ads heard during the podcast that are not in my voice are placed by third-party agencies outside of my control and should not imply an endorsement by Weird Darkness or myself. Stories and content in Weird Darkness can be disturbing for some listeners and is intended for mature audiences only. Parental discretion is strongly advised. Lorraine Warren, a medium as well as a paranormal investigator, has reported a number of times that during many of her investigations, including the famous Amityville Haunting, Enville Haunting and Annabelle Case, she experienced the presence of a dark, demonic spirit. She dreamt of a hooded and veiled figure with female energy who would often attack her husband Ed. Over the course of months and years, the dreams would become more frequent, and eventually Lorraine began to experience these visions during her waking time as well. Lorraine investigated these visions and discovered that the veiled entity was in fact the demon Valak, played so memorably by Bonnie Arons in a supernatural horror film The Conjuring 2. But as is often the case when it comes to Hollywood and entertainment, what we see on the screen is not the real thing. Valak is real, but the truth behind this demon is darker than anything Hollywood has served up to us about him. I'm Darren Marlar and this is Weird Darkness. Welcome, Weirdos. I'm Darren Marlar and this is Weird Darkness. Here you'll find stories of the paranormal, supernatural, legends, lore, the strange and bizarre, crime, conspiracy, mysterious, macabre, unsolved and unexplained. Coming up in this episode, we'll look at that time a force field was accidentally created at a 3M plant. The Vatican is one of the most well-guarded areas in the world, but if rumors are to be believed, all of that security isn't only to protect the pontiff, but some dark disturbing secrets as well, and a machine that could change everything we know to be true. In 1872, George Wheeler met and married May Tilson in Boston. He made a home for May and her younger sister, Della, first in New York, then in California. Along the way, George fell in love with young Della and when she planned to marry someone else, he was faced with a dilemma. He could not marry her himself and he could not bear to see her wed to another. The solution he chose pleased no one. In the 1800s, scientists and doctors needed cadavers to study human anatomy and practice their skills. To help accommodate the need, it was made legal to sell dead bodies. What could possibly go wrong? And first up, although Valak is depicted in the films The Nun and in The Conjuring Two as a habit-wearing spirit, the real demon appears as a child riding a two-headed dragon, at least according to a 17th century demon-hunting manual. We begin with that story. If you're new here, welcome to the show. And if you're already a member of this Weirdo family, please take a moment and invite someone else to listen. Recommending Weird Darkness to others helps make it possible for me to keep doing the show. And while you're listening, be sure to check out WeirdDarkness.com where you can send in your own personal paranormal stories. Watch horror hosts present old scary movies 24-7. See weird news items. Listen to the Weird Darkness syndicated radio show. Shop for Weird Darkness and Weirdo merchandise. Listen to free audiobooks that I've narrated. Sign up for the newsletter to win free stuff I give away every month and more. And on the social contact page, you can find the show on Facebook and Twitter. And you can also join the Weird Darkness Weirdos Facebook group.  Skeptics are quick to dismiss the veracity of horror movies that claim to be based on real events. But references to the demon Valak, the one at the center of the film The Nun, stretch back centuries. Valak appears in a variety of medieval grimoires which were basically manuals on demons and spells. Unlike the 2018 film, Valak does not appear in the form of a nun, but rather as a sinister child with the ability to conjure serpents. According to one 17th century text, Valak controls a legion of serpentine spirits and can summon living spirits to see to his evil bidding. While Valak may not be real, or maybe he is, the divine fear he instilled in God-fearing citizens of yore certainly was real and continues to incite chills in moviegoers today. The first known reference to the name Valak is found in the 17th century grimoire titled Clavicular Salomonas Regis, or the Key of Solomon. University of Hertfordshire professor Owen Davies, an expert on the history of ghosts and witchcraft, described grimoires as books that contain a mix of spells, conjurations, natural secrets, and ancient wisdom. Indeed, the Key of Solomon is a self-described guide to the ceremonial art of commanding spirits both good and evil. The Key of Solomon features King Solomon of Old Testament fame, who was renowned for his wisdom. At some point around the 2nd century BC, the idea spread that the King's realm of knowledge had also included certain secrets of astrology and magic. The grimoire bearing his name lists the 72 demons that the King supposedly vanquished during his reign, providing readers with their names and instructions for expelling them should they come into contact with such spirits themselves. Valak, which is sometimes also spelled U-A-L-A-C-U-Luck or Valu, Volak with a C instead of a K, Doulos or Volach, is the 62nd spirit listed in the Key of Solomon according to which he appeared like a boy with angels' wings riding on a two-headed dragon. His special power, according to the text, is finding snakes and hidden treasures while leading an army of 30 demons. The Bible itself contains no reference to Solomon's 72 demons, but the book The Key of Solomon was actually listed in the Vatican's Index Librorum Prohibitorium, or the List of Prohibited Books, which the Church continually updated until scrapping it altogether in 1966. The Church considered the text not only non-religious, but heretical. However, to the dismay of many inquisitors, the grimoire was still found in the possession of many a Catholic priest. Despite being banned, the grimoire remained hugely popular in Europe and, given the success of the Conjuring movies, it seems that its contents still hold a terrifying appeal to this day. The demon-valloch made its first appearance in the film series The Conjuring 2, during which a character named Lorraine Warren is able to stop it and banish it back to hell by using its own name against it. In the movie The Nun, another installment in the Conjuring horror series, a Romanian monastery is haunted by a demonic presence dressed in the garb of a Catholic nun. As it turns out, there is some truth to both of these storylines. Lorraine Warren was, of course, a real person, and she really was a paranormal investigator who encountered a presence in a church. Ed and Lorraine Warren first came into the spotlight after their initial investigation into the famous Amityville Haunting in 1976. Lorraine Warren claimed to be a clairvoyant and a medium where her husband was a self-professed demonologist. Although the disturbing and supposedly supernatural events at the Amityville house were later widely reported to be a hoax, the popularity of the 1977 book The Amityville Horror and the subsequent 1979 film catapulted the Warrens into the spotlight. The Warrens, who were devout Catholics, claimed to have investigated over 10,000 cases of paranormal activity over the course of their career. And according to the Warrens' son-in-law, the Warrens encountered a spectral hooded figure while on a trip to the haunted Borley Church in southern England in the 1970s. According to Lore, the churchyard's ghost was a nun who had been buried alive in the brick walls of the convent centuries ago after having had an affair with a monk. Lorraine Warren allegedly met that ghost face-to-face at midnight one evening in the church graveyard and left unscathed. Valak's recent depiction as a nun was pure invention, however, on the part of the director of The Conjuring 2, James Wan. I had a strong outlook on the whole movie, he said, but the one thing I wasn't quite sure of was the design of the demon character, he said in 2016. According to Wan, the real Lorraine Warren had told him about a spectral entity that appeared as a swirling tornado vortex with this hooded figure. Wan then decided to have the figure donned the costume of a nun in order to put it more directly in conflict with the Warren's Catholic faith. Because it is a demonic vision that haunts her that only attacks her, I wanted something that would attack her faith, Wan says, and so that was eventually how the idea of this iconographic image of a holy icon cemented in my head. The idea of being haunted by your own faith was so potent to Wan that Valak became a central character in 2018's The Nun, wherein the demon terrorizes and possesses the devout members of a Romanian abbey in 1952.  Up next, in the 1800s, scientists and doctors needed cadavers to study human anatomy and practice their skills. To help accommodate the need, it was made legal to sell dead bodies. What could possibly go wrong? Plus, we'll look at that time that a force field was accidentally created at a 3M plant. These stories and more when Weird Darkness returns. Strange creatures, gruesome murders, oozing organisms, unfathomable abductions, enigmatic expeditions, an age-old malevolence, and much more. Author J. C. Moore delivers a collection of dark horror tales that are both chilling and poignant. Dark Intrigue's Book 1 is filled with horror fiction for fans of short story anthologies, horror collections, ghost fiction, suspense, possession, and more. Dark Intrigue's Book 1 by J. C. Moore, available on Kindle or as an audiobook narrated by Darren Marlar. Find Dark Intrigue's Book 1 on the audiobooks page at WeirdDarkness.com. That's WeirdDarkness.com slash audiobooks. During the 19th century, anatomists and surgeons needed an ever-increasing amount of bodies to advance their research in the study of human anatomy. And as a result, the dead body trade boomed. Individuals turned to body snatching, digging up graves to extract the body and selling them to make a neat profit. These people became known as resurrectionists. The British government introduced the Anatomy Act of 1832 in an attempt to increase the availability of bodies for medical schools and to put a stop to body snatching and murder. The Act ended the use of dissection as a punishment for murder and allowed unclaimed bodies from public institutions such as hospitals and workhouses to be used for dissection instead. However, the Act did not fix the shortage of bodies, and the low supply was still not enough to satisfy, especially in London. As the Victorian era plunged ahead in its pursuit of science and innovation and the need for bodies increased and increased, the dead body trade became a complex and dangerous feature of everyday life. Following the passing of the Anatomy Act, the concern that the bodies of the rich and the middle class as well as the poor were being taken grew. Politicians responded to these concerns by reassuring voters that legislation would be introduced that would legalize the use of the dead poor for dissection. However, the poor didn't take much comfort in the passing of the Anatomy Act because instead of being dissected alongside a murderer, they would be dissected instead of a murderer. The fate of the poor worsened significantly with the passing of the new poor law of 1834, a piece of legislation created to gain control over the poor, specifically their bodies. The law stated that no able-bodied person was able to receive money or help from the new poor law authorities except in a workhouse. Unfortunately, a lot of workhouse officials were keen on making extra income from selling bodies. If a person was poor, they were imprisoned, starved to death, and then upon their death they were butchered. The poor within the workhouses also rebelled, especially when it was clear a body was being taken for dissection unlawfully. The dead body trade became even more complex as the Victorian era stretched on and supply chains were set up to facilitate the sale of bodies and body parts to ensure the process ran smoothly for maximum profit. The supply chain meant that more people became involved in the process from start to finish, some for financial gain, some in the pursuit of anatomical training. Bodies needed to be acquired quickly, sold