the other day about The former lead director lead designer of Metro Prime 1 2 and 3 and how he said Metro Prime 4 is Unlikely and I said that he's wrong and all that it doesn't matter You know my personal opinions on on it There is now stories coming out that he is being attacked by Metroid fans on his personal accounts That don't we're better than that as a community guys Just because he has an opinion that it's unlikely the Metro Prime trilogy HD will ever happen That doesn't give us the right to do personal attacks on his personal accounts and affect his actual life I know this seems to happen every single time. We criticize something someone says Especially when it's something that we don't believe is true, but come on Come on Let's get into some fun news now instead All right folks. So again, just like my video yesterday I will preface this by saying if you watched the Nintendo Prime podcast pack on Wednesday You should already know this information. That is if you watch the entire show now I know again that show was three hours long I will link that show down in the description and probably in the pinned comment as well Because it was a very good podcast that contained a ton of information and I encourage you guys to tune in to our podcast It's upcoming Wednesday as you could tell sometimes we break news on our podcast instead of doing separate videos because we won't have a much Longer form conversation in fact sometimes new news comes up from our guests or other information that we're working with And yeah, we'll split it off in its own videos later like we're doing now But still this is just something I want you guys to be aware of so if you want to get the news even a little bit sooner Go check out the Nintendo Prime podcast. All right, so let's get into this all this information again comes from Samus Hunter, too Again at this point, you should know who Samus Hunter 2 is But this is the first time you've ever seen a video on my channel Just know that Samus Hunter 2 is a Twitter user who has gotten a bunch of information correct I will link to her Twitter profile below Be you know in the sources section because this information comes from her However, this information was provided to me through private DMs So I can't actually link you to the DMs and I might show a screenshot of the DMs I haven't decided yet here just to prove that they're there But besides showing proof that the DMs exist I'm just going to go through this information because this is very very cool stuff about switch pro now If you're hoping in this video to find out specs Not necessarily going to be finding that out You're gonna find more about features and what Nintendo plans to do With the current base model and light model of Nintendo switch because believe it or not The pro model has implications on them as well and those models might be changing very very soon So let's get into it So we were talking about all of her rumors and all her reports of past reports current all that jazz The samus hunter has done and we went over all of this on that podcast, but she Unprompted didn't even ask about a new switch brought up the new switch console So let's go through the conversation. So samus hunter says, uh, I forgot to talk about the new console Yes, I can confirm they are going to release a brand new switch model not a new generation But a pro model. So again Samus hunter has been right on so much stuff for some people. This is practically a Reconformation of something many of us already believe is happening. All right. They are probably working on two revisions This is the first time we've heard this two revisions a more expensive model But with more features and better graphics. So this is the pro a Model that just improves on the current switch model But with some features from the other as was the case with the base switch after the light was released with better battery life So what happened when switch light came out in case you're lived under a rock and don't understand that there are different versions of the Original switch they shrunk the die down which created better battery life and enable them to do the light And they took that die and they threw it on the base model switch with a bigger battery Which gave it more battery life. That's essentially the only change that happened. That's why we have the red box switches Those are known as the v2 switches version 2 switches So what they're saying is when the pro comes out It's going to be followed up if not right away soon after by a version 3 switch and a version 2 switch light Essentially those models would be replaced Internally the component it would look the same but some of the components would be replaced internally Some of the features might get adjusted as well. Hello Maybe Bluetooth I'm just saying all right, so then I responded and said ah, so that sounds like a v3 model that adds modern features I don't know what those modern features might be maybe it's just a bigger screen new joy cons Perhaps then a pro model with all the power awesome That just made tonight's podcast even better. No any details about those features we already know about the OLED screens and such and Samus that are responded and said that's right it's important for an intended to have a budget model light a Family model which is the base model switch and then an enthusiast model the one that many call pro on the market If they can find compromises that allow you to have the features of the new models on the old ones while Maintaining the same cost in price. They will especially if it comes to the hardware components to standardize production This aspect is important. So if you want to quote the exact words in some video, please do well Here's that video Samus utter. So here's the thing What first of this is the first time I've seen the models, you know split up in this way Now we always in the light was it kind of like a budget switch But calling the base model switch the family model. I've never I've never heard that term used before So that's the family model and the pro is the enthusiast model if that's how Nintendo views it internally I find that very interesting. Also, this talks about how switch pro is going to be more expensive than the base switch I feel like that should be expected now if we look at the price difference between the light and the base switch That's