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For more infomation >> Free Chill Smooth Dark Guitar Type Trap Beat || She Deep - Duration: 2:55.

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A Dark Song | #MMe | Filme de Terror Completo Legendado - Duration: 1:39:59.

For more infomation >> A Dark Song | #MMe | Filme de Terror Completo Legendado - Duration: 1:39:59.

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Dark Elf Kingdoms of Naggaroth | Warhammer Fantasy - Duration: 9:31.

Across the treacherous waters of the Great Ocean that separates the civilizations of

the Old World from the wild and untamed lands of the New, there lies the bleak and unforgiving

continent of Naggaroth.

Here, barren, windswept plains are broken only by the jagged peaks of shattered mountains

or the black sludge of magic-stained rivers that carve labyrinthine canyons into the frozen

ground.

It is a place known across the world as the "Land of the Chill", where across the

ages untold millions have been taken in chains.

Ripped from their homes in the dark of the night to live out the remainder of their lives

in untold suffering.

Naggaroth is cruel, but those who have built their kingdoms here are crueler still.

In their tongue, they call themselves the Druchii: slavers, despoilers, killers, Dark

Elves.

The Druchii are not the only elven race to walk the world, but of the three great civilizations

that arose from the fractured lands of their home isles of Ulthuan, only the Dark Elves

have embraced the powers of Chaos so openly.

Almost all the races of the world have been marked and changed by Chaos, but perhaps only

to the Dark Elves has it has brought enlightenment, they have embraced the revelation that the

world exists only for the pleasure of the strong.

The Dark Elves care nothing for the sanctity of life and consider the so called "lesser

races" nothing more than insects begging to be ground beneath a boot heel if no productive

or entertaining use can be found for them.

All Elves are said to be cunning, but the Druchii delight in manipulation.

Every word they speak hides a depth of meaning and they are masters of twisting words to

serve their interests.

The unwary might be fooled by the elegance and effortless grace they share with their

distant kin, but theirs is a cold beauty, one that only serves to distract from their

true intentions.

So completely assured of their superiority, the Druchii can be almost careless in their

actions.

They revel in the act of betrayal, knowing that their silver tongues can always be counted

upon to save them from reprisal.

Above all, the society of the Dark Elves is opportunistic and impetuous.

This extends not only in their dealings with other races but defines their own internal

governance as well.

The Kingdoms of the Dark Elves are rigidly hierarchical with a complex structure of titles

and positions that date back to their most ancient history.

Deviations from this system are exceedingly rare, for to even suggest through the creation

of a new appointment or rank that the royal traditions of the past are somehow flawed

is to invite a swift death.

A constant cycle of plotting, disgrace, betrayal, and assassination is behind every position

of authority in Naggaroth.

Powerful nobles are trapped in perpetual competition with their rivals, all vying for power while

simultaneously preventing others from achieving it.

Yet no matter how high a lord or lady might rise, in truth there is but one ruler of the

Dark Elves; Malekith, the Witch King of Naggaroth.

To the Druchii, he is the embodiment of their people, destiny and greatness burned into

his very soul.

As long as he lives, Malekith's authority over the Kingdoms of the Dark Elves is absolute.

His inner circle is known as the Black Council, comprised of exactly one hundred of Naggaroth's

most powerful Dreadlords.

To claim a seat at the Obsidian Table of the Black Council is one of the Kingdom's highest

honors, but perhaps the most dangerous.

The favor of the Witch King is always unpredictable and often fewer Dreadlords leave a council

chamber then enter it.

Across the millennia, a few nobles have been clever enough to avoid falling victim to Malekith's

temper.

First among these and closest of all Malekith's Councillors is his own mother, the tremendously

powerful sorceress Morathi.

This honor is not the result of any familial loyalty, but because her intentions are not

always clear and she can only be trusted when kept in plain sight.

Other powerful council members typically include the highest commanders of the Witch King's

armies and fleets, who earn glory for every victory and blame for every defeat.

In battle, the Dark Elves prize speed and maneuverability above all.

They are relentlessly aggressive in battle but most effective when conducting lightning

raids, seizing slaves and plunder before an organized defense can be mounted.

Sadistic and thrill-seeking elements of the Dark Elf Army will often enter a drug crazed

killing frenzy, contrasted by the cold, ruthless professionalism of Malekith's personal Black

Guard.

Cavalry often plays a key role in these engagements, with the Druchii nobility often riding atop

carnivorous reptiles native to Naggaroth alongside more traditional steeds.

The Dark Elves display a natural talent for the taming and training of beasts and monsters.

Harpies, Manticores, Hydras, and other predators that stalk the Land of the Chill are often

driven to the enemy at the end of lash.

It is through their mastery of the sea however that the Dark Elves wield their greatest strength.

Their forces are organized around enormous floating fortresses known as Black Arks, each

home to a small army of raiders and ships.

These arks roam every ocean, landing forces on an unsuspecting kingdom, before disappearing

with plunder and captives.

This is not merely the basis of their military strategy, but the backbone of the Druchii's

economy.

The Dark Elves count no craftsmen, workers, or farmers among their own, for such tasks

are thought beneath them.

The Kingdoms of the Dark Elves were built on the labor of slaves, and it is through

slaves that they endure.

Untold captives exhaust themselves within the mines of Naggaroth's mountains or rot

away in vast plantations before their bodies are left to nourish the barren soil.

Slave revolts are rare and harshly suppressed, and the only successful revolts have typically

occurred at sea, before the captives have been broken completely.

To be a slave in Naggaroth is a fate worse than death, for in addition to providing a

cheap source of labor, slaves also are a critical component of the Dark Elf religion, sacrifices

to the Cult of Khaine.

Other remnants of the old Elven pantheon remain in Naggaroth, but it is Kaela Mensha Khaine,

the Bloody-Handed God and Thousand Faced Lord of Murder that is by far the most worshipped.

While the High Elves of Ulthuan only invoke this wrathful god in times of war, the Dark

Elves are wholly devoted to him.

Every city in Naggaroth has temples and shrines devoted to Khaine, slick with the blood of

those sacrificed.

The most holy time of the year for the Druchii is the Death Night when Witch Elves rule the

streets of Naggaroth's cities, capturing any they find, killing them on the spot or

dragging them back to the temples as sacrifices for Khaine.

Dark Elf families will barricade their doors and windows on Death Night, for often these

Witches will not limit themselves to the streets alone.

When dawn finally breaks, those who lived through the night will often sacrifice one

of their own as thanks to the Lord of Murder for sparing their family, at least for another

year.

In the ages since Malekith and the remnants of his people first sought refuge in Naggaroth,

the Kingdoms of the Dark Elves have grown in size and might to rival the greatest of

those that still remain in their homeland of Ulthuan.

Malekith has never forgotten the ancient sundering that led to his banishment however, and it

is the dream of every Druchii that they might one day return to their homeland and scour

their hated kin from every corner of the world.

Across their history they have waged countless wars upon Ulthuan and the other races of the

world and even now in Naggarond; The Tower of Cold, oldest and largest city of the Dark

Elves, Malekith calculates the demise of his enemies with chilling ruthlessness.

Yet neither he nor any of his people have ever considered the possibility that when

the last of his foes dies screaming in agony upon the Altar of Khaine, ultimate victory

might cost them their only purpose and leave a void impossible to fill.

