So, hi everyone, I'm going to talk to you about migration to testing and visualization or how do I beat the freeze deadline that was basically my main issue. I didn't intend to work on release team tools, but in the end that's what I did. So I'm going to split this in several parts. The first quick one is just about context. Then I'm going to talk about migration to testing, which is like the core of this talk and how we can visualize what's happening and what's holding back some migration of packages to testing. And then some openings as usual. So, just a show of hands. Who maintains at least one package in Debian? Not quite everyone, but almost. And who keeps an eye on the status of the migration of this package to testing? Or the other way around who doesn't care? Okay, no one. Okay. And who already noticed that the package was blocked from migration because of another package? Okay, still people. And who had troubles understanding why and how many packages were included in this migration problem? Oh, still some people. The other ones, you can stay here. Maybe you'll learn some bits anyway. And I'm not going to talk a lot about my company, but basically I'm doing Debian work as a volunteer, but also as a consultant. And I'm mentioning this because when I'm doing systems administration, I tend to not do manual work, so I automate stuff. And you can do that with Ansible. I know Evolyx people already use it quite a lot. But there's also Puppet that I'm using for the centralization aspect that makes it possible to automate many tasks and keep track of everything happening on some infrastructure. But one of the tiny little issues I'm getting is how do I monitor possible issues with the infrastructure I deployed? And there are many ways to address this problem. You can use a full-blown solution like Foreman, which can be plugged with Puppet, but comes with the HCP server, Pixi server, and many other capabilities. So maybe it's a bit too much. You can switch to Puppet Enterprise, which has some web interface to look at reports and so on. But I don't want to pay some subscription just for that. So on the other end of the spectrum, you can just look at the YAML reports yourself, parse them, and then maybe send some notification. So I started with that. It's not really reasonable to ask people to look at reports themselves. And the middle ground is Puppet Board, which replaces Puppet Dashboard using PuppetDB. PuppetDB will collect many information about your Puppet setups, your nodes, and so on. And Puppet Board will just bid a web interface to PuppetDB. But my new problem is that PuppetDB was not in testing. So that's the starting point of my little journey with release stuff. So what can prevent the migration of a package from Unstable to testing? There are many possible reasons. Maybe it's not old enough. It hasn't spent enough time in Unstable. So maybe there are some underlying bugs that were not discovered yet. It can have new release critical bugs compared to the version in testing. It can come with dependencies that are not satisfied in testing. Maybe some build dependencies that are not satisfied in testing. And many more issues. Over time, we've put some effort into testing packages and not letting users only test packages. So we've got few parts that test installation, upgrade, and removal of packages on some automated fashion. And we've got some continuous integration with CI.dvn.net, which makes it possible to run some automated package tests. So auto-PKG test is something that you can put into your source packages so that they get tested automatically. If there are some regression, your package might be blocked. But if you've got some automated tests, maybe you've got some bonus like you migrate early because it was tested by some infrastructure bits. Anyway, some other possibilities, your package might be blocked because some release manager puts an explicit block on it. So that's basically what the freeze is. We block all packages. And it can be kept out of testing because the Debian Installer Release Manager decided that, oh, I'm working on a Debian Installer release. So I'm going to freeze all packages that might have some impact on the installer. So that's the blog-hew-deb hint, which prevents some more migration. Or it can be many, if not all, of the above. We've got some really not bad packages, but packages that are in a non-releasable state. So they are kept out of testing or maybe even removed from testing if they migrated before. And trying to understand which part is blocking might be a bit tricky. To understand what's happening, we've got the package tracker. So you can use tracker.debian.org slash pkg slash the name of your source package to get some information. But we've got the excuses page as well. That one lives under release.debian.org. It's related to Brittany, which is our tool which automates computations, what can be migrated, which package must go together with another one, and so on. So as we'll see in some screenshots right after that, you might have to follow some links to get more information because some more packages can be involved. So for example, here, relatively easy packages are relevant. As you can see, it's migrating after another one. So maybe that other one might need some other package in turn and so on. It's too young. It just got uploaded. So it has no opportunity to get widely tested. New parts is okay. So it can be installed, upgraded, and removed. But in the end, because it was taken a few days ago, it's blocked because we're in deep freeze anyway. But I'm going to concentrate on the first bit, the migrates after bits. Here we have basically the same information, but on the release team side. So that's the excuse page. As you can imagine, we basically copy paste from one to the other one. And a little less easy case is GitLab, which migrates after many GitLab-something package or Golang packages or Ruby packages. Plus it introduces some new bugs. So there are many reasons not to let it migrate right now. And that's another part of the excuse page for GitLab. So everything in blue is a link. So you can click and move around in the page and get more information about your package. But basically it's a bit cumbersome to keep track in your head that, oh, okay, there's this package. And also that one. Maybe I'm forgetting that one because the names are closed, but that's all. So basically what do we do? How does it scale when you've got too many packages involved? So that's where visualization comes into play. The first solution is pen and paper. I'm no artist. Really no. I can barely read back my own handwriting. And it might be a bit hard to start drawing something and then figure out that, oh, but I need some more place to put this and that in that package and so on. So it basically didn't work at all for me. The second solution is manual graphics, which is a piece of software which makes it possible to describe a graph like I want to draw a graph which is or isn't directed. So with like transition between two edges, the direction is important or not. And you just describe with a specific language, which is called dot, which is also the name of one of the graphics tool.  So basically you just have to describe your graph and it's going to compute some layout that makes sense for this set of nodes and edges and so on. So that was basically the quickest way to get some information and maybe it can be automated. But let's look at the manual graphics part. The algorithm is really simple. You start with the package you're interested in. So in my case, that was PepeDB. You look at all the packages that are involved. So with the migrants after that we saw earlier, you register a relationship between PepeDB and package one, package two, package three and so on. And then you look at package one and then figure out whether there are some other package involved and you do that recursively. It's really easy except you need to be really focused and not miss any package and not look at the same package twice. Here's what it can look like. So we've got, I'm not going to look too deep into the dot language specification. But basically we've got a directed graph. I'm going to be organizing the layout from left to right. It can be top to bottom or some other stuff. And I want the nodes to have the shape of a box. Because by default that's some kind of ellipsis and it's not really rendering too good. The first step was PepeDB, migrants after this and that and that and that other package. Each link can be given a different color. So that was blue for all of them for unrelated reasons. And then once you've got that first part done, you look at du jour version check closure and then honey SQL closure and so on. But looking at du jour version check closure, oh, it depends on Pepe Labs, HTTP Client Closure, which in turn depends on this other package and that other package, which themselves depend on other packages. So it's really annoying to go and do some really manual work and make sure that you're not forgetting anything. So that was step two or at least part of step two. And when you're all done, I didn't count the number of steps, but there were way too many transitions. So 