quickly, and disposed of even faster. In order to do this, the supply chains were set up, which involved a number of different people from across the country. Hospitals like St. Bart's set up relationships with those who had direct access to bodies such as coroners, parish officials, and workhouse officials. For example, coroner's hearings could be expensive and these costs could be recovered by selling bodies after a formal inquest. In addition, bodies found on the streets were not always cut open to determine the cause of death, especially cases concerning drowning and drunks. This allowed for a relatively fresh and untouched corpse to be sold to anatomists for financial gain. St. Bartholomew's, a teaching hospital founded in 1123, was a key customer in the dead body trade, which had a desperate need for cadavers to dissect in its purpose-built dissection room. St. Bart's had some unusual ways of obtaining cadavers and treated the law rather flexibly. Due to its location on the streets outside of St. Bart's, many people died in destitution and the hospital most certainly capitalized on this. Porters would leave large wicker baskets outside under the King Henry VIII gate for passing body dealers to fill up. Further to this, the annual St. Bartholomew's fair held outside the hospital also proved to be fruitful for anatomists with deaths occurring due to exhaustion, ill health, or even over-excitement. As the century wore on, the simple relationship between a hospital and body dealers gradually turned into a more sophisticated system for acquiring bodies to keep up with demand. The workhouse was one of the most important sources of dead bodies. All medical schools received nothing less than a warm welcome when they visited workhouses at nightfall. In 1858, a scandal came to light which showed the extent to which the trade in dead bodies had reached. The master of St. Mary Newington Workhouse, Alfred Feist, was accused of unlawfully selling popper bodies to Guy's Hospital Medical School in London. The parish clerk, Joseph Burgess, had discovered that the undertaker, Robert Hogg, had taken a total of 45 bodies to Guy's Hospital instead of burying them. The body of Juan Luis Mixer's mother, Mary Whitehead, had been removed by Hogg and taken to Guy's Hospital. Hogg confessed to carrying out fake funerals from the workhouse, stating that he received double payments for each, one from Guy's Hospital and the other from the parish. Hogg would bring in any bodies that he could, including the dissected bodies from Guy's Hospital. Feist and Hogg would swap the body of a claimed relative for that of a dissected stranger. The fresh body would then be taken to the hospital at nightfall. Although the trade in human bodies was predominantly in just that, bodies were very hard to come by and sometimes desperate times called for desperate measures. The trade in human bodies also included body parts and often those who needed bodies settled for body parts instead. Even worse than the use of random body parts was the fact that some body parts were actually provided by people who were living, most likely for money. This included amputated extremities and growths which became known as pots. Even though they were not whole bodies, they still played an important part in research and were often preserved for additional study in the future. Some collectors even had their own niche and built up special collections of pots that were particularly relevant to their work. A combination of historical research and the archaeological assessment of specimens at Cambridge University found that fetus and infant cadavers were highly valued for studying anatomy. Researchers studied the skeletal collection which ranged from the 1700s to the 1800s amassed by the dissection room of Cambridge's Anatomy Department. They found that anatomists tended to keep the skulls of fetuses and children in one piece instead of opening them. From a total of 54 specimens in the collection, only one had received a craniotomy. Selling the body of a fetus or a child could generate quite a bit of money for destitute and desperate women. In addition, these cadavers were particularly popular as anatomists were eager to do further research on miscarriages and abnormalities in childbirth. To demonstrate the anatomy of the nervous and circulatory systems, a whole body was required, a smaller body was better suited to this, and was injected with colored wax. In April 1834, an unknown child's body was found floating in a river on April Fool's Day. It had been dismembered with only a leg, a thigh, and part of the spine and arm remaining. A local surgeon named Dr. Webb reported that it was likely the body had been used for purposes of learning anatomy, for the arteries were filled with wax. Two of the oldest universities in England both had anatomy schools that required bodies for dissection, so much so that they were in a race of sorts with each other to acquire the bodies first, and thus advance their research. Alexander McAllister was appointed Professor of Anatomy at Cambridge University in 1883 and was put in charge of the anatomical lab. McAllister and his department set up a business of anatomy that a number of regional medical schools copied. Arthur Thompson was hired to teach human anatomy at Oxford in 1885 and swiftly set about increasing the number of cadavers available to the university. Thompson had difficulty gaining a foothold in the local market, and in an attempt to improve this and catch up with McAllister, he decided to go further afield. His petty cash records show that he traveled extensively and paid around 12 pounds for each body. Thompson set up purchasing agreements in two West Midland locations, and he acquired seven bodies from West Midland's guardians from 1886 to 1887. He further expanded his trade, and between 1895 and 1929, 404 bodies were purchased from poor law unions and asylums in four locations, Lycester, Reading, Staffordshire, and from within Oxford's city limits. As demonstrated by the efforts of McAllister and Thompson to boost the number of bodies acquired, accessing bodies from several locations was necessary, if not vital. Therefore, a pivotal part of the dead body trade was the use of the railway, especially for obtaining corpses from further afield to supply to places like Cambridge and Oxford. Three times a week, an express train left Liverpool Street station in London traveling via Cambridge and Doncaster. This train became known as the dead train as it carried corpses to Cambridge. Attached to the rear carriages of the trains were funeral wagons, which contained stacked boxes of dead bodies. The boxes were carefully sealed to prevent foul odours from the bodies leaking out so as not to alert the passengers. Thomas, at Oxford, needed an efficient way to collect and move the bodies, and the railway became pivotal in the same way it did for McAllister. Both Lycester and Reading had mainline stations on the Great Western Railway Network and the quicker the route, the better. An undertaker was employed to take bodies to the railway station and each body was placed in a box addressed to a member of the anatomy department at the university. The anatomy act enabled the bodies of the poor to be possessed and used for dissection, and the horror stories concerning the use of these bodies were not unknown to the poor. For example, if someone died in prison or at a workhouse, a relative had seven days to come forward and claim the body with proof they could afford a proper burial. Someone had to avoid their loved ones being dissected so badly that they hid the body, often to buy time to raise funeral funds. In Shortwich, East London, Mary Ann Huckle kept the body of her husband, Thomas Huckle, in their house for four days and four nights. The Barry and Norwich Post reported that it was most likely to buy time and avoid the body being taken to St. Bartholomew's or Cambridge Anatomy School. On a somewhat lighter note, burial clubs were formed to help families afford funeral services where members made weekly payments to ensure the club could cover expenses, no matter how long someone had been a member. Sort of like the Victorian answer to crowdsourcing or holding a funeral car wash. During the cholera outbreak of 1831 and 1832, victims were isolated in special hospitals. Upon death, their bodies were buried as quickly as possible after a brief post-mortem, despite the wishes of family and friends. Combined with the passing of the act, the actions of the medical authorities raised a lot of concern among the public who began to get suspicious that the cholera scare was just a way for doctors to experiment on and dissect more bodies. Unfortunately, these fears were not completely unjustified. In September 1832, a three-year-old boy died in the Swan Street Cholera Hospital in Manchester. At the boy's funeral, the granddad asked to see the body, but his request was refused, so he opened the coffin himself instead. He found the boy's head missing. In his place, a brick. The story caused outrage and a crowd of several thousand marched to the hospital, where they smashed windows and wrecked equipment. The science and technology have come a long way since our dark ages of scrambling to create fire. We have built our scientific knowledge up steadily and sometimes exponentially as the centuries have gone by, making our lives better, but also feeding the machine of war and causing problems. Although new innovations take great amounts of study and resources to perfect, some of the oddest new discoveries are those that happened completely by accident. And a strange example of this is the time that a factory supposedly accidentally created an actual working force field, like something out of a science fiction movie. Most people listening now will be at least somewhat familiar with the company 3M. It's a massive multinational conglomerate corporation which operates in a diverse range of fields, including industry, worker safety, U.S. health care, consumer goods, and others. Indeed, this sprawling company produces around 60,000 different products, including such disparate products as adhesives, abrasives, laminates, personal protective equipment, window films, paint protection films, dental and orthodontic products, electrical and electronic connecting and insulating materials, medical products, car care products, electronic circuits, healthcare, software, optical films, and many more. With approximately 93,500 employees and operations in more than 70 countries, it is a world-spanning behemoth. And in one of their factories, something very strange allegedly happened on one otherwise normal day in 1980. In the summer of that year, workers arrived for work at a 3M facility in South Carolina as usual. The day started off in a pretty mundane and routine manner, with the workers going about their usual business of checking 50,000-foot rolls of 20-foot wide polypropylene film, then slitting, cutting and transferring it onto other smaller spools. To do this, the film is unrolled from the original spool at very high speeds, around 1,000 feet per minute or about 10 miles per hour, after which it is pulled upwards 20 feet to overhead rollers, passes horizontally 20 feet and then flows downward to the slitting device, where it is then spooled onto the shorter rolls. The whole intricate process creates a sort of cubicle tent around the workers and poses a few dangers. For instance, the fast spinning spools pose a potential danger, and there is always the threat of a static build-up during the process which can be discharged into shocks that can reach into the megavolts. This was not an uncommon danger and the workers were always careful of this potential threat, but on this day they would experience something they were not expecting and had not been trained for. As the film went about this unspooling and re-spooling process, one of the workers found that as he tried to walk to a new location, he was stopped as if by an invisible wall. Other workers also approached and pressed against it to find it unmovable, with them unable to pass through or even budge it, and one worker who examined it with a 200 kilovolt per foot handheld electrometer found that the reading went through the roof. They leaned all their weight into this invisible force, pounded on it, but it seemed this force field, for lack of better words, was impossible to pass through. Making it all even more bizarre is