Should that day ever come, the Druchii might learn just how much of their souls have been

devoured by their ancient hatred, by Chaos, and they might not find that tally to their

liking.

For more infomation >> Dark Elf Kingdoms of Naggaroth | Warhammer Fantasy - Duration: 9:31.

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The 100 | Inside: The Dark Year | The CW - Duration: 1:32.

For more infomation >> The 100 | Inside: The Dark Year | The CW - Duration: 1:32.

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The 100 5x11 Inside "The Dark Year" (HD) Season 5 Episode 11 Inside - Duration: 1:32.

- [McCreary] Doc, we ready to get back to work?

- [Jason] Five-eleven. It was written

by Heidi Cole McAdams,

and directed by Alex Kalymnios.

- How the hell did you get here?

- Clarke has reunited with her mother

at the end of the previous episode,

only to find her unconscious, nearly dead,

overdosed on the floor.

- I tell you what. You pumped her stomach,

so obviously you have some skills.

I'll give you 24 hours to get her operating again.

Once she's back on her feet, if she still won't cure us,

Well, I guess you both get to watch your daughters die.

- In this episode, Clarke will fight to save her mom,

and begin to understand what her mother went through.

- [Female Narrator] If McCreary knows they're coming,

then we've failed.

- We also catch back up with our heroes

who have escaped from McCreary's reign in the valley

and are sort of hunkered down in a cave,

trying to figure out what their next move is.

- Without the element of surprise,

it'll be a massacre.

- We have to tell them to go back.

- [Jason] Can they save their friends,

who they know are now marching, before they walk

into the buzzsaw that's waiting for them?

- You're marching us into a massacre.

- We'll see.

(dramatic music)

For more infomation >> The 100 5x11 Inside "The Dark Year" (HD) Season 5 Episode 11 Inside - Duration: 1:32.

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Rebecca Makkai on Why Writing a Book Is Like Getting Dressed in the Dark - Duration: 6:43.

-Congrats on the novel. This is your third novel.

-It is.

-The first two were very well received.

Does that make you feel very confident

before your third novel comes out?

-Oh, sure. -Oh, good.

-No, no, no. No, you can't be.

Because it's -- you know --

You're writing in total isolation.

It's like getting dressed in the dark.

Like, the complete dark.

And then, you have to go out on stage.

-Yeah.

-And you don't know what you've done.

You don't know what anybody's gonna see

until it's too late.

-And not only dress in the dark but, I would guess,

over the period of like three or four years.

-Oh, yeah, yeah, yeah. -Yeah, it's four years of...

-Four years of like, "These are the right pants."

-Yeah.

-Do you show it to people over the course of the four years?

Do you -- -I do.

You know, a few trusted readers. And for this one,

because it is about the AIDS epidemic in Chicago,

very sensitive subject, a lot of historical research,

I really needed people to read it who could tell me

where I'd gone wrong... -Oh, that's very helpful.

-...who were there and lived through it.

-There are sort of two parallel stories.

There is, as you mentioned, it's Chicago in the '80s

and the AIDS crisis, and then modern-day Paris.

Characters from both sort of live in both the stories.

Is that something -- With a plotting like that,

do you have to know that when you set out to write the story?

-It might have helped, but I didn't.

-Oh, okay. Got you. -So, yeah, I, um --

I started off writing this story, you know,

eventually, after a few missteps,

about the crest of the AIDS epidemic in Chicago.

It was all set in the '80s.

And as I interviewed people, as I thought about it more,

one of the things that was the most fascinating to me

was the aftermath,

the ripple effect 30 years later.

How were people picking up, going on with their lives,

when they'd been handed a death sentence

or when they'd lost everyone of their generation

and they're the only survivor?

So that was woven in later.

-I was certainly more aware of San Francisco and New York

as cities that were devastated by the AIDS crisis.

And having spent a lot of time in Chicago,

and you, obviously, are from Chicago,

were you aware going into it as how affected Chicago was?

-I knew a bit.

You know, I was a kid when this was going on.

And I was certainly tuned in to what was going on in the news.

You know, you stay home from school,

and you watch "Donahue" or whatever,

and you see some stuff.

But, of course, that was never about Chicago.

Even though I was living in Chicago, I wasn't aware.

-Right.

-Became aware more as an adult, as I met people.

I'm out there in the art world in Chicago,

meeting people who were affected.

Most of what's out there, in book form and film form,

is about New York, San Francisco, maybe L.A.

And I feel like Chicago has been really underrepresented,

which actually made it harder for me to do my research

but blessing in disguise, 'cause I couldn't just

hide behind some books in the library.

I had to get out and actually interview people.

-This is very impressive, 'cause I sometimes think

that our perception of authors

is they just get to make up worlds,

and they don't actually have to lock into the details of it.

But you used Google Calendar and Google Maps extensively

to write this.

How exactly were those tools that were effective for you?

-So the Google thing -- So I --

I've tried all kinds of outlines for my novels.

With this one, the calendar was really tricky,

because I'm moving back and forth between time periods

but also dealing with AIDS.

The amount of time that would elapse between someone

maybe getting the test and getting the results.

You move one thing and your whole plot falls apart.

So I clicked back in my Google Calendar

like five or six years until the days of the week

matched up with the days of the week in 1985.

And then, I would enter all my events into the calendar.

-I noticed that the days matched up.

I checked. I always check.

[ Laughter ]

That's the first thing I do when I read a book.

I'm like, "I'm gonna go on my Google Calendar.

If these don't match up..." -You know what?

Someone does. -Someone does, that's true.

-And we're gonna get the e-mails.

The writers are gonna get the e-mails if we don't do that.

But the funny thing now is, I'll use my Google Calendar,

and I'll try to be looking up something I have to do,

so I'll type in, like, "Wisconsin,"

and it'll come up 15 things about my characters

going to Wisconsin,

but I was just trying to look up the Wisconsin Book Festival.

So I did that.

And then, the Google Maps, there were two things.

I had this amazing intern one summer

who made me an interactive online map

of every gay bar in Chicago in 1986,

which I hope was fun for him. I don't know.

[ Laughter ]

So I could kind of walk around then, with it printed out,

walk around Chicago and see where everything was

and kind of try to picture it.

The other thing is, as I'm researching Paris,

the other part of the book, you know,

you can do that thing where you take the blue dude

and you drop him into the map, and you can walk around

and you can look left and right, which was awesome,

but I was really hoping

I'd have to justify a research trip to Paris.

And this totally supplanted it so...

-You are a child of a Hungarian immigrant, yes?

-Yeah. -And you would have --

When you were growing up, you had immigrants stay with you?

-Yeah, I had this kind of wild childhood.

My parents are both linguistics professors.

And then, we -- we're sort of a hub

of Hungarian immigrants in Chicago.

Yeah, not really a normal childhood.

-Yeah. -It was kind of awesome.

And my dad's a poet. So there was a lot of --

He was writing his poetry in America

but in Hungarian and then smuggling it back into Hungary.

-How do you smuggle poetry? [ Laughter ]

-Funny question. So, what you do,

if it's 1970s, is, you get a box of disposable diapers.

-Yep, that's what I would've done.