36 total. I was glad I didn't try to do that by hand because I wouldn't have enough paper anyway. So that's a set of packages that were preventing PepeDB from migrating to testing. So that was all the packages I needed to fix or to look at to get PepeDB possibly in shape before the freeze deadline. Because at some point we don't allow any new package in testing. So basically at this point I had a good idea which packages might be involved in this issue. So I checked release critical bugs, failure to build from source. So basically many closure packages had test failures that were depending on file ordering. So depending on the order in which tests were run, so-called unit test, were depending on some other unit test. And that could work or not work depending on file ordering on the file system. So it was a bit tricky, but basically the same class of bugs. So once you figure out what is happening, you just run them in some specific order which makes it work. And you fix many bugs. And you get some packages reviewed, uploaded, and stuff should be better. But then how do you check where we are at? Like half of the packages in the previous graph were fixed. Some of them might have migrated to testing. But then how do I check what the current situation is? Do I redo the steps before? Like go through all packages again, I don't want to do that. So my next step was, okay, we've got the ball rolling. We've got PuppetDB people, closure people involved. We've got some packages fixed. So I'm going to take a step back and try and automate what I did manually the first time. Once you do something manually, you can understand, especially when it's repetitive, you know exactly what steps must be done, in which order, when do you stop, and so on. So I looked back at some preliminary work I did years ago when I joined the release team in 2013, I guess. At the time, I was looking at the ex-USIS page, the HTML version, and I was passing HTML. So that's a recipe for not read disaster. But you've got to update because your scripts and RegExp and so on. Because the HTML version was not stable, you could have some strings that were edited slightly. So what worked back in the day was not working after a while. And basically that was a really nice idea to get graphs at the time to understand what was going on with packages. But in the long run, we don't want to do that anymore. So it was time to switch to machine-readable things. And fortunately, we've got machine-readable excuses. So instead of looking at HTML files, there's also ex-USIS.yaml file that you can, like, pass with real tools. And they are also saved and archived for later use. So you can look at exactly what happened on the very first Britnay run, on the first of February this year. But also you can look back into previous years and so on. So here it's just an excerpt on the PuppetDB entry back in early February. We see there's an entry with dependencies. So the migrants after with all the packages we've seen before. We've got an ex-USIS item which, oh, very much looks like what's in the HTML page. We see that this package is not a candidate because it's being blocked for whatever reason. It's not going to be considered for migration to testing. We've got some administrative, like, version and so on. And the policy info, we've got the many reasons why this package was not a candidate. The age requirement was okay. It's been in Ansible for more than 100 days, and it only needed five. So that part was really okay. The auto package test was failing, but it has always failed. So that's not a regression. So the verdict is passed. So that was not a blocker. And then we've got some other checks on block, I guess. Is there a block hint or something like that? And build depends. And some other stuff. I'm not going to look into all of them. I'm just going to note that there was a really critical bug anyway. Basically the package was not working at all. So it was not a good idea to try and push it into testing at this point anyway. So based on this YAML file, it's really easy to iterate over all the packages. Maybe limit yourself to one set of package that you want to look specifically into. Or to generate not one graph, but as many graphs as there are clusters. So sets of packages that are depending on each other. And then look at the big picture for... So the big picture is split into many graphs. But you've got a clear picture for all of the set of packages. So I'm going to switch to a browser. So that's a page that was generated with what's in the archive today. One might argue it doesn't really make sense because we're all frozen and so on. But looking back a few months ago, that was looking basically the same way. Because packages that were ready or getting ready on a regular basis were migrating to testing anyway. So it was basically looking the same. So we've got many packages involved and a really, really, really, really big picture. So I'm not going to look at that one specifically. But the idea of this page was to have some kind of a view for, for example, release team members to have a feeling what is going on, what is blocking, what are the big set of packages and so on. It was an easy way to search for a package and get the appropriate graph. I'm going to look at some other, some specific graphs that I picked earlier. The first one is, again, Avril. I said that was a really easy case. At first I thought there was only Erlang Koboy. But in turn there's also Erlang Ranch. So it's really like look-a-look-based or something. But still pretty easy to figure out. You could have clicked through two packages. Here we have an example of some specific topic, which is Android tools. You see that packages can depend on some other package that itself depend on the first one. You can have circular dependencies. On the left side I tried to inject some extra information, which is looking into not only source packages, which we have seen all the time, but also look at the binary packages. Because one of the reasons for packages not to be a candidate for migration is dependencies between binary packages. And sometimes you can have dependencies on package A or package B or package C. And you can also have provides. So a package is provided by another one. So I've tried to work on implementing some binary lookup. So that's why there are gray boxes on some graphs. That one is another specific ecosystem, which is Codi, previously known as XBMC, which is basically a TV station of some sort. You can see that some add-ons package depends on many, many, many packages, which themselves depend on a common package, which is some platform package. That other one outlines the link we can have between different tool chains. So here we have Octave, which is math-oriented, which depends on GCC. And we see some cross-toolchains packages, which also depends on GCC. That one is about Perl packages. So apparently, all of them depend in some way on some HTML parser. That one is for PHP. That one is for Ruby. That one is a bit larger, because apparently, some people don't really care about the release schedule in Debian and upload their package any way to Unstable, even if there is no way they are going to migrate to testing. We try to convince people not to do that. Apparently, we fail with some people. So R is a prime candidate for, hey, look, everyone depends on R-base, and everyone is blocked because of this specific dependency. But we're in freeze anyway, but still. You can have some really big graphs like that, but that one really is really, really, really small when you compare to Askel packages. We have many rebuilds and package name changes and so on. And it's not going to render in my Firefox. It's going to be eating all of them, and so I'm not going to complain about that anymore. That one is for updating your firmware on your machine. We see some signed packages, which depend on the source package. They were originating from a similar package is SHIM, which is the really small part that we try to use for secure boot before we switch to Grub. If you want to read more about signed stuff and so on, I've got a blog article detailing some bits. But basically, the same is happening with Linux, but we don't tend to block Linux for too long, so it already migrated at this point. And if you wonder why Kubernetes didn't make it into testing, that might be one or many of those packages that were not in shape, and maybe Kubernetes itself that was not in shape. But those are the parts we are missing in testing to get Kubernetes. But again, we're frozen right now, so it wouldn't migrate anyway. So getting back to my PuppetDB treasure hunt or something like that, that's a slightly different graph where I took some notes. I ended up editing my .file to mention release-critical bugs, like the depends on the left bottom side, or FTBF faces, so the failure to build from source, or security issues with CVE and so on. So it really would be better to have more information on the graph, not just the set of packages involved, but for each and every one of them get an idea whether their age is OK, whether they are RC bugs, whether they are dependency issues, and so on. But one of my issue right now is