that the unseen wall seemed to be inexorably pulling them towards it, to the point they were unable to turn away and had to walk backwards to pull themselves away. One of the workers would later claim to have seen a fly get sucked into the field and would estimate it would have been strong enough to imprison a bird with its suction effect. Then, just as suddenly as it had materialized, the force field was gone, the fly was released, and they were able to move normally again. When the plant production manager heard about this strange anomaly, he at first didn't believe a word of it, but there were enough witnesses he decided to try causing the effect again, but nothing happened. It was then assumed that humidity had had some sort of effect on the mysterious process as this had happened earlier in the day when humidity had been lower. They decided to try the next morning and were able to reproduce the force field again, although only for a short time before it vanished again. At the time, the plant production manager allegedly quipped that he didn't know whether to fix it or sell tickets. After this news started making the rounds and it was discussed and debated with some saying it was a fake story, others have vouched for the veracity of the story. One commenter on the site, Amasi, would claim that it still occasionally happened, saying, I have a relative who works at a 3M plant. Stuff still occasionally happens. You mentioned being able to throw small washers and bolts at the field and watching them get repelled. People got interested and so someone came with a voltmeter and after throwing a couple more, they checked for voltage and there was a residual charge after they finally caught on a plastic sheet to prevent immediate grounding. It also had a very slight magnetic field. It's apparently fairly common, but engineering hasn't come up with a solid explanation why. Others have claimed that it is not only real, but that the force field effect had been experimented with in private and pursued by NASA, before being turned off for good. With one commenter on the site, Amasi, claiming, I met this guy at an ESD meeting in Austin once. He said the strength of the field maxed down his equipment at a distance, so he couldn't get a maximum measurement. After he published the paper, he was contacted by NASA and all the three letter agencies asking for more info. He wanted to experiment around with it, but no company had millions to throw into such a project, presumably the government did. It had to be a pretty narrow window of temperature, pressure, humidity, etc. They kept the garage door open, so that's where the insects and sparrows got sucked in, which obviously ruined the product. He said it was actually known to the technicians for a while before he experienced it and they were just kind of like meh. Eventually they fixed the grounding issue on the machine and the problem never popped up again. The story has since sort of disappeared off of the radar and it's a rather curious oddity. If such a thing were true, then they could have stumbled across a potentially groundbreaking discovery, an actual, functional force field with limitless potential applications. Yet it seems as if the phenomena has vanished and is unable to be replicated now. We're left to wonder just what was going on here, and if any of the story is even true at all. Whatever the case may be, it is an odd little tale of a potentially life-changing discovery made purely by accident and we'll probably never know much more about it. When Weird Darkness returns, the Vatican is one of the most well-guarded areas in the world, but if rumors are to be believed, all that security isn't only to protect the pontiff, but some dark, disturbing secrets, and a machine that could change everything we know to be true. But first, in 1872, George Wheeler met and married Mae Tilson in Boston. He made a home for Mae and her younger sister Della, first in New York, then in California. Along the way, George fell in love with young Della and when she planned to marry someone else, he was faced with a dilemma. He could not marry her himself, he was still married to Mae, and he could not bear to see Della wed another. The solution he chose pleased nobody. These stories are up next.  If that feeling transfers to your taste buds as well, I've got some great news for you. Weird, dark-roast, nutty, mummy coffee. Wrap your taste buds around this medium, dark-roast blend with shrouds of almond, honey, and chocolate. Each bag of nutty mummy is exclusive to weird darkness and is roasted to order.  Entomb your old coffee and bring your taste buds back from the dead with weird, dark-roast, nutty mummy at weirddarkness.com slash coffee at weirddarkness.com slash coffee. Around midnight on October 20, 1880, George A. Wheeler went to the San Francisco police station and confessed to the murder of his sister-in-law, Della Tilson. He said that he had packed her body in a trunk and left it in the room they shared in a lodging house at 23 Carney Street. He was held at the station while the police went to check out his story. The police went to 23 Carney Street and spoke with the landlady, she said Wheeler and his wife had moved into the room about a month earlier and some time later, his sister-in-law moved in across the hall. All had been quiet until a few days ago when a man named George Peckham moved into the house. He appeared to know the other three and there was constant arguing among all the lodgers. The police learned the truth when they interviewed the woman across the hall. She was actually George Wheeler's wife, Mae, who told them that Wheeler and her sister had been living together in sin in the other room. George Peckham had come to see Della and planned to marry her and this had upset Wheeler. Mrs. Wheeler did not believe that her husband had murdered her sister and thought he must have been drunk when he made the confession. When the police opened the other room, they saw no sign of a struggle and found the trunk Wheeler had spoken of against the wall near the door. When they opened the trunk, it appeared to be filled with clothing. But after removing several layers, they found the body of a murdered woman, still warm, crammed into the trunk. Mae Wheeler was called into the room to see the body, sobbing hysterically she positively identified the body as that of her sister Della. George Peckham was equally distraught when he identified the body of his lover. When the hysteria died down, reporters interviewed Mrs. Wheeler and George Peckham and uncovered the events that led to the murder. Mrs. Wheeler, 28 years of age, was born Mae Tilson in Shrewbury, Massachusetts. In 1872, she married George Wheeler and they lived together in her parents' house for a while before moving to New York, taking along Mae's teenaged sister Della.  Della confessed all but begged her sister not to reveal her shame to their parents. Both sisters agreed that it was best to keep the matter secret. The baby died soon after birth and the situation in the Wheeler household continued as before. When Della became pregnant, again they moved to California where the second child died as well. They settled in the town of Cisco where Wheeler got a job running an engine at a silver mine. There they met George Peckham, a miner and a gambler. He became friends with George Wheeler and became quite fond of Della Tilson. He started taking Della out and at the time believed that he had Wheeler's blessing. Wheeler's job at the mine did not work out and he decided the family should move to San Francisco. There wasn't enough money for all three to travel, so Wheeler took Della and promised to send for Mae when they could afford it. After they had been gone a month, Mae grew tired of waiting and went by herself to San Francisco. She knew where her husband and sister were staying but had been surprised to learn that they were posing as husband in life. Rather than cause trouble, Mae Wheeler took another room there telling the landlady that she was George Wheeler's sister-in-law. George Peckham had fallen in love with Della Tilson and when he realized that she was not coming back to Cisco, he went to San Francisco as well. He hoped to marry her and take her to Sacramento. Della had been writing to Peckham so when he got to San Francisco, he knew where to find her. Peckham took a room there as well and all four were living on the same floor at No. 23 Corny Street. Peckham was unhappy about Della and Wheeler sharing a room but she told him that they'd done it to save money. She said she slept on the sofa and he in the bed. Peckham began taking her out at night, bringing her home after midnight and this angered Wheeler. On the day of the murder, Peckham came looking for Della and Wheeler told her that she'd left, taking a job as a companion to a lady and her daughter. He told Peckham she had gone where he would never find her. While Mae Wheeler and George Peckham were telling their stories, George Wheeler at the police station was telling a story of his own. He said that he had been upset about Peckham following them to San Francisco and keeping his sister-in-law out late. Wheeler convinced her that it was best that she stay away from Peckham and he and Della spoke with police officer Morehouse asking if she could stay with him for a while to keep her away from the bad man who was pursuing her. Officer Morehouse agreed and so did Della but when she went back to pack her clothes, she had a change of heart. Wheeler said she told him there had been a greater intimacy between her and Peckham than I had any idea of and that she was going away with him. This was when he decided he would rather see Della dead than with Peckham. In a statement quoted in several newspapers, Wheeler said she seemed to feel her disgrace very keenly and begged me to cut her throat. She did not want to go with Peckham but such was his influence over her that she must go with him and she would rather die than do it. Then she asked me to cut her throat. I told her that I could not do that as I could not bear to see her blood but I told her that I could choke her. She said very well and sat in my lap.  She struggled but little at first. She looked into my eyes and I, kissing them, told her to close them, which she did and thus she passed away. Reporters were impressed by the calmness and indifference Wheeler displayed while in custody. He knew that by killing Della he would be throwing his own life away as well but that mattered little to him. As he would say many times, I would rather have her blood on my hands than have her associate with that man Peckham. An inquest was held soon after and George Wheeler was indicted for the murder of Adela Tillson. Jury selection for George Wheeler's trial began February 2, 1881. It was an arduous process. The case was a sensation in San Francisco and it was difficult to find anyone who had not already made up their mind on the matter. The number of spectators was limited to the number of available seats, leaving hundreds outside disappointed. There was no contention over who killed Della Tillson. The prosecution was straightforward. Wheeler had confessed and all the relevant witnesses testified as to why he did it. George Wheeler's defense was hereditary insanity. The defense introduced evidence that there was insanity on both sides of Wheeler's family. Several reporters testified to the statements made by Wheeler after his arrest. Expert witness Dr. J. J. Kendrick, an Oakland physician, testified to various forms of murderous mania and examined Wheeler's bald head.  