[ Laughter ]

-Because disposable diapers were brand-new.

You could get them in America.

You can't get them in Hungary.

So it's a pretty normal gift

to be sending across the ocean to your relatives.

And you cut them open, you take out the filling,

and you put a poetry manuscript in every diaper.

Then you reseal the box, you send it,

they open it, they take it out,

and you have diaper poetry. [ Laughter ]

-That is incredible.

Because every writer I know... [ Applause ]

...would basically, at some point think,

"A baby should [bleep] on this." [ Both laugh ]

And you're a professor in the MFA program at Northwestern.

-Yeah. -Do you like teaching?

-I love teaching, yeah. -That's great.

-You know, it makes you so much better at what you do

to have to articulate it.

You know, 'cause other art forms, you see someone work.

Right? If I were a painter, I could watch someone paint.

If I were a musician, I could watch someone,

you know, compose, make music.

I can't go and stand over my friends' shoulder

when they're writing novels. -Right, yeah.

-That would be super creepy.

But I can work with students as they're writing novels,

as they're writing short stories.

And I'm learning from that in a way

that is not otherwise available to me as a writer.

-That is very cool. [ Applause ]

And thank you so much for being here.

-Thank you. -Congrats on the book.

For more infomation >> Rebecca Makkai on Why Writing a Book Is Like Getting Dressed in the Dark - Duration: 6:43.

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Antitrust concerns a dark shadow over Google's, Facebook's future? - Duration: 5:06.

For more infomation >> Antitrust concerns a dark shadow over Google's, Facebook's future? - Duration: 5:06.

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Man's body found dumped along dark road - Duration: 1:14.

For more infomation >> Man's body found dumped along dark road - Duration: 1:14.

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Dark web e criptovalute, cosa accade sotto la superficie? Se ne parla il 31 luglio a Sassuolo - Duration: 1:57.

 Il Dark web non è una sorta di oscuro mondo sotterraneo in cui si arruolano sicari o si trafficano esseri umani

In realtà è dove la proprietà intellettuale di una società, il database di email di un'azienda o i dettagli della carta di credito dei clienti potrebbero essere in vendita proprio ora, ad insaputa delle stesse società

Il Deep web è un enorme labirinto di pagine 500 volte più grande del web in superficie

 Dark web e criptovalute (Bitcoin per fare un esempio) saranno gli argomenti trattati martedì 31 luglio alle 21 in un incontro che si terrà presso lo Sporting Club di via Vandelli a San Michele, per l'occasione ad ingresso libero

 Interverranno il Dr. Paolo Dal Checco, consulente informatico forense; il Dr. Roberto Nesci, fondatore ed amministratore di un Istituto di investigazioni private e di informazioni commerciali e l'Avv

civilista e penalista Stefano Vincenzi. Introdurrà il Dr. Ivano Piccinini, Presidente CNA Area di Sassuolo

For more infomation >> Dark web e criptovalute, cosa accade sotto la superficie? Se ne parla il 31 luglio a Sassuolo - Duration: 1:57.

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Threats From the Dark Web - Duration: 7:45.

Threats From the Dark Web

Despite the hype associated with the dark web, maintaining visibility into it is an important component of a comprehensive digital risk management program.

In support of our announcement today about the expansion of our SearchLight's dark web collection capabilities, we wanted to highlight some of the digital risks that can be associated with the dark web in this blog.

It is important note that these risks can also occur on the open and deep web, just as with our previous research on sites like deer.io.

Criminals are stealing customer data through payment systems and they are talking about it on the dark web. The insecurity of payments systems makes the news frequently.

Take the recent Chipotle breach, which resulted from malware on their Point of Sale devices. It's important for retailers (and any organizations with ATMs or PoS devices) to ensure these devices and their transactions are secure.

Having visibility into criminal forum conversations that discuss committing fraud against these devices, third parties or your company is critically important.

It is also important to have visibility into the items for sale in criminal marketplaces that could be used to conduct fraud.

This can be in many forms; it might be in a guide for ATM skimmers (Figure 1), or product listings for specific hardware. Having visibility to these dark web conversation can make the difference in stopping or mitigating a breach.

Figure 1: Dark Web Marketplace offering guides on how to make ATM skimmers. Criminals are selling customer account details on the dark web.

For banks seeking to protect their customers, gaining visibility and monitoring the dark web can be a highly valuable tool to stop fraud. Adversaries share credit card numbers on IRC channels (Figure 2) and sell accounts on dark web forums (Figure 3).

Detecting these activities gives banks better visibility into their customers' online exposure and enables them to get on the offense to minimize the impact.

Figure 2: IRC channel sharing and testing customer credit card information.

Figure 3: Accounts for sale on the dark web. Criminals are taking over employees and customers' accounts.

It isn't always a company's assets that are at risk; organizations can also gain awareness of tools used against them. Figure 4 is an example of a tactic used to bypass SMS account verification.

Understanding the latest tactics used by adversaries is vital for organization's security decision-making to reduce their risk profile.

Figure 4: New tool for bypassing SMS authentication offered, mentioning specific sites. Criminals are conducting tax return fraud. Tax milestones throughout the year are popular times for fraud, and tax information is high in demand by cybercriminals.

Approaching the deadline for 2017's tax return, we detected a user claiming to sell access to the PCs of an individuals working for accounting companies.

The accompanying screenshots indicated that the user had access to information on hundreds of companies in the United States.

Figure 5: User selling access to an accounting company's customer information, consisting sensitive tax information. Digital Shadows provides the context you need to manage dark web threats.

It isn't enough to simply detect mentions of company assets and concerns across the dark web. Organizations need context behind these posts to have a better understanding.

As a result, today we announced an expansion of our SearchLight's dark web collection capabilities where we help our customers manage their dark web threats in five ways:.

Detailed Explorer view. View the post in Searchlight's explorer view to see previous posts by other users on the same thread or post.

This enhanced view provides organizations with added context, enabling them to better understand how their company, employees or customers are likely to be impacted.

Dark Web User Background. The incident also provides an overview of the user in question, with their username, date joined, activity levels and reputation. This enables you to understand the credibility of the dark web user, informing your response.

Incident view with context. The incident includes a description, impact and recommendation action, all of which are written up by our team of expert analysts. This helps you to make a more informed decision about the risk to your business.

Detailed Source Background. Pivot from the incident into the intelligence view, providing context on the forum or marketplace. This context includes a description, timeline of events, associations, intelligence, and associated sites and social media accounts.

The importance of our team of data analysts extends beyond adding vital and relevant context.

Not all dark or deep web sites can be easily accessed with technology on its own; expert human data analysts must also gain access to closed sources to provide the most relevant view of digital risks.

Digital Shadows recognizes it is critical to complement automation with a team of data scientists and intelligence experts who gain access to closed sources, and qualify the data collected to enhance analytic capabilities.

This gives our customers the full breadth and context needed to address the digital risks that are most relevant and impactful to their business. . Figure 6: SearchLight's incident view, complete with vital context.

Armed with this vital context, organizations are better informed about the risks they face online across the open, deep and dark web; understanding not only when they are mentioned online, but also why, by whom and the likely impact to your organization.

To learn more about Digital Shadows Searchlight™ dark web monitoring capability, watch this demo video or read our datasheet for more details.