how do we get that into the graph, because there are already possibly many packages involved. And I would like very much to have some maybe input during questions or later in the day regarding some kind of image format that would let me have more information, have a bird's-eye view right now, and then make it possible to click on some item, or figure out some color code to figure out which package could be ready with just one day or two of waiting, or maybe with just one bug fix, or something like that. So I was anticipating a little. So more data on the graphs. I didn't mention it, but we could have the hints by release manager, for example, the unblock that we use during freeze time. We can change the age requirements as well. We can say, hey, this package is urgently needed in testing. So we don't care about its actual age. We want it right now. I mentioned block, UDEV, and so on. But basically, every hint we can give Brittany which can impact a package would be welcome on those graphs. And as I said, some way to make that clickable, zoomable, expandable, or foldable. And I need some input, because I don't know anything about visualization anyway. And everything is good, except those graphs are PNG or SVG. But I'm not sure how accessible an SVG with relationships is. So maybe it would be good to have some way of getting the dot language and then transform it into some text, be it in English, maybe localizable, and so on. So we don't need to actually see the graphs to understand what's going on. And on the infrastructure side, I would like to integrate that onto release.demia.org, also in the Brittany area. But also maybe on the tracker pages so that we can click on a given package and then get the appropriate graph generated for this specific package. And as I mentioned, I tried to work on source and binary mapping, but then you need the sources file from the archive to actually get the mapping. So I wanted, especially when looking back at some old exfuse.tml file, automate grabbing the relevant sources file directly from snapshot.demia.org so that we can have the appropriate mapping between source and binary packages at the time. So thank you so much for your attention. You can read more about some stuff I do with my company. And for example, I mentioned the sign packages, the secure boot stuff on my company's blog. And questions are welcome. We've got eight minutes. So I understand that you check build dependencies only. I understand that's enough, OK. So I understand that you check build dependencies only on AMD64. Is that right? The build dependencies for arched specific binaries. So the build dependencies and the build depends arched or checked on all the architectures where the binaries are available. And the build depends in depth are first checked on AMD64. If that doesn't work, they are checked on all the architectures with our binaries. And if that doesn't work on any other ones. So that should find a solution if there is one. OK. So that means if build dependencies are not satisfiable in testing on at least one architecture, then the package will not migrate. But that was implemented fairly recently. So at the beginning of the Buster release cycle, only the arched specific ones were checked. So there were some packages that migrated to testing that were not where the build dependencies were not available. So that problem should be solved now, but it wasn't a year ago. Thank you. Thanks for your great talk and your work in Debian. It could be also interesting to do back port packages to know if a package is in stable. Do you it is possible to have, for example, with a color box to know if a package is in stable? You mean when preparing some package for back ports? Yeah. I guess it's feasible. Basically, the idea is just looking at either excuses or maybe you can basically do the same with the archive itself and just look at dependencies and so on and establish some graph. It's really flexible and really dumb, actually. You might run into issues with version dependencies and provides and so on, but I guess you could just use apt to figure out the dependencies and then render that on some graph. I believe apt even has some dot command or had at some point. So it should be feasible. Just one short comment. You mentioned that you wanted to look up sources on the snapshot that Debian.org for to find out binary mapping, so binary mapping. Actually, what you really want to check is the binary package because sometimes you can have a binary package built by multiple source package and to find out which one, which source is really responsible for it, you have to look up the binary package. But I wanted to keep the talk short. I didn't dwell into the specifics of multi-sources and multi-packages, but yeah. OK. I had a question also. The graph includes all the relationships based on the migrates after. And blocked by. I didn't mention the distinction as well to keep it short. But does this list include all dependencies or only dependencies where there are different versions in testing and stable? It's all packages mentioned in the excuses. So then you would have to ask Evo. That means the graph might expand if other packages get to bloated later. If the excuses file lists either blocked by or migrates after, that means that it can only migrate if the other package migrates as well. If there's a dependency that is already satisfied in testing, then it won't be mentioned. So if it's mentioned in the excuses file, then it's really something that needs to be fixed for it to migrate. Two minutes still. We have just one, two minutes for the latest question. OK. Feel free to grab me for any more questions during the day or tomorrow morning. And again, thank you so much. Thank you, Cyril. Thank you very much.


All righty, let's play this for everybody to watch here All right couple things about this I think the two biggest three biggest things to me are a There's a lot of overlocking overlocking What's the word? It's just an over extension of your IK arm Kind of missing the right words here, but again, it's just a very very Overstretched arms there The second thing is I don't think this is needed. It's a bit distracting It doesn't really add anything to the story It doesn't add an additional conflict where maybe he's trying to get it in but he can't get it high enough So then every time he tries the cart goes away goes away goes away and he just keeps walking walking goes off-screen Which could be a gag where you're taking away the Simon and making it and it's something different, right? So it's kind of the conflict is not the weight the conflict is to get this in here because it has wheels He never makes it and it just goes off-screen. It just happens to involve weight So it's almost like one of those how to take your animation to the next level examples But as of now, it doesn't really affect him. He doesn't really change the grip. It's just kind of there So personally, it's also really fast that move I Personally would take it out. I would just keep this here have him turn around and then try to put it in And then I would slow this down. It's a bit high frequency But just to go back to be clear the things that I would pay attention to the overextension of that Same here. So every time you overextend those arms kind of Spray those arms Speaking of which they seem super super short. He barely has a moment where he's straight up. So If he gets really straight arms, you know here, it feels like that hand would be around here You know, that should be usually the kind of mid thigh So I'm not sure it's going with unless he is standing and his arms are like this and you don't really have him low So I'm not sure what this rig is the proportions seem really really off. So I would kind of look at this I mean, they're not that long See here to be here I know they just seem really short So I would take a look at these and make sure that nothing's broken or some scale assets are there some channels or change I don't know. I will look at that first before you go into all full detail into fixing your arms And the other big thing is this Besides those movements being twin that all move at the same time. It's kind of like it's kind of a classic there I say beginner move of Once the character is done Arms just go down and swing around as if a robot was turned off and the arms just kind of swing until they stop It's turned into kind of a pendulum assignment, which is not something a normal human being would do Unless there's a very specific acting point to it and maybe you know within the context in the situation It would make more sense But right now this just seems really weird I will personally whatever just do is do this here and when it's done See how he immediately he goes away from it from the melon watermelon. I would go And he really goes with it his swings forward so that oh man this happens He's actually here body forward and then his arms can kind of rest here Those are horrible legs. But anyway, he'll be like this so that instead of this he rests his arms on it and Then he can be like that and that way It kind of adds to the thing of well, I'm tired. I'm exhausted. This was really heavy So I'm going to use