The prosecution countered the insanity defense by reading over defense counsel's objection from a book called Brown's Medical Jurisprudence of Insanity. The jury had little patience for the insanity plea and found Wheeler guilty. George Wheeler was sentenced to hang on April 19, but the case was appealed and the hanging postponed. The California Supreme Court agreed that the prosecution should not have been allowed to read from Brown's Medical Jurisprudence of Insanity without first establishing it as a standard authority. Wheeler was granted a new trial. Wheeler's second trial was held in September 1882. The result was the same, guilty of murder. Following the first trial, May Wheeler, after a coolly received goodbye visit to her husband in county jail, accepted a steamship ticket from the YWCA and returned to her father's home in Shrewbury, Massachusetts. George Wheeler was sentenced to be hanged on January 23, 1884. His last days in prison were taken up with concerns for his soul. A lady from Oakland had urged him to become a Catholic and he had been meeting with Father Cottle to discuss conversion. As of the night before the hanging, Wheeler, who had been raised quaker, was not feeling it. The lady from Oakland may have been Mrs. Stratton, a divorced woman who had been among the hundreds of people who visited the prisoner before the execution. She frequently visited the cell and the night before the execution, Mrs. Stratton insisted on being married to Wheeler. Wheeler expressed a willingness, but the sheriff took measures to prevent the ceremony. The morning of January 23, 1884, 5,000 people assembled outside the jail to witness the hanging of George Wheeler. Demand for entrance tickets was so great they were being sold for $10 apiece. Father Cottle must have gotten through to Wheeler because he was at the prisoner's side as he mounted the gallows. Wheeler's last words were, I forgive the world, may the world forgive me. He kissed a crucifix and said, Jesus, into thy hands I commend my spirit. The signal was given. The trap was sprung and George Wheeler fell. His neck was broken and death was instantaneous. Investigating the secrets of the Vatican is always difficult because of the lack of reliable information. The Vatican's history stretches back centuries and the Church has been accused of so much that distinguishing between facts, fiction, rumors and deliberate lies can be a real struggle. The Vatican is not a place you can easily enter and investigate. Serious researchers who have devoted their lives to the study of the ancient history of the Church cannot always determine if some events did happen or are products of modern humans fantasies. In some cases, when we discuss the Vatican we can only relate the story without having the means of researching it any further. Some events can be confirmed, but some can't. This subject deals with a possible hidden Vatican secret that has been labeled dangerous because it could alter history, or once again dealing with a mystery that still remains unsolved and perhaps this is what makes it so interesting. Is the Vatican hiding one of the greatest and most important inventions of modern times? Is it possible that a Catholic priest would deliberately lie and deceive the public? Is the Church suppressing the full truth of the priest's life and achievements? What kind of device did he possess that showed incredible historical events in the exact moment they took place? When Father Ernetti announced that he was in possession of a genuine time machine, he shocked the world. The existence of the Vatican's secret time machine was alleged by François Brune, a French theologian and author of several books on paranormal phenomena and religion. In his book The Vatican's New Mystery, Bruno asserted that a friend of his, Father Ernetti, was experimenting with a device that showed amazing historical images. Father Pellegrino Ernetti, who lived from 1925 to 1994, was an Italian Roman Catholic priest. He was a famous exorcist as well as biblical and musical scholar. Father Ernetti was also a scientist who had a strong interest in quantum physics and several occult subjects. The story begins in the 1950s, when Father Ernetti revealed that he had invented a time machine that allowed a person to see and hear events of the past. The machine was called a chronovisor. Before we continue, I need to stress this is a controversial story for a number of reasons. For one thing, there is no proof of the chronovisor's existence at all. Also, there is no reliable witness to Ernetti's claims. According to Father Ernetti, the chronovisor was a result of many years studied by a group of scientists that, apart from himself, included 12 famous people who he said preferred to be anonymous. He only revealed the names of two of the scientists. One of them was Enrico Fermi, a physicist and Nobel Prize winner, and the other person was Werner von Braun, a German rocket physicist and astronautics engineer. The second component was a direct finder. It was activated and driven by the wavelengths of light and sound which it received. By using the direction finder, one could enter a set of specific coordinates that would take the viewer to a desired place and time in history. With the help of the direction finder, it was also possible to locate a person's historical activities. If you, for example, wished to experience what really happened when Julius Caesar was assassinated, you would have to enter the coordinates March 15, 44 BC, Rome, Italy, Julius Caesar, the date when the leader of the Roman Empire was killed. The third component was a very complex array of recording devices which made possible the recording of sound and images from any time and any place. Through the chronovisor, Ernetti said that he had witnessed a number of historical events, like one of Napoleon's speeches, a performance in Rome in 169 BC of the lost tragedy, besties, and even Jesus Christ's suffering on the cross. How could Father Ernetti determine that what he saw were real events from the past? First of all, we wanted to verify that what we saw was authentic, Ernetti told Father François Brune. So we started off with a relatively recent scene of which we had much documentation and footage. We tuned the machine on one of Mussolini's speeches. Then we started to go backwards and observed Napoleon giving a speech in which he proclaimed Italy a republic. We then traveled much further back in time to ancient Rome. First, there was a bustling fruit and vegetable market in the time of Emperor Shrejan. Next, a speech by Cicero and one of the most famous, the first delivered against Catalina. Ernetti said that he'd noticed slight differences in the Latin pronunciation of Cicero's time as compared to the Latin taught in schools today. Next, the time travelers dallyed, as Ernetti put it, at a playlet. The year was 169 BC. They watched part of a tragedy, besties, written by the father of Latin poetry, Quintus Enneas. It was a play, explained Ernetti, that is now almost wholly lost to us. Only 25 fragments, a line or so each, have survived. Have you been able to reconstruct what you heard? asked Father Brune. Yes, replied Father Ernetti enthusiastically, since we heard and saw everything, text, choruses, music, I've been able to publish the entire text of the tragedy. On May 2nd, 1972, the Italian weekly news magazine La Domenica del Corriere published a picture which Father Ernetti claimed was obtained through the chronoviser. According to Father Ernetti, his controversial image showed Christ's face in agony on the cross. At first, explained Father Ernetti to Brune, we tried to recapture the images of the day of Christ's crucifixion, but we had a problem. Crucifixions, as awful as they were, were commonplace in Christ's time. People were nailed to the cross every day. It also didn't help that Christ wore a crown of thorns because, contrary to popular belief, it wasn't unusual to be punished by having a crown of thorns put on your head. They were thus obliged to go a few days further back in time to the Last Supper of Christ. We saw everything, said Father Ernetti simply, the agony in the garden, the betrayal of Judas, the trial, Calvary. The chronoviser team brought back a record of this experience. We filmed it, he said, losing the fine details, of course, but filming it was the only way to preserve it. It's doubtful the image is authentic. No trace of Father Ernetti's film ever came to light. A few months after the publication of the image, an almost identical, though mirrored left-to-right photograph of a wood carving created by the sculptor Colet Valera was discovered. Of course, this cast doubt on Father Ernetti's story and credibility. We can assume the photograph is a fake. If the chronoviser did exist, one could not help wondering what happened to the machine. To begin with, we must keep in mind that there is no proof of the chronoviser's existence. No person ever saw the chronoviser, not even Father Brune, who was a close friend of Father Ernetti. Father Ernetti never named the scientists who were cooperating with him because he wanted, he claimed, to protect them from public harassment. The exceptions were Werner von Braun and Enrico Fermi, who were already dead. According to Father Ernetti, the chronoviser was dangerous and this was the reason why the machine was disassembled and hidden in a safe place. This machine can tune in on everyone's past completely, leaving nothing out. With it there can be no more secrets, he said, no more state secrets, no more industrial secrets, no more private lives. The door would be wide open for the most fearsome dictatorship the world has ever seen. We ended up agreeing to dismantle our machine. Father Ernetti went very quiet in the last decade of his life, but in late 1993 he and two surviving scientists from the project presented their findings at the Vatican before four cardinals and a scientific committee. What transpired, however, has never been divulged. At the end of this story we're left with more questions than answers. Was the chronoviser a real time machine that opened a window to the past? If the device ever existed, is it now in the possession of the Vatican? Is the Vatican suppressing the full truth of Father Ernetti's life and achievements? Was the entire story fabricated by a Catholic priest who thought his tale could lend credibility to Christianity? There are those who believe Father Ernetti was a man of integrity and would not have created a hoax, but the lack of evidence is speaking against the priest. The story of Father Ernetti's chronoviser remains a fascinating mystery. If the existence of the chronoviser can be proven, we'll know with certainty that Father Ernetti was sincere. Our other option is to wait until someone invents a time machine that'll let us go back in time and ask Ernetti for the truth. Thanks for listening! If you like the show, please share it with someone you know who loves the paranormal or strange stories, true crime, monsters or unsolved mysteries like you do. You can email me anytime with your questions or comments at darren at WeirdDarkness.com. You can find the show on Facebook and Twitter, including the show's Weirdo's Facebook group, on the Contact social page at WeirdDarkness.com. Also on the website, you can find free audiobooks that I've narrated, watch old horror movies with horror hosts at all times of the day for free, sign up for the newsletter to win free prizes, grab your Weird Darkness and Weirdo merchandise. Plus, if you have a true paranormal or creepy tale to tell, you can click on Tell Your Story. All stories in Weird Darkness are purported to be true unless stated otherwise, and you can find source links or links to the authors in the show notes. The reality behind the demon Valak was written by Gina DeMiro for all that's interesting. 3M's accidental force field is by Brent Swancer from Mysterious Universe. Thus, she passed away was written by Robert Wilhelm for Murder by Gaslight. The Unsettling Anatomy Act was written by SM for Listverse. And the Vatican's secret machine is by Ellen Lloyd for Ancient Pages. Again, you can find a link to all of these stories in the show notes. Weird Darkness is a production and trademark of Marlar House Productions. Copyright, Weird Darkness. And now that we're coming out of the dark, I'll leave you with a little light. Psalm 34, verse 6. This poor man called and the Lord heard him. He saved him out of all his troubles. And a final thought from James Allen. No duty is more urgent than giving thanks. I'm Darren Marlar. Thanks for joining me in the Weird Darkness. Checking 50,000-foot rolls of 20-foot fun. Their usual business of checking 50,000-foot rolls of 20-foot wide polypropyl... polypropyl... polypropyl... polypropyl... for crying out loud, Darren. 20-foot wide polypropylene film. Going about their usual business of checking 50,000-foot rolls of 20-foot... 20-foot wide. Hey weirdos, be sure to click the like button and subscribe to this channel and click the notification bell so you don't miss future videos. I post videos seven days a week. And while you're at it, spread the darkness by sharing this video with someone you know who loves all things strange and macabre. If you want to listen to the podcast, you can find it at WeirdDarkness.com slash listen.