For more infomation >> Threats From the Dark Web - Duration: 7:45.

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What is the Deep Dark Web? - Duration: 10:00.

What is the Deep Dark Web?

Search results obtained using a traditional search engine such as Google or Bing are gathered from a surprisingly small portion of the internet.

This small portion, estimated to be about four percent of the entire web, is referred to as the "Surface Web." So where is the rest of the information? It's located in non-indexed pages of the web — effectively hidden from view.

Before we dive into the Deep Web and Dark Web, it's important to understand the Surface Web and how internet search engines operate.

Search engines utilize spiders that crawl and read content of websites to determine what information to show for specific search requests.

A spider is essentially a special software robot that searches a website page returning to the search engine with information that is contained in it. However, if a site or page is not indexed (not allowed to be crawled), these spiders will not have access to them and therefore those sites/pages won't show up in surface web search results.

Why Access the Deep Web and/or Dark Web?. Both the Deep Web and Dark Web are potential sources of a wealth of information when used mindfully and with knowledge of each. However, each serve different purposes.

The Deep Web contains information varying from academic journals to databases to blog articles that aren't published yet.

The Deep Web can be accessed if you know the URL and have the authority to access it or know where and how to search. Some reasons search engines might not be able to access these sites include:.

Password access Robots blocked – a specific file can be placed into the main directory of a website to block spiders from crawling the site Hidden pages – no hyperlinks to take you to the page Form controlled entry – the site requires human based action to turn up results i.e.

The Dark Web is another story. This can only be accessed through Tor (The Onion Router) or I2P (Invisible Internet Protocol), which utilize masked IP addresses in order to keep users and site owners anonymous.

Tor is downloadable software and works by building encrypted connections on servers around the world, creating multiple layers of encryption creating an "onion effect," hence its name. Only at the very end does the traffic come through unencrypted.

Like the Deep Web, the Dark Web can only be searched if you know where you are going. Some have claimed to have created search engines for the Dark Web, but none have been verified yet.

As you probably know, the internet consists of domains like .com, .org, .net. Tor allows for access to the Deep Web with page domain .onion, where you might see URLs that look like http://ke2y7fm4mj2qew23.onion.

While many associate the Dark Web with the more nefarious deeds, such as human trafficking and drug sales, it can also be used for some very legitimate purposes.

Dissidents who fear prosecution from their government or a particular group can use the Dark Web to anonymously search and post without fear of repercussion. Journalists also find it a safe haven when their sources want to remain private.

ProPublica just announced its launch of the first Dark Web version of a news site, allowing users anonymity while accessing full editions of news. The Dark Web – Legality and Anonymity.

Many wonder if merely entering the Dark Web could be considered a criminal offense. The answer is a resounding no, it is legal to surf the Dark Web.

However, it's important to use caution when visiting sites or clicking links. The Dark Web is rife with sites offering hit men, firearms and forged papers.

While searching online is not illegal in and of itself, the actions you take while on the sites could be perceived as illegal based on the content you are viewing.

If you are looking up child adoption, a link could take you to a site involving child pornography — a situation where the act of viewing is an illegal offense.

When it comes to the Dark Web, it is unwise to assume you are completely anonymous without taking additional precautions to prevent being traced. The following are some of the few ways to supplement Tor use in order to maintain anonymity:.

turning off cookies and JavaScript not downloading or torrent file sharing placing tape over your webcam enabling your firewall.

There have been cases in the past where security researchers have been able to utilize the very last point where data comes out of the Tor network, called an exit node, to intercept hundreds of emails from various accounts.

The emails themselves were not encrypted, creating an exposure risk for users.

Leaked IP addresses and man in the middle attacks (where a third party intercepts and sometimes alters communications between two parties who think they're directly communicating with each other) can also put users at risk for exposure.

Use caution and be aware of the risks associated when using Tor:. Exposing your computer to malware: people operating one of the nodes can use the device to add malware. So, users who download through Tor expose their network to malware infections.

Information theft: Traffic can be sniffed at the exit node, or the point where information leaves the encrypted network and becomes readable again. People operating the nodes can monitor the traffic and capture sensitive information.

Note that a higher percentage of Tor transactions are fraudulent when compared to ordinary Internet transactions. If you do business on Tor and you run into a problem, or if you're scammed, there may not be an easy recourse.

Attention of Law Enforcement: Using Tor may draw the attention of the NSA, FBI or other law enforcement agencies that specifically target Tor users. While it can often be difficult to locate information on the Dark Web, there are several practical applications.

For example, for attorneys tasked with protecting trademarks, patents or data, the Dark Web is a potentially excellent source for determining from where counterfeit goods are originating.

The Dark Web may also be useful for finding the website from which illegally obtained personal data is being sold.  Attorneys should have a general understanding of the Dark Web in the event they are defending a client charged with using it to conduct illegal activities.

Summary. The Deep Web and Dark Web's beneficial information should not be overlooked. However, the Dark Web, shouldbe approached with a level of caution due to potentially serious security and legal implications.

Amanda Sexton is the Director of Corporate Development at On The Lookout Investigation, LLC and DGR –The Source for Legal Support, winners for the past three years of the New Jersey Law Journal's annual 'Best Of' survey.

She is currently President of the New Jersey Professional Process Servers Association, a board member of the Legal Vendors Network and attends local and national conferences and training sessions to stay on top of the latest techniques and regulations for both process service and private investigations, including online investigations and social media surveillance.

Adv.  Roy Zur is a cyber and intelligence expert, the CEO of Cybint Ltd, an Israeli cyber company and Cybint solutions, a BARBRI company (US).

 Roy has over 13 years of experience in cyber and intelligence operations from the Israeli security forces, and since 2014 he has developed cyber training programs and technology for financial institutes, law firms and government agencies.

  Prior to his current positions, Roy received his LLM and MBA from Tel-Aviv University and served as a legal adviser in the Israeli Supreme Court, and founded the Israeli Legislation Research Center (OMEK Institute), which includes 150 researchers, who work with the Israeli parliament.

Originally shared on American Bar Association.

For more infomation >> What is the Deep Dark Web? - Duration: 10:00.

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Shark After Dark: Sharks, Ronda, and Bear - Oh my! - Duration: 41:31.

For more infomation >> Shark After Dark: Sharks, Ronda, and Bear - Oh my! - Duration: 41:31.

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O11ycast - Ep. #3, Distributed Systems with Paul Biggar of Dark - Duration: 30:04.

Charity Majors: Paul, have you ever been on call?

Paul Biggar: I've been on call a lot.

When I started Circle, I was on call from the first customers until they finally took my pager away three years later.

Charity: Oh wow.

Paul: I started as a primary on call and then some iteration.

I mean, at the start we didn't have pager duty, and we

didn't have monitoring, which is the precursor to observability. You might have heard of it.

But you know, your Twitter blows up because your

site is down and you're effectively on call regardless of how you position.

Charity: This has never happened to me.

Rachel Chalmers: So, this might be a great time for you to introduce yourself.

Paul: I'm Paul Biggar, I founded CircleCI, and more recently I founded a company called Dark.

Rachel: You and I met back in the CircleCI days.

What drew you to continuous integration in the first place?

Paul: There's a couple of different answers to that, but I remember being in a room

in Paul Graham's House in 2010 when I was doing Y Combinator.