the cart to rest my hands on because I'm tired and I don't have enough Power and force and muscle strength to keep them even just straight. I mean To me that will feel more natural would be something that kind of would fit the scene and fit his I would say state of mind, but his you know level of fitness if you will versus This swinging that just kind of weird Not a massive fan of that Those are the biggest things The other stuff I would do here This seems a bit fast this roll this roll up here. So he grabs it here and goes I Don't know. I would go This is pretty heavy because if that's the watermelon is kind of grabbing it from the middle Which would give this a lot of weight So I would almost do personally I would to Relax have this arm Regrip it at the top while the other one can be lower Just for offset and asymmetry and then when you lift it up That arm Would be up here and not that straight I would have it a little bit of a bend there and you can hold it here while the other one is behind it But we can't really see it which is fine Maybe the fingers are here, but this would seem like a bigger a better pivot point I mean if the pivot is here and you hold it from the top It would seem like it would be easier and better to lift then go low and grab all of this weight. I think the the Turning and pulling and you know that motion and the physics of it. I think will make more sense and Then you could potentially keep that speed. I would still make it probably like 20 percent slower Then once you have that I like that you go down and readjust which would be cool because then if that hand is up here that you can have a little Moment that's maybe a second longer Then bring the hands down. Whoa hands down here Maybe the other fingers out here if you can reach but again those arms are so short So I don't think so but then you have time for a re-grab and then you got to slow it down So right now you go to here Go straight into that so you can give this a few more frames for the readjustment from up here to down here and then This seems really really fast and also really going in event But if you would look at the physics of it This is so heavy and then here it goes down rises the edge of the thing as He pulls the moment it gets off of that wooden edge here. It would just go It would just drop because the thing is I don't think you would go and pull so hard To go back even if you would they would have a visually I would have an arc in there But if that's such a fast pull then to me will go Oh a with an arc go here, but they would have so much force that then he would kind of move This bottle move to here Potentially a step back here and even it may be a turn in the Y And it would be just a much more a bigger impact of him pulling so hard that he has to take a couple steps I think that I would either do this right so if you want to keep this Give this a bit more of a more appealing arc than just a straight fashion there, but then have some Consequences such a big fast pull with something. That's that heavy instead of just locking here being still or He starts to roll with it so heavy right and he doesn't really have that Much power to leaning backwards you can really lift it up high So if he just pulls it over the edge, it would drop and will be more of a swing down like that Which again you might have to add a Step like this here, but maybe halfway just an adjustment step as it goes right to here So he will be be more of a over and then boy drops cookies. It's so heavy and then he brings it back up And then for a step for a readjustment Into here so what I would do is instead of doing this I would take that out like I said and kind of work on that moment through there To have a bit more of an adjustment step Either with this drop like this and a swing up or with a big pull back and then really have a Okay, take a step or two This has an idea. Let's pretend everything else before that was okay. We're starting here Just I'm just looking at that move only It's kind of cool. I don't mind that just because it's so heavy. He just has to kind of Hit it off one leg and has to take a Long step there to get over there. It's just the problem with the physics of this the body mechanics is that once you're here He is leaning this way the foot is so far this way that the Descent of gravity and the balance is off especially with this being so heavy at this point. He would fall over so Let's even pretend that the foot was here a bit more steady even then He'll be really hard for him to move over this way so quickly if you look at his root and the whole body You need something that leg would have to be positioned like this so that the shin and the thigh are pointed this way All right, so that he would have force in this leg to push himself over this way right now There's nothing a he would collapse Over this way anyway, but there's physically nothing that will make him go this way Just the mechanics the body mechanics just don't really work here Watch out for this here just kind of takes one step, and it's a very slidey step At least here. There's a bit of a tilt over and you can imagine it's a bit off the ground, but this one just feels a bit Slow in timing right even in timing And then he just kind of leans over and it would really really hurt his back to me it seems like if you're in a position like this I would have him lean backwards and With a lot of the you know those all shaped bow legged legs here Take quick quick quick quick quick steps, so to me it would be the contrast of movement of someone going There's that it's a big slow move And then read just and then Go forward otherwise you have Move Step step so it's very even in timing all those beats So to me in terms of contrast This would be step step step step step into a turn here This I'm not quite buying the way either because it's mainly coming out of his you know His forearm and a little bit of his upper arm bicep biceps area here, so I Think you would have to have more of a Move back with his head then the back Then his arms is kind of I need more momentum. He needs to swing himself back So to get this into here, which is cool, and you can always anticipate the whole thing by Lowering the roots then going up, so I'd say he goes he goes down and then it's So it's a head up chest back push up with the legs for the root to go up and that whole thing swings The watermelon over and again, I wouldn't do those arm swings. I would probably just keep them up here resting and then this is a bit fast for this to go up Coupier one frame, but then going down over one frame and especially coming back is a bit weird Because you have the watermelon going a bit this way. It's left to right. It's not full straight down So if this goes up, I will bring this back down over at least two frames If not three if it kind of play with this a bit occurs what the field would be But then the wheel will be here you want to have I am you want to forward or screen right? Forward for him, but screen right movement of that cart here This just feels too fast and maybe that even maybe that's even too big You can go up and then down over two frames But the height here cut that in half which will slow the whole thing down that might even be better I don't mind this stuff here. That's kind of okay, but I will probably do a little bit like I say with a Translator role of this card here. So by the end of maybe here is you know that card could be here It could still have a bit of a role And I'm not sure if you have any control over these guys they would have to rotate a bit Cards usually have rotation in the front wheel so you can turn Turn that thing already I Mean there's other stuff, you know terms of the facial expressions finger poses Polish on the feet like stuff like here feels like you're overextending that leg There's not enough foot roll, but I feel like I don't want to get into this into this right now because There still seems to be you got to choose on what you want to do with this moment again I would take this out I would take smaller steps to get there and then this whole area is such a big and different Move body mechanics wise that this seems like bigger chunk for you to fix And there's as a visual thing. I would not mix photos with CG elements It's just kind of a weird mix between a lot of texture variety even here That's a lot of texture stuff with very plain textures here. I would keep it within this Style even this might be too much. I just simplify simplify the look of it. Oh So I believe in terms of the perspective this seems a bit off So I would just personally take you know ads geometry pieces in the back If you want to fill in this background, but I would take the photo away and just keep it all all CG All right, that's That for this one Now this clip is Even more broad strokes just because the first time I was watching this I was slightly confused as to what was happening I did ask you a new wrote in an email back that he's saying hi to the audience, which I'm not sure that helps It's still confusing. Basically when I was watching this I was going Okay, he's saying hi, but to whom is is kind of looking at us or is it slightly just to the right of camera? I'm not