How to apply tethyl course knowledge during your first lesson in China. Teaching in a foreign country is a dream for many people who are passionate about education. However, it can be confusing and scary thinking about teaching in a country with a culture and language that you are not familiar with. However, as long as you are a qualified, professional and patient teacher, you should have nothing to worry about. Teaching in a country like China might seem like a big challenge at first, however, there are many techniques and teaching methods that a professional teacher can apply during the lesson to ensure a successful at-com. So, the question is, how can a teacher apply what they have learned during a tethyl course in a Chinese classroom? How to start your first lesson. Let's imagine that you have a class of young learners that can barely communicate in English. As you will have learned during your tethyl certificate course, the lesson should be divided into different learning stages in order to have a successful class that achieves the goals that the teacher has set. The first part of the class should be the warm-up or engage stage. Use your imagination, act or sing, get the students excited and involved using basic sentences and vocabulary that they can understand. Start with colors or numbers and from there you can start assessing the English level of the students. In training centers in China, it is very common to have classes with students of different ages, different English levels and different learning skills. So as a teacher, you should be able to create activities that can integrate and motivate each student during your class. Once you have engaged the students, after the warm-up you should move on to the study phase, which is where you do most of the actual teaching. In your first lesson you might want to start with simple vocabulary to gauge what level the students are at. To help their understanding it is a good idea to use visual aids such as slash guards, media and real objects. Focus your attention on the words that are difficult for the kids to remember or to pronounce and don't forget to use proper and simple grammar. Chinese grammar is very different to English so basic structures can easily be mistaken. Make sure to be clear when explaining any grammar structures and to be aware of the common mistakes that are made by Chinese learners. Once you have taught the lesson point. For the activate stage, I would recommend games and competitions that can show the students the progress they have made to build their confidence and increase motivation for future lessons. However, due to cultural reasons teamwork activities are not always successful in Chinese classrooms if the teacher doesn't know how to control them. Remember to always give positive feedback to the students. If they make mistakes, you can correct them but be careful with the output. Children, and many parents, in China are very sensitive when talking about learning abilities so choose your words carefully. Are you ready to teach your first English class in China? I have been a teacher in China for three years and taking a TEFL certification course has been extremely useful. Learning more about some of the techniques that I already knew gave me another perspective on how to apply them and learning new techniques of classroom management and variation of activities gave me the tools to improve my lessons. If you are planning to teach English in China I would definitely recommend taking a TEFL course before setting off as it is important to be prepared and to know how to handle a classroom when the time comes. Speak with an ITTT advisor today to put together your personal plan for teaching English abroad. Send us an email or call us toll free at 1-800-490-0531 to speak with an ITTT advisor today.


When you're ready to share your Godot game with the world, you want to create an export for all the various platforms you want your players to be able to play it on. I've got this simple game called High Score Tracker from a previous screencast where you click a button and press it as many times as you can, keep track of your high score. Pretty basic and simplistic. I want to make it so that this game can be exported and distributed to my friends who are obsessed with clicking. And we're going to go ahead and export it for as many platforms as possible. Let's go.  This presents you with an empty screen that isn't very intuitive in my opinion. What you do is you want to go to Presets and you'll see all the different operating systems your game can be exported for. It needs to be exported for a given platform so that it works on that computer. Games on Mac don't work on Windows operating systems. Linux games don't work on Windows operating systems. You have to export it for that platform. And some platforms require certain setup and configuration. Notably iOS and Android require a bit more configuration. The web's usually pretty simple. Okay, so we'll start with the web. You click that and you'll see right away you're greeted with some information prefilled over here. And then all this red text about export templates missing. What we need to do is first install the export templates. Export templates are basically shells of runnable executables for a given platform that match your Godot version. So I'm using Godot 4.0.1.stable. I have other installed versions but I need the ones for my specific Godot version. So whenever you upgrade Godot you'll have to go and download new templates. You just leave it as best available mirror and download and install. And it'll go and download 756 megabytes of data. This is a bunch of files for Mac, iOS, Android, web, Linux, et cetera, that Godot takes and puts your game content into when it builds your export. So that's one of the reasons why the Godot editor is so small is because it doesn't include all of these packages that you need and then you have to go and download them. And it takes a little time but once you have them and you're not updating the Godot version very much then it downloads this. So yeah, it takes a little time. So it's a good time to go have a sip of coffee or go ahead and wait. But I'll talk more about exports while this downloads. So the basic gist of what we'll do is create an export for all our main platforms and adjust some configuration settings and then export them. Then we can take those files, upload them to itch.io or wherever you want to share your game. Certain platforms can't export games for other platforms. Like if you're on Windows or if you're on Linux you can't export your Mac OS game. But Godot does some neat things that lets you go ahead and export for other platforms if possible. Like on Linux you can export for Windows and Linux and web. On Mac OS weirdly enough you can export for all of the platforms. Like I wouldn't recommend necessarily using Mac OS for game development cause the hardware is like really costly and whatever but I have Macs for work and because of that I can export my game for all the platforms which is kind of nice. Also just a shout out, if you're making a game and you want a Mac build and you're okay with sharing your source with me which I won't do anything with I'd happily export your game for Mac so that Mac players can use it. It doesn't take very long and I'd be happy to help you there. But anyway, we've got the export templates downloaded. You see it's changed, they're installed and ready to be used, you just click close. You have to go back up to project, project settings, oops, project export. And now we're back at this screen. This screen is a little bit overwhelming at first but don't worry, I'm gonna explain it the best I can. So web, that's just the name of what this is called. If we change this to foo, that's fine. You might, it's important to be able to name them because you might have builds that vary based upon the builds needs. Runnable says, this is a special thing for one click deploy where you can like test mobile builds and web builds up here using this button in the editor. We're not gonna worry about that right now. That could make a good future video. But export path is the main thing we want. So if we click this button and we go to the root of our game, I'm gonna delete this. I created it previously while trying to prepare for this video. Well, it's not letting me.  And then for web, I create one called web and you're gonna name the file that Godot is gonna primarily put your game into. I call it index.html because itch.io wants it to be called that in order for it to work. The needs for where you're deploying your web game may vary. So just a heads up there. You click save and it knows, okay, we're gonna export our game there.  But for the most part, you don't need to do anything with most of them. So you can just leave all these as is. If you hover over them, you'll get more details if there's a description. Like I said, the defaults work. Resources just says what comes out when you export it. Features, I just leave it as be. And then here's some interesting parts which is encrypting your PCK. And I wanna just talk a little bit about what PCKs are. I don't know what that stands for. I usually think of it as a package because it's kind of close to that. And what the PCK is, is your game files. So you have the template that we downloaded and then we have your game files in the PCK. The PCK is your SVG and your labels and your nodes and all that information that's easily distributable separate from the binary or whatever the export. And you can actually embed it if you want it to be. But there's also cases to be made for not embedding it and instead sending a zip to your players. So a nice thing is you can encrypt it which means that people can't go and inspect the files and they become obfuscated. I'm not gonna explain how to set that up but just know it's possible and I wouldn't worry too much about it if you're just getting started out. So let's go ahead and export our project. It opens up to that folder recreated and there's this checkbox export with debug. If you were sending this build to someone and you wanted the debug functionality to be present which I talk about in a different video, you would leave this checked. But for sharing your game with the public, I uncheck export with debug. That removes debug functionality from it. Okay, that happened. Right? That's the sort of experience here that's a little challenging is it doesn't give you much feedback as you're doing it. So let's go ahead and we'll open in file manager our project file. We'll go to exports, we'll go to web and you'll see here are all the files needed for our web export including index.pck. That's our game file. There's some JavaScript and some various files here. Now you're not gonna be able to just click index.html and have it run because there are certain settings that need to happen. We'll get into that in a second. So that's the web export. Let's actually go ahead and put that on itch. I'd like to go or what you need to do is select all your files and compress it. That creates a zip file. That should be possible on every operating system to easily do that. And I'm gonna rename this to high score. Web. And that just says here's this file compressed for the web.  