Rachel: Was this at the party?

Paul: Different party.

And we were spitballing. My

Y Combinator start-up was stupid, and he was like, "Why don't you

do compilers as a service?" And I didn't even know what that meant.

But a year, year and a half later after I'd been working at Mozilla

for a while I realized that they have this big problem of

like, the automated testing thing, and the release engineering, all this sort of

thing. I

was not exactly directly involved in it but I was a downstream user of their CI suite

basically, and I spent a year thinking, "You know, if I was in charge, I would do this differently."

Then when I decided to use time to do a start-up this had been on my mind for a year.

Rachel: Tangentially, I kind of want to do a shout-out to Mozilla as kind of the Bell Labs of our industry.

There's so much amazing stuff and so many amazing people coming out

of it, like Rust language, and it's just a generator of cool.

Charity: It does feel like release engineering is something that is very systematically under-invested in

at pretty much every company over the size of 50 people that I can think of.

This is where faults get injected into our system, this is where chaos enters the system, and yet it's not seen as being prestigious work.

It's seen as being very laborious, it's seen as being the crap work

that you do and you have to, not something that actually affects your

life more than any other piece of code you can probably write.

Rachel: Well, there's been this truism on the finance side forever, that dev

tools don't sell and dev tools don't grow into big venture exits.

Charity: That's why we still have Capistrano.

Rachel: It's kind of crazy.

I'm not even sure it's true anymore.

Paul: I kind of think it's true.

I think up until recently the secret to selling dev tools

was selling infrastructure, and so the companies that made money were, with some exceptions.

Like GitHub who just had all the users in the world.

But I think there's--

Charity: Everybody tells you, "Sell to ops. They have

budget, they have checkbooks. Devs

don't."

Paul: I mean, almost every dev tool that's been successful, if it hasn't

been selling infrastructure it's been selling top-down to enterprise.

Charity: That does seem to be changing.

Paul: Yeah, I think so.

The number of people in the industry, who are the people

who are coding in the industry, is rising at this astronomical rate.

Charity: And the tools are getting better. I

remember when I left Facebook and I realized that you can now

cobble together the same exact build-to-play pipeline using all of these smaller

start-ups, almost all of which have been found in the last five

years.

Rachel: Right, that's one thing I see happening. A

lot of the tools that are invented inside huge companies like Mozilla, and Google and Facebook.

People leave and then they do these start-ups, and suddenly you have this accessible tool chain.

Charity: Because they don't know how to live without it.

Rachel: Exactly, you get accustomed to that lifestyle.

Paul: The upside of that is obviously that you have the tool that you can use.

The downside is, you now need to know all these tools, and the complexity.

The industry has been exploding as a result.

Charity: It's true, and there are very few reliable narrators when it comes to how

to plug them together and what you actually need, and what you don't.

Paul: Well, you obviously need to use the tool that the person on stage is telling you to use.

Charity: Well, of course.

Paul: And then some other tools as well that integrate nicely.

Rachel: You've talked a lot about accidental complexity, which I love as

a phrase for describing what's even happened since you founded CircleCI.

It's just skyrocketing number of variables, number of abstraction

layers that people need to get their heads around now.

Do you

want to talk more about that?

Paul: I actually gave a bit of a talk about this at the Honeycomb

meet-up a couple months back, but basically when we started CircleCI people had

a problem and that was that their Rails monoliths took a long time to

test.

Our product was, we take it, we paralyze it, it's great. In-between

then and now, microservices happened.

microservices have been happening for 30 years under different names and so on, but

people actually started doing microservices for the first time in history, I guess.

That completely changed how people tested, it completely changed what CircleCI's product is.

It also, I think, has had a complete change on the industry, even how

people think about their code bases and splitting them across multiple--

Charity: And their teams, like the organizational structure. I

think it's had a huge--

Rachel: And what they're responsible for, used to be a sys-admin.

Like, "These hundred servers are mine.

No one may touch them." And

now, what is it that you own? What is it that you're measured on? How do you define success in that role?

Paul: There isn't a right answer to any of it. There's a couple of opinions.

Charity: It's dizzying.

Everybody has advice for you, but it's always what they've seen work once.

Rachel: Right. Confirmation

bias, "I did it this way and I succeeded, therefore the only way to succeed is to do

it this way, in spite of the 99 other people who did it that way and failed."

Charity: Yeah.

Paul: We have a very fashion-oriented industry.

Rachel: We do!

Paul: Whoever writes the blog posts that gets the most likes is the thing that becomes best practice.

Charity: The one that actually made sense to the most people.

Paul: Optimistically.

Rachel: Well, makes sense, or appealed to this week's aesthetic.

Charity: That's true.

Paul: Or is written by the famous person.

Rachel: Paul, to found one startup may be regarded as a misfortune, to found two smacks of carelessness.

Where did you find the courage to start Dark?

Paul: Oh my God.

So, this is my fourth startup.

Rachel: Four?!

Paul: The first two failed tragically.

Rachel: Do you need help? Is there something we can do?

Paul: So, apparently on the third one you start to get okay at it.

The first one after you make a successful one, they'll give you money without really too much work.

I actually had this sort of thought, I spent a lot of the intervening

time between when I left Circle and when I founded Dark thinking, "What will I

do with my life?" And I had a lot of ideas that were mostly

not venture-backed, that were mostly small, low stress start-ups that you could sort of have

a nice chill life but still have have meaning and work, and that kind

of thing.

That's not what I did, because every time I started thinking about, "How would I build those?"

I realized that the tool that I wanted to build them with did not exist.

Charity: This is how Parse got started too, you know.

They were going to build mobile apps and then they suddenly went, "Oh

my gosh, everybody is doing all of this every time?"

It became Parse, because there's

so much, just, boilerplate that you have to redo every time and it's tiresome.

Paul: Yeah. You

go to a hackathon for the weekend, and at the end you've got your web pack pipeline set up.

Charity: Yes, exactly.

Paul: So, our goal with Dark is very much like, reduce background work.

Charity: Yeah.

Paul: The reason I talk about accidental complexity so much is, our goal is basically

just putting a circle around all the accidental complexity that we can find and

seeing if we can remove it in a sort of a holistic back-end package.

Charity: Tell us what Dark is.

Paul: Dark is a tool to make coding a hundred times easier.

Specifically, to make back-end services easier.

So, you would go to Dark, you would use our editor, you would use our infrastructure compiler. And

you would use our language, the Dark language.

Because you're using all this holistic stuff, you get a lot of stuff for free and that's basically what we're doing.

Charity: How do you know if it's working?

Paul: That is a very, very good question.

Charity: Interesting.

Paul: We're about six months into the development of it, maybe--

Charity: I meant, how do you know if your software is working?

Paul: Oh, how do you know if your software is working? Well, Types, Charity.

Charity: Burn.

Paul: One of the things that we're making sure that we do with Dark is

we're not making any new things, we're just bringing them all together.

So, the things that people use today to make their

software work, Types, Fuzzing, testing, continuous integration. They're all part of it.

Charity: I think of all that as being the basics, right? I'm trying to gently nudge you into mentioning observability here.

Paul: Oh, I see.

So, actually Dark is really centered around the idea, or at least the concept I think, of observability. Because

you're always writing in production.