sure. Okay. Let's continue. Okay. Wait, what is he looking for? Why is he so angry concerned? It's a weird going from hi and then this like, okay I guess he's looking for something. It's a bit of a weird acting break besides sliding feet there, but Okay, so then it looks over here sees this But then it seems really I Know this weird because you go into a bit of a confused look But if you're confused Okay, maybe not you're not looking for this or why are you confused? But then it seems really freaked out I'm really freaked out Okay, why? But then it takes the time to close the door if you that freaked out then you would either Get to this thing as quickly as you can or get away from it You know, it's either you're afraid from it of it and you want to go away Oh, you're really interested in it and you want to get to it quickly but then to take the time to close the door that feels a bit weird and then this Suddenly happens. I mean, I know this slams down. I guess this comes loose, but then it suddenly turns into That with a lot of weird stretching like where the the physicality of head gets very water balloony I'm not a massive fan. I mean, this is my potential be a bit subjective as well But usually for I mean for stretchy stuff I will look at what parts can stretch parts of the body limbs could stretch You know stuff like this and a bit in the head, but still even in cartoon fashion. There's still a skull. That's hard So you can stretch like this area Ah, the cheeks and the bit of the jaw down and kind of the fleshy parts you can stretch but for the upper part To balloon like that feels a bit weird But then he moves over here And it holds on to that way. How does he hold on to this? This is a bit weird too as he brings his arm back really really far But I say, okay, then he's really really knocked out, but we're spending a lot of time on this So if you watch this he goes, oh And then you feel like, okay, let's get to this big old. Wait. Why did you take time? Okay? Okay got hit Okay, well, he's really stumbling for a long time.  What happens so there's no ending so I Don't know it feels to me like there's just not the right focus. I'm not sure what you're trying to tell Why is he saying hi to the audience? Okay, if he comes in And it's right in front of him. I know maybe this might be too picky, but it's right in front of him But I guess okay. I'm assuming he's looking for this then but then why is he freaked out? Or is that supposed to be really excited? But then he doesn't look excited here. It looks confused and then freaked out. I don't know. It's very confusing Here looks like okay. I'm ready to eat this but then this happens And then this as he gets kind of ready with the weird, I don't say tangent It's not a tangent, but it's a weird overlap with the tip of the banana on his nose just to the staging is a bit weird but But and then what so I would look at what's your main objective of the character? What does the character want? Does he want to eat? Okay then If he's that excited, like why is he that excited? Is he really Hungry and exhausted so maybe coming in here would be more like And it's really hot outside or something. He's just really hungry instead of this happy thing And that way he would be so happy to see this because oh, I can finally eat And then right before he gets it Something happens where the food gets away and then that's his the struggle of getting to the food I don't know like whatever you want to do But there's something where I'm just not quite getting the objective So to me even if everything was really really well animated I think there's still a lot to do in terms of timing and mechanics Even though that's a good one here. That's cool It's just very confusing especially this part is really really long so just kind of the pacing of it and the focus of it is To me so confusing Or just not clear enough. It's not massively confusing in terms of me flipping the table over But it's just not very focused and it's just I'm kind of lost interest by now And I'm just not sure what's going on. So if you can find the clear This is the character. This is his objective They make it clear a to b. That's what's happening or On the path from a to b. There's something that happens in the middle. There's a conflict There's a problem and then what does the character do to get over it because for now This coming down and hitting him Has really no bearing on this. It doesn't really influence This at all. He's just delayed in getting to this But in a way, this is the same As this just closer. So why was that here? So I don't know to me Personally, I would if if you're already adding all that effort and working I would make this a bit more character driven and with an objective and in something where you can play with something where Maybe he slams the door and then because of that This beam falls down from somewhere else hits the table And then these guys fly around and he goes no, I don't want this to fall down or get wasted or Splat down or whatever. Maybe there's something else that could break And then you get into something like this where he's running around As these guys fall and he's juggling and trying to to catch everything I know there's something else that you could do that could push your body mechanics in a way that you you're doing here But with something that makes more sense Yeah, I hope I make sense If not, let me know email me. Um But that's it for this one So I want to get a bit of a back and forth via email so that we can kind of clarify and and give you a good objective and good path Uh and focus for the shot. All right. Thank you All right, there's an email you can sign up you can start whenever you want You can submit whatever you want you get 16 submissions either way a like and subscribe would be awesome. All right. Thank you


Family Theatre presents Pat O'Brien, Frank Fay, and Betty Lynn. From Hollywood, the Mutual Network in Cooperation with Family Theatre presents Another Catcher in the Family, starring Pat O'Brien and Betty Lynn. To introduce the drama, here is your host, Frank Fay. Thank you, Tony Lafano. Family Theatre's only purpose is to bring to everyone's attention a practice that must become an important part of our lives if we are to win peace for ourselves. Peace for our families and peace for the world. So, Family Theatre urges you to pray. Pray together as a family, and now to our transcribed drama. Another Catcher in the Family, starring Pat O'Brien as Kurt and Betty Lynn as Kathy. My name is Kurt Winslow, and for nine years I was first doing Catcher for the Lions of the National League. I learned a lot during that length of time, and in the last couple of years, I learned that the old legs wouldn't take it much longer. Oh, yes, I learned, too, that it's a tricky deal for a ball player to raise a motherless daughter the way he wants her to be raised. You see, a mother died when she was seven and all I could do was, well, send her to boarding schools in the winter and girls' camps in the summer, but she grew up to be 17, as sweet a girl and as loving a daughter as any man would ask for. Then, in the spring training last year, I realized that the old man with the sigh and the hourglass was really creeping up on me. Our manager, Hank Rogers, asked me, you know, is that kid from the international? Is that Joe Banks? Yeah, he looks good, Hank. He oughta hit 280, 290 in this league. I didn't mean that. He'll hit all right. What I meant was, how'd he look to you from behind the plate? He looked okay. In two years, he can become a great Catcher. Four or five, maybe one of the greatest. That is, if you help him, why should I help him? Well, that's a fair question. There isn't any reason, except you've always been a team man and some day the Lions are going to have to find somebody to replace you. Nobody goes on forever. So you want me to coach the guy you hope will take my job away from me, is that it? Oh, that isn't it, Kurt. Now, you take me. I couldn't hit my weight, but I was the best feeling shortstop in the league. Terry Jablinsky couldn't go to his right, so I worked with him until he could do it as good as I could. He took my job, but I went up and up, and now I'm the skipper of the Lions. Okay, I'm sold. What do you want me to do with this kid? I want you to teach him anything and everything you've learned in nine years. It's a little like being asked to dig your own grave, isn't it, Hank? All right, when do I start with Banks? And a boy, Kurt. Start with him tomorrow. As soon as the better. How do you pitch to Stan Musial, Mr. Winslow? Skip the Mr. Business. I'm not that old. My name is Kurt. Yes, sir. There's only one way to pitch to Stan. You start with an abiding faith that the law of averages will be in your favor. He can hit anything. But he bats about 350, which means that a proclamation that went out of every three times of the plate is going to smack one safe. So all you do, you say, Eenie, meenie, minie, moe, curb or fastball, watch it go. And you hope this is one of the two out of three times you miss it? Yes, sir. How about Kilroy? Kilroy? That's a different deal. Kilroy guesses the pitcher. When he thinks you're coming in with a high, hard