So this is exactly what you would do if you were creating a project for your good dough. I'm gonna call it high score. I'm gonna call it high score clicker and it automatically sets your project URL. Fill out your details. The type of project we're gonna have is HTML. That lets our HTML web build be played but you can also do downloadable if it's only for PCs. And then release status. We'll just make this a prototype. You could do released if it's ready in development if you're working on it, that kind of thing. And then you go down to uploads. Take your file and upload it. You have to navigate to it. And then you just click upload. It uploads your game and you click into here. Let's leave it as executable. You'll say this will be played in the browser. So itch knows to use that. Then we've got dimensions. You can find that in project settings. And if you go to display, I wanna say it is, with, window, display, window, viewport with, I'm gonna get rid of this filtering. So it's 1152 by 648. You generally want that to match. Otherwise it might look a little scaled and funky. There's settings like mobile friendly which Godot 4's web experts have some issues. So it won't work on Safari, but it might not have enjoyed. You can start it on page load or you can display a button. The button's kind of nice. You can make it so people can make it full screen. That can be nice. And then for Godot 4 projects, you wanna check shared array buffer support. This is the fundamental part to making Godot 4 projects that are exported for the web work on itch. Then I'm gonna go here, click save and view page and itch will go and load our game for the first time. I have my resolution really high so I'm gonna zoom out a little. Click this button load game and it's gonna go ahead and load our game. This takes a little time on Mac OS. There's like a known issue with Mac and Godot 4 and how this works. So I'm gonna tab away for a second and just so we're not watching that load. And we'll go back here to project. We'll go to export. And if you needed to somehow, like maybe you had a web build that was for GitHub, you could go and add another web build and you can even duplicate the existing one and you could say like, web, GitHub. And maybe then you configure your expert path as needed. But for our case, web and itch is fine. We're still loading here. Firebox isn't happy. We're gonna let it keep going now. Okay, there we go. It finally came up. And if we click start game and press me, you see our game works in the web. There's some weirdness with the layout and resolution here. So that's a little funky, but we'll, you know, that's okay. That's something else to figure out, kind of unrelated to exporting. Then what you wanna do is go and add the other platform exports. You set the export path. I don't wanna put it in exports web though. I wanna put it in exports. And then it says here all recognized files for it kind of gives you a hint of what you wanna name it. You can make your Linux exports a zip or you can make it .x86 underscore 64. Let's just go ahead and call it high score Linux and we'll give it the file type of x8664. That's an executable file on Linux. Save it. There's settings here that are different. Again, the defaults generally work. If you needed to provide certain architecture builds, you could do that here. You can embed the PCK, but again, if you don't embed it, itch.io, if you use their command line tool to upload and other places aren't able to create better patches by not embedding the PCK. So it's up to you and I'll show you during the export what happens there. But again, we've got more config settings. Some are similar to the web. Some aren't. We'll click export project and we'll export Linux. Go back to the finder and you see these two files. So if you don't embed the PCK, this is separate. You could then take it, compress it. That way it uploads faster and your users download it faster. We'll call it high score Linux. I'm gonna make this sort by name. So now we've got our high score for Linux. I'm gonna delete these and show you the difference with embed PCK. So if we embed the PCK file and export the project, Godot takes it and puts it just in here and it's one file. And then your players don't have to worry about putting things in certain places. So it's tough. Sometimes itch encourages you to not do that basically, but it's pretty friendly for your player to just have it embedded. So use your best judgment. I'd say probably check it because then it's there. And then you can just compress this one file and there you go. It's compressed. And all we would do then here is to take it, go edit our game, upload files, select the zip file. And then when that uploads, we can check the Linux checkbox. We'll go ahead while that runs. We'll add Mac OS. When you do add Mac OS, if you're on Mac, you just need to set the bundle identifier. It just jumped away from me. We'll set it to com. That virtual loop, wow. It's getting away on me. There we go. Some weird bug meeting this there. You can set some versions and you can set up code signing and all the stuff that you might wanna do. But just setting the bundle gets us far enough. I'm also going to, you don't need to embed the PCK because Mac exports have a special way that you do that. And you can actually export it as a DMG, but I'm gonna export it as an app so that I can just click that and run it. So now here, if I click that and run it, it goes ahead and runs our game. And then we could go and compress that and say, that's, oh, but it named it High Score Linux. But really what I want that to be is High Score Mac. You could even just make it High Score. You know, name it what you want and then compress it. And you'll see, we didn't set the export path and it went ahead and prompted us and asked us what we want. So that is, you know, you don't have to set that, but if you do set it and we change it to be High Score Mac.app, save it, when we do export all, which I'll show you in a second, this is getting unwieldy with how big this is. Let me try to fix this. Sorry. Oh my God, like fighting low resolution issues right now. What if I click Wet or Linux? Just to, yeah, this normally wouldn't be a problem. I have my resolution set to really high so that everything's big and readable, right? And then we'll add Windows desktop. Universal Windows platform, it's not supported in good dough for yet, so you can't do that, but we'll do Windows desktop. I'll just call it Windows and that export path, we'll just call it High Score Windows. We'll set it to be an EXE and we'll embed the PCK. Click export project just to test it. It warns you for something, but you wanna install something for certain icon renaming, but I didn't do that. Then you could take it and you could compress it and setting it to export to a .zip directly from the Katoa export. I found it doesn't work with Windows on Mac. There's like some weirdness, so I always just export it to the file like that it needs to be and then I do the zip separately. All right, let's go ahead and delete these, even though we just made them all. So what you can then do is go ahead and click export all and let's delete web. You can say I wanna export all in release mode. This will go through all of the exports that we just configured. Web failed for some reason. Oh, it's because we deleted the web folder, so let's go ahead and restart, delete those, export all, release. Don't delete the folder if you have it set to go to a certain folder. Now it completed, Windows had an issue. It wants the RC edit executable, which I don't have, but it still works. And now we go here and we have all of our exports for Windows, Mac, and Linux and web. So then what I would do, right, I would go, I would compress this, I would take it, put it up here just so it's easier to see. Whoops, I'm dragging it to the wrong spot. Right, go back into exports. We name this to be high score web. Compress these so that they're smaller. You know, you don't have to compress them, but it's kind of like out of respective network usage that I generally do. Then now we can go and upload these files and we can upload them all at once. I already uploaded the Linux version, so I'm just gonna grab the web ones. And then here you can, in itch, set the platform. And they're all executable, so they'll just be there. This is a convoluted experience. That's why I'm making this video because it takes a little time to set it up.  And that's not too bad of a process. And then you can upload them here. That's like the simplest way to do it. And then you can categorize your uploads accordingly. And people can download your game and play it. I know there's also the ability to download a plugin for Godot to automatically push your builds to itch. I have written command line scripts and part of Godot skeleton is this template I've made. There's a little script, it requires a Ruby, but it handles all that for you, the pushing and building and zipping and stuff. So that's the basics of exports with Godot. I hope that helps you kind of get things working. It takes a little bit of time. It might be a little overwhelming, but you'll get there eventually and have your game be able to be played by other people. All right, thanks for watching and catch you later. Bye.