a hundred dollar price difference I feel like there's gonna be a hundred dollar price difference then to the switch pro so switch pro would be What would that be two three ninety nine, right? So you got three nine two ninety nine and one ninety nine It doesn't appear the light or the og switch or the family model switch I guess as it's called are going to change prices They're just going to do a component swap and if there's certain features on the new model because of those components Maybe the Bluetooth stuff. Maybe I don't know. I don't know what features. They're considering Maybe a headphone jack on the joy con or so. I have no clue. So whatever features. They're considering adding OLED panels by the way, I assume they're gonna drop those OLED panels down the switch line I don't think that's gonna be just an enthusiast model thing Because I feel like Nintendo can get a better deal at manufacturing by unifying all that they certainly can make switches faster doing that So that makes a lot of sense to me It's something we haven't talked about how the pro model could actually affect the down You know trickle down to the other models But again, it happened with light right the light came out and it affected the base model switch So why shouldn't we expect the pro model to also affect those models and have version 3's? This does not mean if you own a switch light or you own a launch switch or a version 2 switch that you need to buy a new switch Okay, let's be clear here. The pro is not a new generation platform Yes, we just got news from Nintendo and if you missed that link that down in the description as well I'm sure to refer a cowboy that Nintendo is R&D and heavily investing at the moment in their next platform But again, the pro model is not the next platform The pro model is the next part of the family of systems that Nintendo talked about before switch even came out All right, so I responded to samus hunter and I said sure I assume the pro model is higher priced Like 399 and the other models hold base prices Do you know if the plans are this year next year and then samus hunter said well Hey, one aspect they are focusing on is greater connectivity as well as power to handle resolution and frame rate So obviously the power aspect we've all speculated for a while That's the whole point is which bro in addition to OLED screens and other changes focusing on greater connectivity is something I find to be very interesting. I'm not sure if that means You know better online services We also just talked yesterday about the whole new service there might be launching for virtual console So I feel like there's a lot of stuff you can infer through this over what that might be You know, what might a your connectivity feature be that we're missing? I think messaging people That would be fantastic to actually be able to do. We haven't really been able to do that traditionally on Nintendo systems Remember picto chat back in the day. Obviously we had meverse, which was really really cool But direct DMS isn't something Nintendo has really supported that much But hey, that would be greater connectivity with our friends And if we can get voice chat away from the phone back onto the system I think that would be a benefit to gamers as well again Improving connectivity also being able to seamlessly transition games from one switch to the next switch to the next switch When you're the main account on all those switches, I think would be nice as well, but you know, we'll see what happens so I Responded and I said, I wonder if that has to do with Bluetooth stuff Finally might get that supported Otherwise not sure what they could do unless they are revamping Nintendo online and she responded and said the switch was Planned or the switch pro was planned for this fiscal year So this year running, you know through March 2022 and it says likely to release in late 2021 But it could be delayed to early 2022 It is necessary to see if they will find problems in production given the scarcity of some components Also, I don't expect any announcement at E3 The plans were about the announcement in the summertime After they presented games that will support it at launch, which those games will be presented during E3 So what's interesting is This almost lines up with something Shintura Furukawa Just said because I heard about this stuff before the financial report came out Shintura Furukawa also mentioned hey 25.5 million switches We don't know what part scarcity is going to be like We know we just sold 29 million if we can make more than 25.5 million We will we just aren't sure about part availability Now we heard other reports from Nikkei that Nintendo might be saying 25.5 million But they're you know actually going to be producing 30 million units So they expect to sell 25.5, but they're going to manufacture 30 and some of those manufactured units will indeed Be the switch pro and here you kind of see the same thing where hey Nintendo might be playing a wait and see approach where the internal plans are to release this holiday But they got to see how production goes once it's fully ramped up and make sure they don't run into a scarcity of parts That leads them to delaying it a couple months so they can have more units available at launch There's nothing we're going to be able to do about scalpers guys scalpers are at launch of every product Even before the pandemic. It's just Yeah, Nintendo is trying to make sure they have at least their targeted units for launch that they think they need For this holiday and what I find interesting as well is one you're not going to get an unveil at E3, which If you if you look at switch light, they didn't unveil at E3 either They unveiled that later in the summer like literally at the end of summer and then released it a couple months later I expect a very similar strategy here because they're not going to want to make people not buy switch for the next five months Oh, hey guys switch pros come in this holiday. Yeah, so just kill switch sales for the next few months Nintendo's not going to do that.  