one across the letters, he moves his right foot back just about two inches. A call for a curve or a slider across the outside corner, you'll make them look like a sucker. I'll remember that, Kurt. And make notes on every player in the league, kid. Make notes. That's what I did. Instead of spending your spare time with the movies or reading those comic books, study those notes. Till you know every batter's strength and weakness by heart. Yes, sir. All this is mighty nice of you to do, Kurt. Do it for anybody. I never had a boy. A lot of things had worked out that way. I'd like to see him growing up to be a catcher. I like the kid. Maybe I shouldn't. Maybe I should claim credit for the way he developed in his first season in the majors. We never worried about his batting. He was a natural switch hitter, and he could murder whatever they tossed him from either side of the plate. He caught mostly the second half of double headers. I was still the first stringer, don't forget that. But I was impressed with the way he remembered the things that I'd told him. And then one night when we were in Philadelphia, there was a knock at my hotel room door. Hi, Dad. Glad to see me. Kathy, what are you doing here? Oh, I got fed up. Clear up to my neck. Close the door, and I'll tell you about it. But you're supposed to be... Close the door, and I'll tell you what happened. OK. What happened? I suddenly grew up on you, Dad. I decided that life in a summer camp was much too deadly. But, Kathy, you're only seven. I'm almost 18. And some of the counselors aren't more than a year or two older than I am. You don't seem to realize it, Dad, but I'm a young lady now. Yes, you're a young lady, but it's... Dad! I'm almost 18. And I want to be with you. Let me travel with you till the season's over, will you? We've been away from each other for so many years. OK, Don. No, but I hate to think of what you'll do to the single boys on the club. We've got about a month to go. And after that, well... Wait a minute, I'll see you later. Hi, Kurt. I wanted to ask you about... Oh, I'm sorry. I didn't realize you had company. Oh, that's all right. Don't mind me, Dad. Ask him in. Oh, sure. Come on in, Joe. Kathy, this is Joe Banks. Joe, this is my daughter, Kathy. Hello, Joe. How are you? Ah, how you doing, Ms. Winslow? I didn't mean to butt in, Kurt. I didn't know you... Oh, that's quite all right. Sit down, Joe. No, thank you. I'd better be going. I'll talk to you tomorrow, Kurt. Glad I met you, Ms. Winslow. See you later, Kurt. Yeah, yeah. Well, who was that? He's a kid catcher on the team. Oh, he's cute. Is he a good ballplayer? He's got the makings of one of the greatest catchers who ever lived. He's gonna take my job away from it. I'm helping him do it. Oh, you all sweetheart. Why worry about that? I've always said that when you were ready to quit baseball, you'd get a job as a heartbreaker in the movies. For the next three weeks, Kathy traveled with us, and the single boys, without exception, went into Hock to see if we'd give her the biggest boxes of candy and the fanciest bouquets of flowers. I didn't notice that she favored Joe more than anyone else, but one night she said to me... Dad, Joe and I want to get married. You what? We want to get married. Well, don't look at me as though I said I was going to jump off the top of the Empire State Building. Is there anything wrong in a girl wanting to marry the man she loves? No, but... But what, Dad? Oh, you're only 17, honey. I'm almost 18. The same age you were when you married Mom, and she was even younger. But he's a ballplayer. Well, so are you. That's the reason I don't like it. That's the reason I don't like the idea at all. Why? Marry a doctor, a lawyer, a dentist, or some guy who owns a business. But, baby, don't marry a ballplayer. Why not? Because it's not percentage. If he doesn't get hurt, he's good for 10 years, maybe even 12, and then what has he got? No profession, no trade, no job. All he's got is you and a couple of three kids and a scrapbook of press clippings. So he takes a pick and shovel job because there's nothing else he ever learned to do. Joe isn't like that. Well, maybe not. But, honey, don't rush into anything. Just, you know, look around, see if you can't find somebody who can mean more to you than Joe. Somebody who, well, who's not a ballplayer and if he needs any help getting started, well, I've got $15,000 solid away and it's all yours, baby. Thanks, Dad. I'll do it for you, but it won't be any use. Joe loves me and I love him. What else is there to say? Early in December, I watched my only child, Captain Winslow, change her name to Mrs. Joseph Seabanks. I cried at the wedding. Couldn't help it. And she had said, seemed only 30 minutes ago that she was a Totten Roppers. And now here she was, a beautiful bride, smiling at her dad and with the love in her eyes, reserved for somebody else. After the ceremony, Joe came up to me, looking like he just hit a homer with the bases loaded to win the final game of the World Series. Isn't she beautiful, Kurt? Isn't she gorgeous? I've always thought so. What I can't figure out is how she'd ever have me. Well, you're okay, kid. Listen, you'll be good to her. You know that, Kurt. If I ever don't treat her right, I hope you bring me with a bat. Probably will, if... No, Joe, I wish you kids the best of everything. And remember what I've taught you. Save your money. And God bless you both. In January this year, I was called into the Lyons front office for what I thought was to be a salary conference. Frank Rogers was waiting for me. He looked at the floor as he said, I've got something to tell you, Kurt. I don't know where to start. Start at the beginning. Okay, maybe it'll be easier. We just sold you. Where do I go? The Blue Sox. What'd you get for me? $50,000 and two players. I'm sorry, Kurt. Believe me, I really am. But that son-in-law of yours came along so fast last year we figured he'd be good for 100 games this year. Can out hit you. Sure he can. He's good. He's a lot better than I am. It's, well, it's just that I was hoping I could wind up with the same team I started with. It's going to seem funny wearing a different uniform and playing against the Lyons. One thing, Hank, anytime I play against the Lyons I'm going to play for keeps. I'll expect that.  If you did any less, I'd be ashamed of you. When I reported to the Blue Sox training camp this spring Smiley Kavanaugh wasted no time telling me where I stood and he looked me up and down before he said. Yeah, you look like you're in pretty good shape, Kurt. Well, I've been playing handball when I smile. I'm only about 10 pounds overweight. Well, let's whip that up. You know, I took a big chance on you. 50 grand's a lot of dough. If you can help us, you'll be worth it. I can help you. That's a ticket. You've known me and I've known you for a long time, Kurt. Stay around the circuit and I'm hard-boiled. I am. I want to win every game we play. A man makes a physical error and never chew him out, but if he has a mental lapse, or if he doesn't give me all he's got every minute of every game, then all I can say is, Katie, bar the door. No loafing on the Blue Sox are no favorites. Everybody's job is up for grabs. If you're the best man for the job, you keep it. If you're not, chances are, you won't be with us very long. Understand? Smiley, I've always played like that. I know it. That's why I might have glad I'll be having you playing for and not against us. It didn't take me long to fit into the scheme of things with the Blue Sox. I got a kick out of the awe in which some of the youngsters held me, but after all, I was making headlines in the newspapers when they were blowing their noses in their mother's handkerchiefs. I showed Sautel how he was tipping off his curve and I worked with Abercombe. He perfectly perfected the screwball and broke about two feet. His legs felt good too as we worked our way north, winding up our exhibition schedule. The night before we opened the season against the lions, Kathy came to my hotel room.  How is it, baby? Are you happy? I'm delirious. But I did miss Joe so much when he was away at camp. This is the first year they wouldn't let the players' wives go down to Florida. No, I don't blame Hank. I put a ball player to keep his mind on his business with a beautiful wife like you around. Oh, Dad. Say, uh, aren't you a little fleshier than you were, baby? Maybe you should have gone to training too, huh? It isn't that. Oh, now wait a minute. You're not, uh... Oh, why not? The doctor says that about the last of October, the early part of November, you're going to become a grandfather. Wow, me, a grandfather? Oh, Kathy. Oh, darling. Aren't you happy? My little girl. Oh, happy. I'm so high I can reach up to the moon and slug it over the left field fence for a homer. Uh, are you sure? Positive. Well, we better start figuring right now with a little fellow. I had money I saved into a college fund right away, so when I'm out to something when it grows up, he won't be a ball player like his father and grandfather.  