So then, welcome to our talk today, supporting multiple major versions of Bosch releases with Concurz. Before we start, we will shortly introduce ourselves. My name is Stefan. I'm a platform engineer at any Nines. I'm working with CloudForms since almost four years now, mainly working on Bosch, on our Bosch releases for our data service framework, working on the brokers, doing trainings, and also some consultant tasks. Yeah, hi. My name is Michael. I have been working for any Nines for two years. I'm involved in the development of our any Nines data service framework, for example, for our data service broker. And I'm also involved in the development of our Concurz pipelines, so far from my side. So then, let's have a look at the agenda of our talk today. First, we want to explain why it is useful to provide multiple major versions for your customers. Then we also want to show why updates are necessary and what are the challenges dealing with the multiple major versions and the corresponding updates. Then we want to show you how we solved this in our company. And if we have time at the end, we want to show you a short live demo. OK, so then let's have a look why it makes sense to have multiple major versions of Bosch releases. First one is from the pivotal. There is an enterprise readiness criteria that you should support at least two versions of the service, so the current one and the one before. And as we want to offer our services also in the PIFnet, that's one reason why we support multiple versions. Another important point is that you need to grant a transition phase for your customers, because sometimes there are breaking changes and you cannot just switch the version of your database, for example, so the customer need time to change their code when they want. And then it's only possible if you have multiple versions available. And then, of course, there are customers that they want an older version, so you cannot remove it and have to support both versions or multiple versions, depending on how many versions you have. For example, for PostgreSQL, right now we have 9.4, 10, and 11. And depending on the customer, there are three versions supported on some customers, only two. So it depends really what the customer requires and needs. And the last point is that for some versions there are specific customer adaptions, what we added for a customer that is required for one specific version. And that's, again, a reason why they cannot just change or go and work with the latest version because they have some application that requires features from older versions. And that's also one reason why you have to support multiple versions of a data service. Fortunately, there are four major reasons why updates are indispensable. The first one is you want to provide your customers with new features. And then we have the security fixes. Human beings make mistakes no matter how industrious or ambitious we are. We will not always be able to avoid them. Some of them may be negligible. Others may lead to security issues. So for that reason, it's necessary to solve these issues as fast as possible. Then we have the bug fixes that all bugs are security relevant, but they are ugly and impaired user experience. That is why a normal company like any Nines, for example, will fix any bug in minimum time, too. And the last one is the third-party updates, as we do not reinvent the wheel in order to focus on the solution to the given challenges we have. Normally, third-party software is used. Since the third-party software is subject to the same rules as their own, software updates are also essential here. To profit from these updates, it's necessary to update the used third-party version. So now we talked about why it's useful to have multiple versions and that you still need updates. And of course, there are some challenges that occur when you have multiple versions and try to do updates. As what Michael said, security and bug fixes are important and need to be as fast as possible delivered to the customer. So it can be that it's a security fix that needs to be applied to multiple versions. If there is a problem in the Post-Quest Square, for example, in our cluster management, we have to apply it for each version of the data service. So you have to make sure that each service that you provide has this bug fix or security fix. The same goes for the features. It can be that you have to apply the feature for each data service version, or each version of a service. For example, backup and restore or encryption. That's usually some features that should work for each service version. And that's why you can have to apply them to everyone. The last point, of course, if we are using third-party software and they also do updates of their software, they fix security or bugs. And they add new features to their software. So we also need to update these third-party software. That can be only one data service version. We have to do the updates, but it can also affect all services. And of course, you don't want to do it manually. Or at the end, you cannot do it manually. So we right now have seven services in three to four versions, so you have to watch everything. You cannot watch each data service version. You cannot watch each third-party update to check if there's a new update. So you have to automate the work to do. And in our case, we are using concourse. And so in the later, we will explain how we did it. All right. Yeah. Then, of course, NINES has already thought about all these challenges and we come to our own solution. In the following, we want to show you how we adapt the major product versions into corresponding Git branches. Then we want to show you how we provide concourse pipelines for all of them. And finally, we want to show you how we supervise the third-party libraries with our own concourse resource in order to remain up to date with the third-party update software. So let's first have a look at the Git branching model. I guess you already saw this picture. This is from describing the Git workflow. It's from Vincent Riesen. 2010, he wrote or described how he managed versions of the software. Basically, you have a master and a developer branch. Master is for releasing your software. And the developer branch is a mirror from that. You create new feature branches or hotfix branches. And the idea is that you have, in the master branch, only stable versions of your software. So as we also want to provide stable software, we came to this workflow. Unfortunately, it doesn't work like this for our data services. As I said, you have to apply features, bug fixes, security fixes to different versions. So we decided that we put each service or each version of a service in one Git repository. For example, then we have a Git repository for our PostgreSQL HA, HA release. And for each version, we have then their separated branches. So in our case, the master branch is the latest version that is currently out there. So for PostgreSQL, it's 10, 11, sorry. And then we also have branches for PostgreSQL 10, PostgreSQL 9.4. We decided to do that because if you have three different Git repositories or even more if there are new versions, you don't have an overview of what you changed already and whatnot. It's really easy to forget one version. And then you have to do it again. And so if we have to apply a security bug fix feature whatever for one version, it's really easy. So we create a feature branch from the version branch, for example, from PostgreSQL 9.4. We create a feature branch, develop the feature, test it, merge it in PostgreSQL 9.4, and it's done. It can be a little bit tricky if we have to apply these features then also to all versions because now we have different branches and we cannot merge anything across the branches. So what we do now is that we select one version where we want to implement this feature or security fix, test it there, and then cherry pick the changes to the other branches or create on the other versions, version branches, new feature branches, cherry pick the changes there, test it there, because everywhere can happen some changes in the logic. So there's a difference, for example, for the cluster management in PostgreSQL 11 and 9.4. So we have to make sure that we don't destroy our own service by just merging from another version branch. Sorry. That's for the Bosch releases. With this Git flow model, we also write our own broker, our deployer, so there we have only one version that we are supporting, then we can apply this model, but unfortunately not for the Bosch releases for our data services. Of course, we still have some issues, like the cherry picking, it's not as easy. You have to do it sometimes again and see what goes wrong. But for us, right now it's working better, it's working, then have different Git repositories. OK. After we introduced our Git branching model, we now want to show you our conquest pipelines a little bit closer, and one would like to explain how they work together. The pipelines of the various major versions deviate only slightly if at all, and therefore we ask ourselves the question, how do we manage to create a pipeline for a new major version with as little effort as possible? Yeah. In order to solve this efficiently, we choose ERB because Ruby is one of our standard tools. So we looked what are the core components and what are the difference between the pipelines in different major versions. For the similarities, as we can see on the left side, we create an ERB template that we use for all our data services with for loops, if blocks, and what else ERB has to offer. More about individual jobs we see later. As you see on the right side, we outsourced the version-specific configuration in a separate configuration file. Analogous to the pipeline definitions, this configuration file is also in the YAML format. First in our configuration file, we have a general section in which we have stored the configuration settings that are the same for all our versions. Since we maintain our major versions all within one repository, the Git repository, as well as the GitHub paths are stored here. Then in the release section, we have the specific version configurations. This currently includes the name, which we use for the job to prefix them, and also to separate these jobs into groups for better overview. Also, this we will see later. We can also configure the initial version. This was necessary because we already had existing releases whose version numbers were already advanced before we introduced the concourse pipelines. And of course, we also have the option to define our master branch. And under the blobs, we can then determine the third-party software used by that version. This information is necessary in order for us to observe and update the third-party software we use for version. For this, we need on the one-handed repository, which we observe to check if new versions are available, and on the other, the URL to download the blob. As you can see, we use a placeholder here to set the version if we download them, if we download the blob. And an important aspect is still the version constraint. This allows us to determine which version we want to monitor to ensure that, for example, in our MongoDB 3.6 push release, we only use versions of the MongoDB 3.6 series. At the moment, these are all the version-specific details for our data service that we used. But of course, we have the possibility to extend them at any time if necessary. OK, and then now this is our pipeline looked like deployed with the template and the configuration file. In this case, it's for MongoDB. So on the upper left, you see the different versions we support. Yeah, we have some different jobs here on the left. Upper job is the third-party updater job. He uses our own resources that Michael explained a slide before to monitor, in this case, a MongoDB repository. And if there's a new version, this job is automatically triggered, downloads the version to a feature punch, tested it, if it works, updates the blobs, merge it in the version branch, and creates a new release of this version. Beneath, there's the ship job that we are using for creating them, the new release version, again, with testing, updating the blobs. And then at the end, we ship our MongoDB release also to GitHub to create on GitHub a release with tags and with the tar file. And there's also some smaller job that increases the numbers. So if there is a new run, then we don't overwrite our number. Down there on the left side, there's also these tests. So if we implement a new feature, we create a pull request. Then this job is automatically triggered, and unit tests will be executed, or even other tests, depending on the release. You can also then, in GitHub, what we did, set a check that you are not allowed to merge this feature branch into your version branch when the tests are not green. So we have to really make sure that it's working still, even if we updated the feature or the version. If it's merged, then we have to actually click manually on the ship button so that the ship process starts. Right. This is really, it looks, we can see it later in the demo, it looks almost the same for each service. And as you can see, if you have been to other talks or looked in the internet, it's almost the same architectural design of the pipelines. So we didn't came up with a new style of setting up or pipelines or configure them. Of course, one little issue we have with this solution, as I said, the third-party updates is automatic, completely automatically. And if you have a feature that is not released, but already merged into your branch, you get this feature with the new blobs. So this is one thing we are currently looking at and try to solve this issue. But for most times, it's working perfectly. We don't have to, so we can really focus on our solution, on our features we want to add, and don't have to care about the third-party updates again. Okay, now we have some time left, so I want to show a short, there's my browser. I see me all the way. Aha! Yeah. So this are currently a test pipeline that I uploaded. We have here the tabs for the different major releases. And yeah, then we have here the configuration of the pipeline, which I mentioned before. And if I now want to create a new release, it's just to copy and paste this block, for example. Then adapt the corresponding options. For example, we want to create a MongoDB 5.0 version. We want to start with the version number one. Okay, we have to set a new branch. For example, master 5.0, and to adapt here the constraint for the version. And then we only, then we have a little script to automatically upload these after we change this, and then we see what changes are made in Concurz. We accept this and then, as you can see here, we have a new tab for our MongoDB 5.0 version. So this is all what we have to do if you want to create a new major release. No, it's easily fast. And yeah, it's just a little bit copy and paste. That's all. Yeah, okay. That was all. So yeah, if you have any questions, you can ask us right now or even later. We are here at the booth. You can also talk there with us. But if you want, you can ask also right now. Okay, then thank you for your time being here. And have a nice day. Bye. Thank you.