Charity: Love it.

Paul: There is no separation of the code.

There's no process to take the code from your laptop into production.

Charity: All of those places are so fraught with errors in things that get dropped, which is why I love it.

The best software engineers I ever worked with at Facebook would spend half their day

in their IDE writing code, and they wait for it to eventually make its way out to

production, and then they spend the other half of their day in Scuba or ODS, just trying to understand

the consequences and effects of what they had shipped, or what their intern had shipped.

Because the understanding becomes the hard part much more than the development part.

Paul: When you think about how hard it is to replay a bug that a user had on your site--

Charity: Yes.

Paul: You're going to have to replay it through several microservices, and fetch it from

different logging mechanisms, and inevitably you're going to be missing something anyway.

Charity: This, to me, points to why it's so necessary that we get

comfortable with testing in production. Which is very much a Dark-friendly concept.

Paul: Absolutely. I

totally believe in it.

Charity: I see teams flushing all this time and energy just down the toilet, trying to get staging in sync with production.

Which is actually, in fact, impossible, because every single time you deploy

an artifact using a deploy script to a production that's a new thing. Right?

Paul: Yeah.

Charity: You can capture and replay the past, but you can't predict the future.

So, whatever you're doing on staging is inevitably dumb.

Rachel: It's theater.

Charity: It's theater, and it makes you feel good about yourself. We

have limited cycles, and we are spending all of our time

there which means we're not spending it on hardening production.

Guardrails making it so that you can actually see what's going on so that you can slice and dice in real time, so that you can experiment.

Rachel: The guardrails are critical, though.

Paul, how do you think about making sure that testing in production manages failure in a graceful way?

Paul: I think feature flags is probably one of the best tools that we have for that.

In Dark, the way that you do it is that once users are

using a particular route that code is immutable, you can't change that code.

You can't edit it, there isn't a process of going into it and making a change.

What you can do, is you can take a section of it and say, "I'm going to flag that off."

And you can run multiple traffic both ways, and all that sort of thing.

Basically, what we as developers are trying to do is get some personal certainty that the code that we write is going to work.

The

best way to do that is to take real traffic, run it through the

code that we've just written in a safe way, validate that the answers are

correct, whether we're doing some sort of statistical analysis on it or just eyeballing the

result.

Charity: When you put it that way, it's insane that we haven't done this sooner.

Paul: That's my position, too. Thank you, Charity.

Rachel: It seems, though, like it would be very hard for legacy developers, developers with the older mindset, to embrace this.

Charity: I feel like, yes, it is hard for them to embrace it, but I find that

often I have a hard time convincing people how easy it can be, if they just do

the thing they want to do instead of the 10 or 20 steps before the

thing.

This is a problem we have all the time too, where we're like, "No really,

this is hard because you haven't been able to ask the right question.

It's incredibly easy if you can just ask questions with high cardinality and feels." And

it sounds like it's very much the same thing for you guys.

Paul: I think it's very much a case of showing them a demo of what they can do on their own data.

Charity: Exactly.

Paul: Obviously that's not necessarily an easy thing to do.

Charity: Yeah, but it's killer.

Paul: Our industry has a history of these amazing demos.

The world is changing as a result of these demos, and that's sort of what everyone really tries to do.

Charity: Got to show them on their own data, because then they know that you're not making it up, you're not cherry picking.

Paul: The other answer to that, and it's one I'm not particularly partial

to, but the industry grows at such an incredible rate.

The estimate for the number of programmers there are today is upwards of 50 million, and there'll be

new people along all the time and there's still people writing it right in COBOL.

Some of them retired, and some of them went away, and then some of them got bored.

Rachel: COBOL's a great language.

You and your co-founder Ellen publicly committed to diversity, while we're

talking about all of these new coders coming in.

Do you think Dark's culture affects what your code is like, and vice versa?

Paul: Absolutely.

We are are big believers in inclusion.

It is one of our core values.

There's a couple of different reasons for this, and one of them just from a

business perspective is we want there to be a billion developers using Dark.

Obviously we're not going to get there if we don't open it up to way, way more people than are currently coding today.

I think, as well, in the current political climate it's very difficult to not look around and see all

the bad things that are happening and see the related situations in our industry,

and how we've made it not a great place for people of

color or for just generally anyone who's underrepresented in our industry. Non-white dudes, basically.

I guess it's fair to say, though, that we have both a business reason and

a values reason for doing that and it's sort of core to who we are.

Rachel: What's the advantage of getting a billion people using Dark, other than that you make a ridiculous amount of money?

Paul: When Ellen and I started working together, I'd drawn up this sort of values questionnaire,

and I had a lot of, you know, potential co-founders fill it out

and basically, making sure that we're on the same page.

And the page was that we're building something big.

I'm not going to all this effort in order to make a small side project, or whatever.

We're really doing a thing that we believe in, and a thing that we believe

needs to exist in the world, that needs to exist for a lot more

people, and it dovetails with a ton of different things and inclusion is one of

them.

The answer to that question is, you know, "Why would you do it?" It's like, because that's what we wanted to do.

Rachel: Like Trudeau getting asked about all of the women in his cabinet and saying it's 2017.

Paul: Right, exactly.

Charity: We talked a little bit about being on call. A

lot of engineers seem to regard this as a curse, a punishment, a thing that

is being imposed upon them, a thing that has to be avoided at all costs.

What's your view?

Paul: Well, I think one side of it is definitely that people need their sleep, and being

on call is sort of damaging to our sanity, at the core of it.

Charity: There's definitely the flipside.

Ops has a long and sordid history of masochism and we cannot ask people to join us there.

Like, I'm over 30, I now want to sleep through the night too.

We just have to raise our standards for what we are willing to impose on people and participate in.

Paul: I loved the early Stripe story, where, and who knows how true these apocryphal stories

are, but where they set an alarm for every single error they got. Wake

them up in the middle of the night if there was any error at all.

I guess when you're dealing with payments, that's the sort of situation

that you can put yourselves in because you don't want to drop them.

But the idea of, when you keep it clean, then the number of calls that you actually get is relatively low.

And the problem that I feel that people have when they're on call is that

the costs of other people's code gets externalized to them, to the person who's on call.

So, I mean, it's basically like, how much does your company value you? Are

they putting you on call because someone has to be on call? We've made a really, really

good job to make sure that it's as good an experience as possible.

Charity: Our on call experiences, it's a rare week whenever anyone gets what they want.

It's incredibly rare, and we always post-mortem it, and do everything we can to make sure it doesn't happen again.

Paul: Right.

Charity: I've been at many companies where that was the case.

We just expected that you got woken up two or three times a night, you know,

and it's really hard to dig yourself out of that hole once you get into it.

Paul: Right.

Often when people interview, they ask you, "What's the on call going to

be like?" And you can tell just from how they ask what scars they have in the past.

Charity: Oh, trauma. Absolutely trauma. It

does come down to valuing people's time.

I feel like every manager has a responsibility to, if not be on call

themselves, it's not always possible, at least to fucking graph, know when your people are being

woken up and have it impact you and take it seriously.

Give them the time and the permission and the space and the support

to pay down that technical debt so that it's not that bad.

Rachel: It's absolutely about taking responsibility, I think.