Oh, you silly. In the first place, he may turn out to be a girl. And in the second place, Joe may want to have a say in his son's career. Well, I'll talk to Joe. Gee, it's going to seem funny to more playing against the kid instead of on the same team with him. Yes, and did you ever stop to consider the spot it puts me in? The two men I love best in the world, one on one side and one on the other. Which one am I going to root for? Young Joe Banks started off like somebody lit a firecracker under him. He lit safely 33 times in his first 66 times at bat to lead the league with a phenomenal 500 average. And then at home against Pittsburgh, the kid hit safely in his last two times at bat. The next day, it was 4 for 4. And the following afternoon, he racked up another 4 for 4. And that was 10 straight hits and tied the National League record. Then the Blue Sox invaded the lines then. I was catching. And the first time, Joe came to the plate. Hi, kid. Hi, Pop. You know we're going to fan you, don't you? You know I'm going to clobber one, don't you? We'll see. Pop! Call for one like that a little closer and I'll murder you. You do the swinging, I'll call the signals. What's that, Pop? You afraid of me? You going to walk me? Got out the yak, you two, and let's play ball. I got to catch it, kid. I'm sorry, but I got to catch it. Yeah. I had to catch that foul, Pop. I popped the plate in front of the screen, but I didn't. I never missed one like it before. Somehow I twisted out of my mitt and landed on the ground before I knew it. Back to Joe fly to center on the next pitch to end his string was an anti-climax. When I came to the dugout after the inning was over, a smiley cap and all was waiting for me. So you dug it? I didn't draw the smiley. Cut the comedy. You're going to grab that one with your eyes closed. Oh, I know what you're thinking. When I'm thinking, Kurt Winslow purposely dropped a foul, pop up so his son-in-law could have another chance at the record. It wasn't that smiley. I swear it just slid out of my mitt. Don't give me that. I told you last spring I never chew on a man for a physical error, but that wasn't physical. I tell you it was.  That's for the birds. You're a third string catcher until I can trade you. That is, if there's a club in the league that'll have you after this. What's the straight dope, Dad? I tried to catch it, baby. Oh, I knew you did. Joe said he knew you did. He said you're too much of a ball player to do anything else. He said he'd have struck out intentionally if he hadn't thought so. Joe's a good boy. I did my best to stop him, but I'm sorry he didn't break the record. Oh, he's got plenty of time. For just a minute, Dad, I was afraid you'd done it for Joe and for me, but now I know different and I'm glad. The next couple of months were tough. Smiley wouldn't speak to me except to give me orders and the ball club took its cue from him. I'd had leprosy. The players couldn't have given me a wider berth, and then along in August we opened another series against the Lions in their home park. The first day, Chili Williams broke the middle finger of his meat hand. The next day in the last of the eighth, Dave Sturgeon got badly spiked, blocking a runner at the plate, and that left me the only catcher. See, it must have almost a kill, Smiley, but he sent me in and I finished the game.  Smiley said to me, Yeah, I could have been wrong about the cart. You can show me today. Hank broke the news he traded me to the Blue Sox. I told him I'd always play for keeps against the Lions. That all was his gone and it still goes. Barry! Listen to those knuckleheads. Get out and show them, Kurt. Show them they don't know what they're going about. Well, the game was as tight as the top on a catcher bottom. We scored one in the second, the Lions tied it in the seventh. We rocked along one to one as we went in the last half of the night. And then with one away, Joe Banks drew four bad ones, and Arnie Sample batted for extra, moved them to third, and went to hit and run. Well, I had Jinx Bradley intentionally passed through the sacks and set up a force out at home or a double play, and the infield moved in on the edge of the grass as Wally Deskin came up to the plate. Wally swung on a belt, high-fast one inside, and lifted a high-towering fly to short left feet. Oh, look at that crazy kid, cozy. He tagged up on third like he was going to try to come in after the catch. He's fast, Kurt. Couldn't make it in the motorcycle.  He's coming in. He's out. He's out for the season. Maybe for good, he's got a broken leg. Let him alone, can't you see he's passed out? Oh, I didn't mean to do it, kid. I didn't mean to do it. But I had a block to plate. Well, I thought that ball game would never land. It went 17 innings before they finally beat us two to one. It was after dark when I reached St. Jude's, the hospital where they'd taken Joe. Kathy was in the room with... Hello, Dad. Hi, Pop. Hi, kids. How do you feel, Joe? Pretty good. It was a swell block you tossed at me, Pop. Gee, I had a kid. You were coming like a runaway tank. I was trying to knock you flat. Who won? You guys did. 17 innings. That's why I'm so late. Oh, that's good. Maybe we're getting the world serious yet. I think he's asleep. The doctor gave him something just before you came in. How bad is it, baby? Compound fracture. And his knees torn all the pieces. Oh, it's not so good. The doctor says he might play again after a long rest. Oh, sure he will. I'm glad of one thing, Dad. People will know now that pop-up you missed was a plain old error. So I had to cripple him to prove it. Remember I said I had 15,000 stashed away and it was yours whenever you needed it? Well, darling, that still goes. We won't need it, Dad, ever. Joe's father owns a big dairy farm in Wisconsin. We're going out there as soon as he can be moved. I think it'll be nice for your grandson to be born on a farm. Holy cow. I'd almost forgotten. I'll move out as close to the farm as I can get. Joe and I will teach him everything we know. He'll be great. He'll be the best. 20 years or now we'll have another catcher in the family. And now your host, Frank Fay. Don't you love a charming conversationalist? The type of person who has a knack of making the small talk of life sparkle with wit and personality. This art of conversation is not a trick to learn from books. Rather, I think it brings ready-born from a generous spirit. Good conversation is one of the true luxuries of life. Close as it is to us on the tip of our tongue, so to speak, there never seems to be enough of it. That brings me to the point I want to make. Prayer is nothing more than good conversation with God. Children in their trusting way sense the truth of this. They never but think they are confiding directly into the ear of God. It's a pity we sometimes lose this trust when we grow up. It is we who change, not God. For he is changeless. So Family Theater again reminds us the family that prays together stays together.  From Hollywood Family Theater has brought you another catcher in the family starring Pat O'Brien and Betty Lynn. Frank Fay was your host. Others in our cast were Eddie Firestone, Ken Christie, Leo Cleary and Billy Barkham. The script was written by Jack Mitchell with music composed and conducted by Harry Zimmerman and was directed and transcribed for Family Theater by Joseph F. Mansfield. This is Tony LaFranco expressing the wish of Family Theater that the blessing of God may be upon you and your home and inviting you to be with us next week when Family Theater will present Last Run starring Charlie Ruggles, Gail Storm and Scotty Beckett. Join us, won't you? This is the Mutual Broadcasting System.


Hey Cal Bears, I'm Alex Xiao, captain with UCPD. I'm here to talk to you about safety. We all know that it can be dangerous walking alone at night here in Cal State. So I want to talk to you about a resource that's accessible to all Cal's teams, but none of the people use. I'm talking about Bear Walk. Bear Walk is a program designed to keep you safe at night by walking you to and from destinations. So here are the basics of that. The Bear Walk is available to you from dusk till 4 a.m. It is staffed by our community service officers, who are students just like you, but trained by UCPD. Their service boundaries are Cedar Street to the north, Shannock Avenue to the west, Derby to the south, and Prospect Street to the east. Additionally, the night safety shuttles runs from 7.30 a.m. to 4 a.m. And then you switch to the door-to-door service that runs from 4 a.m. to 5.30 a.m. Here is what a community service officer looks like. We can always be identified by our uniforms and we always carry our police IDs with us. If you're interested in becoming a CSO, visit the UCPD website or talk to a CSO the next time you see us. It's really awesome to be a CSO because you get to help out your community and keep Berkeley safe. Basically, we're here for you, rain or shine. You can reach us on our app available through iTunes or the Android market. Or just go to Bear Walk.berkeley.edu. And for those of us who are a little bit of a logically challenged like Oskie over here, you can simply give us a go-of-hash phone call at<PHONE_NUMBER> or 510-642-Walk. This is your ASUC External Affairs Vice President reminding you to be safe out there. Oh, and go Bears!