They know that when you announce a new model You need to announce it close to its release That way you don't affect sales of switch today You could say maybe that's a little shady if they know this model isn't the works Why wouldn't they do that make people wait? It is what it is. That's just business 101 And yeah Nintendo wanting to wait also until they have the games reveal that are going to be there at launch I find it be interesting because the games are obviously going to be on the normal switch as well I think the strategy is you show off breath of the wild too You show off any other games that you have planned Coming out at the end of this year and you show them off running on that normal switch That way when you announce this switch that supposedly can output at 4k and olad panel that you could show Hey, look remember this game we showed off here in E3 Remember how it looked like this and it ran like this. Yeah, now that game breath of the wild too now It's upscaled to But bam 4k runs at native 1080p handheld or something. Oh and by the way 60 fps Doubling the frame rate. Oh and maybe we threw in some anti-aliasing to make it look even better See, that's the thing It's possible that nintendo could have these all these big amazing games to be like Hey, you can still get these on your switch But hey, this is why an enthusiast This is why an enthusiast would want to spend 400 dollars this holiday on this So you could play all these amazing games, but just slightly better Although I would say I would argue an increase from 30 fps to 60 fps Is more than a slight improvement Also being able to go from like running at 900p or 720p And being able to actually run at 1080p with a nice 4k upscale I would argue that's a pretty big improvement But you know to the eye of the beholder there not everyone cares about that stuff People are perfectly fine with 30 fps on a lot of games So people are perfectly fine playing is at 720p or under on handheld sometimes So, you know, it is what it is. All I know is this is really exciting stuff from samu center 2 It's a different approach to talking about switch broke over to other other rumors are always focused on Oh, yeah, they're they're producing units at manufacturing. They're adding OLED panels. It's gonna output 4k It's gonna have dlss These are all like spec related things where samus hunter is talking about the philosophy And you want to know why samus hunter talks about the philosophy Because if you haven't noticed the track record of samus hunter 2 is that a lot of the stuff She sees has to do with how a game is being marketed to the public And that marketing Nintendo doesn't focus on specs in marketing You're not going to hear about how many cpu's and how much ram it has and store Nintendo doesn't do that. They didn't do that with the last two switches. Why would they do it with this one? But they will focus on saying hey, it's the same games, but better It's for enthusiast. It doesn't replace the current models It's just an option on the market A family model an enthusiast model a budget model. These are the kind of terms Nintendo would use in a marketing way So this is really interesting to me. You guys let me know what you think about this down in the comments below And if you enjoy this video, be sure to drop a like and hit that subscribe button Also folks. Hey, I know you might have already tuned out the moment. I said that but We do have an amazing show happening at e3 2021 four straight days over 12 hours of streams each day We have $3,500 plus in stuff. We're giving away and that giveaway list grows every single day We have over a thousand dollars of our own money committed towards that giveaway for consoles and pro controllers Games accessories Collectibles we got a bunch of collectibles. I'm excited to show it to you guys And and you know giveaway we have partnered with several game companies and game studios We partnered with You know accessory makers. This is going to be awesome We have over 300 people that are going to end up winning something during e3 And who knows maybe that let's grow to 400 or 500 people and yeah, you can win this stuff by entry free giveaways We're also going to have some competitions where you can beat me in smash bros during e3 and win prizes It's going to be a whole lot of fun. You're going to want to tune in We have an amazing two hour pre-show each and every single day of e3 I'm going to be pretty exhausted, but I do it for you guys Uh, I can't wait and I'll catch you guys in the next video


A Change of Climate by Hilary Mantell, narrated by Sandra Duncan. This work is copyrighted 1994 by Hilary Mantell. This recording is copyrighted 2011 by W. F. Howes Ltd. Ralph and Anna Eldred live in the big Red House in Norfolk, raising their four children and devoting their lives to charity. Yet the constant flood of good souls and sad cases welcomed into their home hides the growing crises in their own family. From the violent townships of South Africa to the windswept countryside of Norfolk this is an epic yet subtle family saga about what happens when trust is broken. The author begins with the following quotation from Charles Darwin's The Descent of Man 1871. We are not here concerned with hopes and fears, only with the truth, as far as our reason allows us to discover it. I have given the evidence to the best of my ability. And from the book of Job chapter 4 verse 7. Consider what innocent ever perished, or where have the righteous been destroyed? And now a change of climate. 1970. Sad cases, good souls. One day when Kit was ten years old a visitor cut her wrists in the kitchen. She was just beginning on this cold, difficult form of death when Kit came in to get a glass of milk. The woman, Joan, was sixty years old and wore a polyester dress from a charity shop. A house-wifely type she had chosen to drip her blood into the kitchen sink. When Kit touched her on the elbow she threw down the knife onto the draining board and attempted with her good hand to cover Kit's eyes. By this stage in her life Kit was not much surprised by anything. As she ducked under the woman's arm she thought, that's our bread knife if you don't mind. But she said, you shouldn't be doing that, Joan. Why don't you come away from the sink?  The woman allowed herself to be led to a chair at the kitchen table. Kit pulled a clean tea-tile out of a drawer and wrapped it around Joan's wrist. The towel was a checked one, red and white. Joan's reluctant blood seeped black against the cloth. The cuts were light, early, indecisive, the practice cuts. Just wiggle your fingers, Kit said. Make sure you haven't done any damage.