You talked about how resentful people get when they're the negative externality of somebody else's lazy code.

The advantage of putting engineers on call is they become responsible for

their own code and they appreciate the consequences of that.

But managers have to be respectful of people's time and of people's ability to affect the outcome.

The real burnout comes from not being able to make meaningful change.

Charity: A lot of engineers, because they're not exposed to that feedback

loop, they don't actually learn how to write good software.

It's not that they're doing it on purpose, they just don't know, because they've never

had that feedback loop of, "Oh, this is what happens when I do that,"

When I have this way of degrading that's not particularly graceful when I don't shrink the critical path.

Paul: I think, you know, coming back to what we were talking about earlier

about microservices and continuous deployment, one of the best things that we can

do to reduce our critical path is lower the diff of what we're shipping.

Charity: More smaller changes--

Paul: And more certainty around what outcomes they're going to have.

Charity: Exactly.

I mean this is just part of distributed systems, right? Failures

happening all the time, and it has to be not that big of a deal.

Paul: No matter what.

Like, some day some shark is going to take a bite of an undersea cable--

Charity: Exactly.

Rachel: Cut off Australia entirely.

Charity: Well, what are developers missing about the future of software engineering and shipping quality code?

Paul: I think our feedback loops have gotten terrible.

Charity: Gotten terrible?

Paul: I mean, maybe they've always been terrible, but--

Charity: I think they are getting better honestly, and they've just always been bad.

Paul: I think back in the good old days, and by that I mean when I was

in college and not writing actually valuable software, I actually think back to how we wrote software in

college and how easy it was relative to what proper code bases are like

today.

There is a feedback loop where you'd write something, and you tested, and it's on your

machine, it's not interacting. It's not a distributed system, I guess, is basically the thing.

And that hasn't really been brought back to distributive systems. Tools

like Honeycomb are obviously doing this, CircleCI, as you know, is trying

to do a little bit of it, Dark is going deep on it.

I remember there was a blog post a couple months ago by the Instagram engineering

team, and they talked about how they were saving data that happened in production, I think

it might have been in the case of exceptions, so that you could have it on

your machine, you typed a couple of commands, and you could actually replicate it yourself.

That's the world that we need to be going to.

Errors, exceptions, things going wrong--

Charity: Real data, real services, real networks, real traffic.

Paul: Exactly.

Charity: Absolutely. Couldn't

agree more.

Paul: Real traffic is an important one because it's very easy to--

Charity: It's easy to think that tests are reality.

Paul: Right.

Charity: That was me rolling my eyes.

Paul: Well, the tests are reality if you somehow live in a world where your system is entirely consistent.

Charity: Or, all of your clients are robots.

Paul: Yeah.

Charity: That would work too.

Paul: So, this is the problem.

If you're doing a test, you've written a couple of MOX or Unitus or maybe even

integration tests, but they're not working at a scale where you might have a partition in

your thing, or there just might be incredible load, or a hard drive is going wrong as it's being

written.

You need to test under that world or else you can't really--

Charity: Exactly, and in distributed systems we just have this infinitely long tail of things that almost never happen. And once,

they do. And you

can't predict and test for all of them, just like you can't predict and monitor for all of them.

And you shouldn't try.

You should be instrumenting your system at a level of abstraction that'll empower you to ask new questions.

Paul: I think fundamentally the problem is that most people are not writing distributed systems.

They're writing websites. Or

web applications, which just happen to be distributed systems.

Charity: There's a great talk, I forget the name of the person who

wrote it, on why web programming is the original distributed system.

It is! We just aren't used to thinking of it and treating it that way. That's

why it has a bad reputation in terms of good quality.

Rachel: It does feel like there's a intellectual chasm that we have to

cross between, you know, "I'm writing this to run on my web server," vs.

"I'm writing all of these things to interact with one another on other people's clouds in

real time, and if three of them go down the other 12 will take up the slack." 

Charity: Our solution so far has just been, "We're just not going to do it, and say we did."

Rachel: If you're a young engineer coming out of Trinity's CS department today, how do you

prepare yourself for this very different world from the one we grew up in?

Paul: I think the obvious one is that you want to take

the Distributed Systems elective, which I did not do, and I've regretted for decades since.

It really depends on what you're trying to do as an engineer.

Are you trying to be in the ops-y side of things, and making sure that systems stay

up? Or are you going to be more on the product engineering side? Because you can't know everything.

Charity: I would argue though, that the fundamentals of operations are no longer optional.

I think that understanding roughly what happens to your code after

you hit publish, even if you're a mobile apps engineer.

You need to understand the fundamentals of what's going to happen when things start going south.

Paul: I'm not sure I agree.

Charity: Really?

Paul: I mean, I think that optimistically everyone would know everything.

Charity: I would not say that at all.

I'm just saying that if you can't model in your head roughly how failure works, your stuff is not going to be very good.

Paul: You're one hundred percent right.

Charity: Now you could say, "Well, stuff doesn't all need to be good," and I would say, "That's also true."

Most things fail and it's usually not because your code wasn't pretty enough.

Paul: I think back to younger years when people talked about, "Oh, you

don't know what HTTP looks like, what TCP looks like," or, "You

don't know all seven levels of the OSI Layer," and that sort of thing. When

people actually talked about, "This as a level 4, and this is a level 3, and--".

Charity: But I think that failure, and I'm not talking about any particular type of failure, just the act of making code reach

humans and then sometimes not work. That

seems like a pretty fundamental thing.

Paul: The rewards for making it reach the humans are far, far higher than the cost of it occasionally going down.

You get rewarded for building the thing, and probably someone else takes the slack when it goes down.

Charity: Well, we're hoping that this is changing.

Paul: I think the incentives around buildings also mean that it may not ever change. I'm

thinking specifically, you know, when PHP came out and everyone was saying,

"Oh, these PHP developers, they don't have any idea what they're doing," yet they're building the entire internet.

They're building Wikipedia, they're building Facebook and so on.

Rachel: Facebook is an interesting example, though, because what they've done with hack is just reinterpret PHP

so that it works in a really modern distributed system as kind of a genius--

Paul: Seven years later? I mean how far were they and how successful

were they by the time that they actually started doing that?

Rachel: If you ask them.

Paul: So, they started HPHP in 2009, maybe.

And what, Facebook was four years old then? I'm not sure on my history. And they

already had a couple hundred million users. That's

certainly the scale that they should have to rewrite it.

Charity: Some of this is obviously aspirational, absolutely agree.

But I think there's value in articulating what we aspire to as an industry. Because

we can't just tell people, "Quality doesn't matter, go forth."

Because software is eating world.

Every industry is now a software industry and there are real costs to failure in industries.

Medical industries, building industries--

Rachel: The TSP migration that went south.

Charity: I mean, it's not just pretty web sites.

I feel like I hear more and more grumblings about our need to raise our

standards as an industry to be more like engineers, which is different than developers. You

can be a code monkey using code and there are more and

more and more of those, and I don't mean that in a derogatory way.

But there's also software engineering which I think should be

more rigorous and should absolutely care about the quality.

Rachel: Certainly the civil and mechanical engineers would love that because they get a bit miffed when you talk about software.

Paul: I think I have the same goal as you, which is software works

better and fails less and we get woken up in the night less.