This video is a buster call. To find out more about how you can get me to do a personalized video on a topic of your choosing, head over to patreon.com slash Grand Line Review and scroll down to the admiral tier. But for now, enjoy the video. Hello and welcome to the Grand Line Review, your source for everything One Piece. Today we are going to be investigating the realm of intrigue that exists within the One Piece world by focusing on some of the more curious questions that we've developed over the course of the series. Now One Piece is certainly no stranger to lingering meta mysteries. In fact, it's a key part of the addicting formula of the story, generally deliberately leaving us with more questions than answers. So we are going to take a look at some of the greatest questions of all. The criteria for this list is relatively simple. The mystery in question must not have an official explanation. I don't care what fan theories are out there or how much sense they make, which isn't generally often, but the most important thing is that we do not conclusively have an answer. Furthermore, a lot of the subject matter appearing here today can be spoken about for hours on end, but I won't be doing that. So if I fail to state literally every fact about a certain mystery, then just chill chill guys. Sadly, the intention of this video is not to solve said mysteries, but to present them. Also, all the mysteries on this list must be canon, because I'm not sure if there even are no kind of mysteries in One Piece, but if they do exist, I certainly don't care. But with that out of the way, let's begin. Welcome to the top five unsolved mysteries in One Piece. Number five. Blackbeard's multiple devil fruits. Kicking things off today, we have a moment that quite literally shook the world thanks to the grugger enemy, get it? Whereby, at the end of the Marine for Dark, Blackbeard was somehow able to acquire a second devil fruit and use its ability in tandem with his first. This moment turned all accepted knowledge of devil fruits on its head, and exactly how Mr. Blackbeard was able to accomplish his feat is still a mystery at the time of this recording, all thanks to the power of a dark sheet. Now, to a fair few people in the One Piece fanbase, this isn't a mystery at all because they've come to live in their own world of accepted head canon and claim that this is possible due to the effects of the Yami Yami no Mi. And to put it simply, that might not be true. I'll concede that it is highly likely due to the fact that the Yami Yami no Mi can cancel out other fruit abilities, but at this stage, there is no way to know for sure. And honestly, if it were that simple, I just don't see the need for Odin to keep it hidden all this time. It would be a really disappointing solution to a mystery that has endured for almost a third of the series at this point. Plus, there is a potential second explanation, which is the deeper layer of mystery attached to Blackbeard himself. Throughout the series, there have been a couple of hints that Blackbeard is far from a regular human being, the most prominent of which is right in front of our eyes in the form of the Blackbeard Pirate's Jolly Roger, one of only two in the series to contain multiple Skulls, which I find fascinating given that a Jolly Roger is generally a direct representation of the captain of that pirate crew. I mean, for example, the other Jolly Roger with multiple Skulls belongs to the decalvan brothers who co-captain their crew, and hence two Skulls make sense. But why is Blackbeard a supposedly singular entity represented by three Skulls rather than one? Well, I'll leave that to the abundance of theory channels out there, but the mystery surrounding this man, as well as how he can hold multiple Devil Fruits, is very potentially much deeper than we suspect. However, not quite as deep as the rest of the mysteries on this list.  This is probably one of, if not the biggest teas in the entirety of One Piece. Following the conclusion of Thriller Bark, this entity was spotted by Lola and Lola alone actually, and it was accompanied by a note from the narrator saying that it was very fortunate that the white mist was still lingering in the Florian Triangle, covering the eerie face of what may be the largest creature we've ever seen in this world. I mean, just look at that perspective in relationship to Thriller Bark, which is the world's largest pirate ship. It's absolutely insane. The narrator also heavily implied that whatever this is, is in fact the one responsible for the disappearance of over 100 ships a year in the Florian Triangle, a legend that began long before Thriller Bark arrived in the area. But I guess the most annoying thing about this mystery is that it may never be solved. For every other contender on this list, I am 100% certain that we will receive an answer in time, but in this case, finding the solution could only detract from what this mystery represents. The idea that as much as we explore this world is simply far too big for us to ever achieve a complete understanding of it. There will always be an unknown factor, which as frustrating as it might be, is one of the key reasons why readers and watchers alike continue to lust for adventure in this series. Number three, Joy Boy. As quite possibly the oldest named individual in the series, Joy Boy is entirely surrounded by a thick fog of mystery. Not a literal one like the Florian Triangle monster, but a more metaphorical one. All we know of him thus far comes courtesy of a Ponyglyph telling us of a time around 800 years prior to modern day. Ponyglyph was written as an apology letter actually, but Joy Boy lamenting a broken promise to Poseidon, one of the ancient weapons that seems to inhabit certain mermaid royalty. Joy Boy was a human allegedly attempting to do something involving the Noah with Poseidon's help, but for reasons currently unknown was unsuccessful. That's kind of it. But that's all we really need to consider him one of the greatest unsolved mysteries in the series, primarily because he is a named figure in history, and history is not something that One Piece tends to showcase a whole lot. I mean yes, it's there, but it's kept deliberately shrouded from us as an audience because we're exploring this world through Luffy's perspective. Speaking of that history though, it's pretty difficult to continue talking about Joy Boy without bringing up number two. The Void Century. As the name implies, this is a space of roughly 100 years which occurred somewhere between 800 to 900 years prior to the current timeline. Very, very conveniently within Joy Boy's era. The problem is that there are almost no historical records of this period. As far as the world is concerned, these years just didn't happen. Although the true history of the world is engraved onto the nine Rio Poneglyphs, but finding them is an extraordinary effort to say the least. With that said, as an audience, we do know tiny bits and pieces, such as the existence of a great kingdom which was destroyed by the 20 kingdoms that later amalgamated into the world government, signifying the end of the void century. With that sort of global dominance, it becomes an entirely reasonable thought that they could have rid the world of any evidence of the past century, but the pressing question is why? What exactly do the world government and the celestial dragons have to hide? Whatever it is, it is going to completely rock the one-piece world, and yet there is still one particular mystery that trumps it. Number one. The will of D. All right, here we have the question that readers have been pondering ever since the beginning of the series. What does the D in Monkey D. Luffy stand for? And 20 years on, we still don't have much of an idea at all. If anything, the mystery has only intensified over the course of the series, as several other characters have popped up with this seemingly innocuous middle initial, including the former pirate King Goldie Roger, as well as the subject of the number five spot on this list, Blackbeard aka Marshall D. Teach. With that said, there are most certainly characters within the world who at the very least know about the will of D, although exactly how much they know is up for debate. At this stage, the individual who has provided the most information would be Don Quixote Rosinante, who revealed that this initial had been secretly inherited throughout history and that in a certain land, which is probably referring to Marishwa, those who bear this initial are considered the enemy of the gods, aka the celestial dragons. However, apart from the initial, the bearers of the D also share a couple of other common traits. Firstly, they are all highly subject to the machinations of fate. For better or worse, the actions of these characters seem almost out of their own control. However, in the worst case scenario, another curious trait pops up, whereby all of those subject to the will of D die with a smile on their face. Very intriguing, indeed, and certainly one of the most enduring unsolved mysteries in the series. And that pretty much does it for the top five unsolved mysteries in one piece. If you enjoyed this video, then feel free to like, favorite, or subscribe. And if you are in any way keen on supporting this independent channel, then please do check out my Patreon, Discord server, or Twitter, the links to which are in the handy description below. And finally, please do comment with your own favorite unsolved mysteries in the series. This has been the Grand Line Review, and I'll see you next time.