Hey guys, so I'm just gonna be vlogging you taking around my day because we're gonna go grocery shopping later I'm also gonna be like doing our bedroom within the next few weeks. I'm gonna be like decorating it getting a headboard We're gonna do the whole thing.  Okay, so this is the vision board that I made at the beginning Of the year it was in my Reset for 2022 video. This is so crazy because first of all look at this photo of Apartments this is just so similar to our apartment like our apartment has like the pole there too like out on the deck And this basically is really similar to the couch that I'm gonna get it just so weird And I didn't even expect to move up this soon. So that already came to life and then This photo right here with the pink tulips. Okay. Look what I picked up the other day at the grocery store. I Picked up pink tulips. They're kind of dying now But I didn't even realize that I put these pink tulips on my vision board and I had no idea I was debating between getting orange and pink tulips But it's something just telling you I should get the pink and now I'm looking at my vision board And I'm kind of freaking out because I don't like how did that happen? I don't even know. So this is your science.  Okay, you guys So we just got to Costco Joel's with me He's gonna help me because I honestly hate going to Costco alone going to Costco is like on a different level of Intense there are so many like people that are there They're like with their huge cards and like they're rushing through the aisles and I'm there like kind of scared and Intimidated going alone like the last time I went alone I regretted it and I'm like I should bring Joel every single time like I am bringing Joel every single time I go from now on because First of all going to Costco you do a big haul and it's like harder doing that alone And there's so many things to unload. It's just easier going to Costco when you're getting a big haul To bring somebody anyways, so that's what we're doing because we are in need of groceries I have chicken defrosting right now That's like our last thing in the fridge for dinner tonight and other than that. We are pretty much dry It's so funny how fast groceries run out I feel like we just went shopping at Costco and did a huge haul and now we need to do it again It's one thing about adulting that I wasn't prepared for it's how much grocery shopping I need to do It's not that like I'm spending this crazy amount a month on groceries It's just like how frequently you have to go if that makes sense if you guys are curious We spend about 350 a month on groceries last month. They think it was like 377 It probably is gonna vary between that and like $400 which isn't bad for two people That's like two hundred dollars each a month Which I think is average and we don't really like budget it if that makes sense We just kind of get what we want and what we need We're obviously not gonna buy anything that's like overly priced, but we just kind of do it normally We don't try to budget. So anyways, we're gonna go shopping Okay, everything is in bags, but I do too many grocery hauls on this channel So I'm just gonna really do this quickly So we just got tequitos bread ketchup Frozen pizza frozen fruit a lot of chips just to have stock smart sweets. We got eggs oat milk These petabytes you guys. Oh my goodness. They are so good. Literally best things ever got some vegan protein powder maple syrup shrimp Bananas and raspberries. They're somewhere, but that's a little quick grocery haul and I'm gonna put it all the way right now I'm gonna show you the furniture in a sec, but I just wanted to quickly give a huge Thank you to cost away for sponsoring this video They actually sent me the patio set and I'm in love with it You can absolutely get everything from them. They have everything from outdoor furniture to indoor furniture to appliances to decor pieces They actually have so much and everything that you would need and I'm obviously gonna link their website down below as well as the Pedigo furniture that I got they have super fast shipping everything ships within three to five days Which is just like Immaculate because you guys know how long I've been waiting for my couch from a different place Their stuff is also such good quality especially for the price point They also have 24 hour online service on their website. So if you guys ever need help Buying something on their website. They're always there to help you. So yeah, if you guys want to shop them You can check out the description I will have the link to my patio furniture as well as a link to their website. So you guys I'm actually obsessed don't mind the dying tulips in the middle. I'm kind of sad that they're dying I really want to go get new ones But anyways thought that I had a little decor piece there But look at how cute the chairs are so comfortable and this is like the perfect size for the patio that we have The table is so cute and I love how it matches the chairs perfectly. It has a nice glass top on it So it's just so cute I'm obsessed and I can just see myself out here drinking my morning coffee Or even just like taking a plate out to eat in the summertime when the weather is better and I'm not freezing my ass off, but Anyways, the chairs are literally super comfortable and I'm probably gonna add like a pillow just for decoration later on But yeah, I am so so so so obsessed and it's so comfortable And it's just the perfect amount of furniture for me and Joel And yeah, I just can't wait to enjoy this in the summer when the weather gets better Hello you guys so it is currently Saturday and usually I don't really vlog on the weekends But this weekend we are vlogging because it is my best friend Julia's birthday We're going out tonight, and I just got to the mall because I'm gonna get her her gift I'm thinking of getting her the first aid Beauty that cream I'll show you guys when I get it But she tried it because I had it and she loved it So I want to get that for her plus maybe like a rare beauty blush and then some alcohol Not really sure I'm just gonna go into four and kind of see what they have I'll give you guys a haul after but yeah We're last minute getting her gift because I literally just did not have time this week But it's fine because we're not doing something until tonight She's getting her hair done right now, and she's gonna come over and then a couple people are gonna meet us at my apartment We're gonna get ready and then go downtown. I think we're gonna like sky train. I'm not really sure But it's gonna be a fun time So I'm gonna try and vlog as much as possible and just take you guys like along the day at least But yeah, so I just got to the mall and I'm gonna go in right now I'm just gonna try to make it quick go into Sephora get what I need and then then alcohol I need to go to the liquor store, too So that's what we're doing. Let's go For today is this tank top from H&M I've been wearing these jeans so often because I fell back in love with them They're thrifted and I don't know I just love them so much and with the Nike is just like a plain simple outfit I literally wore this outfit in my last vlog But with a different shirt, but I'm just obsessed with like this chill jean t-shirt But yeah, I've just been literally wearing it every single day, but it's fine It's Julia's birthday She's 22 We're drinking the Kendall Jenner This is a white one. We think that we like the orange one better The dark one better? Yeah, it's really good It doesn't burn though when you drink it But like I think they're still kind of like really similar Like do I really? I don't taste the difference I don't taste the difference Like I think it's a plus to you Like I think it's a plus to you I think I'd even do them like back sides Yeah Do you like a lot of different to each one? Do you? The orange is the best Yeah, I didn't know about the orange trick show until she told me And now at every club I go to I like to wear the orange sides with this And they always give me like a little weird But it's better than any line you'll ever do I love guapo I love guapo She literally was like we're going to have guapo No one knew what it was but her It's going to be really fun I think a lot of good reviews All I'm at is the Neil time You know we'll feel rich and famous for the night Like our millionaires you'll never know This is Julia's cousin by the way Hi, I'm Alyssa Did you film the video? She did I haven't watched it yet I watched it I'm a K-lambecto fan Her videos are so good So I ended up getting Julia For a pair of cream This is the one that I really really really love It's great for skin with a zema We both struggle And she recommended it to me And it was on my birthday list And she used it and she was like oh my god I love this I was like you know what this is perfect Because I love this moisturizer too And it's really good And then I got her the Charlotte Tilbury The flawless filter The filter, the powder that I got A few months ago but it's so good And she got me this too The Kendall Jenner tokyo And flowers You're ready for this? No, no I feel like I have to be They buy the sweetest oranges in the house I swear I've never had sour in here Hi Mikaela's Bands Subscribers Friends I don't want to push stop Because I don't want to ruin the vlog I don't know how to work a camera like this But it is Julie's birthday And we're going to Yaltown It's going to be super fun It's going to be a party night They're ordering an Uber right now Because our reso at El Guapo is at 10 It's 9.30 We are late for everything they ever do You never be on time for anywhere you go I'm very excited about the vlog I love what? I love the vlog Because it's great So outfits of the night This is Robert's Polly It's just a romper And then I'm wearing Air Forces Like I do all the time when I go out And the best shoes to wear out I feel like Yes, from once I'm out wearing Air Forces I'm wearing Cut From Converse I don't know if you can see I'm not that flexible so And I'm wearing just a brown top from Erzia and then a black skirt Cute from Plenty's Yeah And then just a bunch of gold accessories They actually almost all are my moms Because I'm the hard dealer Because she's the best at Birthday girls It feels warmer than the other one anyway Yeah, I dress And who's discount code did you use? Mikayla's discount code, what is it? It's just Mikayla Mikayla used the discount code I got this hat With this Polly And then Blazer reaching out And she's Air Force ones Which dress are you putting on? Stops? TNA TNA Sasha from Madison Not sure where I was from Her to see of her Cute We're missing her tonight Yeah, hello Okay guys, before I end up this vlog I got an Amazon package that I really want to show you guys Because any package on a box is just fun for me So that's what we're gonna do Okay So I got these dry bar hair rollers Because as you can see I'm kind of like giving myself a bit of like a blowout effect When I do my hair So even if I do it with a straightener I'll kind of like This is not even on by the way I'll kind of go like this And then like curl it at the ends To give it that Blowout effect if you don't know what I mean But the thing is Is that I feel like sometimes when I do it It doesn't hold as well as I want it to hold So this is why I got these Just to put in immediately After I kind of do the curly thing with the hair I can add the roller And then keep it in like While I'm getting ready Doing my makeup or whatever You know it's kind of going back and forth On Amazon about like what brands to buy But this one had like the best reviews and everything And there's six of them There's three mediums and three large But I didn't want like There were some packs on Amazon That had like 30 or 20 of them And I didn't need or want that much So this was kind of perfect for me And I know dry bars are really like Well-known names but like you know what Can't go wrong So I'll have these linked down below But I'm really excited honestly They're like velvet rollers So these are the two different sizes And I love how they're yellow they're so cute I also just got a pack of like these Non-creasing hair clips I'm really curious to see the quality on these Because they were $6 for the whole pack Okay they feel really cheap quality But I think that they will do the job Yeah So they definitely do the job Like they're kind of really cute actually And I will use them But they do feel like pretty cheap quality But to be fair it came a whole package Where this was $6 So you can't really go wrong Because I feel like I lose these all the time anyways But yeah anyways I'm gonna end off today's video here I hope you guys enjoyed this vlog It was kind of sporadic Don't really remember what I did Because I just literally This is a very random vlog But I hope you guys enjoyed it I love you guys so much And I will see you guys in my next video