My belief of how we get there is not that we try to affect a change in humans,

which I think people have been doing for a long time, but rather that we build better tooling.

Charity: I think I agree with you completely.

Paul: I don't think we can change how people think about the world or

the fact that there's someone today who wants to build a website who's learning

Javascript which will take off, and we'll absolutely not know anything about the system.

But if they have better tooling, if they built on Kubernetes because that's the

thing that they were told to build on, and it becomes the default then

they've got a more reliable system than if they were hacking it to themselves.

Rachel: Tooling can change behavior, though.

It can't change human nature but it can encourage certain outcomes over others by gaming the incentives.

For example, if you can't tell whether what you've built is working

or not, you will build it differently than if you can.

And that comes back to the question of responsibility and ownership.

If you have agency over what your code does in production, if you can see and

affect that, then I think you feel a lot more affinity for it and for the users.

Charity: Nobody is going to want to put energy into caring about something that they cannot affect or change.

I mean, that's that's just wasted energy.

What are vendors and service providers missing about the future of software engineering?

Paul: I think there's a habit of vendors to think about the world as their

place in it, and to think a lot about the competitive dynamics of the

marketplace and how to make themselves more important than the other people in the

space.

And I think what they're missing is that fundamentally a better

experience for users is the only thing that actually matters.

Rachel: Well, I think there's a huge distortion coming in from the finance side, particularly from

the very large school of venture capital which wants to create natural monopolies.

It's in some ways misaligned with what engineers are trying to do.

Good engineers are trying to build open platforms that enable people, and that kind of

investment is trying to create closed platforms that take advantages of inequalities in the market.

So, I get very frustrated with this mismatch between the two biggest constituencies in venture-backed software. The

entrepreneurs and, not all, but some of the investment community.

Paul: I think it's inherent, and I think it's definitely part of the venture-backed worlds.

Although, you also see a ton of bootstrapped people who are having the same mentality.

And you know, we are the center of the world and everyone else will conform to who we are.

Charity: We all read the same blog posts.

Paul: I don't actually have any solution to it, unfortunately.

I wasn't coming in with a big principle here.

Rachel: We could overthrow capitalism, maybe?

Charity: Tear it all down.

Paul: I think that's probably the closest thing to achieving this.

Rachel: All right, I'll put it on my action items.

Paul: I'll get my red flag.

Charity: Awesome.

Thanks for coming.

Rachel: Thanks so much.

Paul: Thank you.

For more infomation >> O11ycast - Ep. #3, Distributed Systems with Paul Biggar of Dark - Duration: 30:04.

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Analyzed - Dark Ride and Narration - Duration: 10:13.

After teasing you 150 times this video I have to do it to you

Not by obligation,

But because it occupies an important place in my chain

Indeed today we will talk of Dark Rides as a whole

Categorizing them by linking their points common

But also by speaking a little bit of narration

Truce of chatter is gone!

First of all, what is a Dark Ride?

As the name suggests it is basically a circuit in the dark

The first dark ride that we find are historically haunted houses

carnivals present at the beginning of the last century we wandered on foot or

in trolley and we crossed monsters to the epoch incarnated by the fairground family

Then the concept slowly evolved

To arrive in 1956 to the Dark Rides of Walt Disney

Much more technologically advanced with particular

braking systems or the appearance of first animatronics

Since then, the different dark rides have obviously still evolved

and we can categorize them now into different sub-categories thanks to their Rides Systems

First of all we have the classic Dark Ride

Composed of simple carriages and rails

We have a progression in slow attraction

with lateral G-turns powerful

Then comes chronologically the Water Dark Rides

Consisting of a moving watercourse and boats

The first real Water Dark Ride is by the way it's a small world

Presented at the 1964 World's Fair in New York

In partnership with the UN

These Dark Rides can have falls and splash as in Pirates of the Caribbean

We then have the Flying Dark Rides

With Peter Pan Flight as a standard door

We are here in a vehicle guided by a top rail of our head

Giving the impression of flying over the landscape

And finally the last Dark Rides is for me the Dark Ride TrackLess

A classic Dark Ride

But having vehicles automatically guided by a computer

Which adds fluidity and magic on the ride

But there are obviously others!

EMV to the Doom Buggy

Going through the interactive dark ride

there is something to diversify!

But what's interesting in the Dark Rides

Is not the Ride System in itself

Because even if it can allow to contextualize an attraction

The Rats-Mobiles of Ratatouille for example,

Its importance is only minimal

No, what matters in this genre of attraction is the narration that

the attraction has and be it Narrated, Environmental or Induced

We will dissect today all that!

Well the question that will follow is evident

But what is storytelling?

Well for the moment no need to go look very far as the narrative

is stupidly the way to us tell a story

And that there are masses but we will not talk about the main

So that the video does not last 50 hours

Personally I categorize the three-part narrative

The narration told,

environmental narrative,

and induced narration

Let's now look together at what these three categories hide

First of all, let's talk a bit about storytelling

This is the most used storytelling format across different media

Whether in a book, when a narrator tells us a story

In a game with dialogues describing the situations

Or in a TV show with the sweet voice of Pierre-Alain de Garrigues

The purpose of this narration is to make understand to the person who is in the story

The ins and outs without having to think

There is just to swallow what we give him

and be guided by the narrative flow of the media

All situations that will happen as a result of this narration

are most often guided

And the user will have surprises that when the narration will have decided to do

This type of narration can be find in the games Lego or

in big RPGs like Skyrim or Divinity 2

Indeed in these games we have a lot of cinematics,

Many dialogues and therefore a narration told

directly to players going through methods that I already mentioned

But how could we reproduce this Narration in an attraction? Tell me,

Well, it's very simple by adding a character who sets up universe

in the queue for example

With Buzz he's talking about a mission to destroy Zurg's threat

Or directly in the attraction as it is the case in Ratatouille

With one or more characters who talks to us continuously about the story

Attention it is true that I just spoke very dry of this type of narration

But it is interesting even if personally I find it long and useless

It can allow a game to stand out

And add flavor to the narrative storyline

However, in my opinion, there is method that far more effective

Environmental storytelling

Good as you guessed the environmental storytelling

is guided by the sets of a media

By the atmosphere around the various protagonists

This narration allows to add phases of reflection and analysis

When the user will discover for the first time a place

In Star Wars for example when we look at the decomposition state of the Millennium Faucon

One wonders the different adventures he has experienced

In Stephen King's Joyland Book

We feel the gloomy atmosphere of the park Haven's Bay

And we wonder what could have really happened in the haunted house

Short in this case the user is really taken to party

To discover for himself what defines universe

Even though the main lines are already drawn

And allow him to have a strong base of reflection

We can find this aspect of discovery and analysis

in The Legend of Zelda: Breath of the Wild

released last year

I already told you about this chain of his great qualities as Open World

But we realize everything along our way in this vast expanse

that past events have really impacted the universe

in which we evolve

most obvious with ruined Hyrule Castle protected by Zelda

through the most discreet LonLon ranch disappeared

All his scenes allow us to easily understand what could have happened

during the last century

It is interesting to note that the narration told of the game is not focused

that on two three important scenes

allowing us to deepen our understanding of the universe by analyzing the scenery around us

We can also draw parallels with the attraction Pirates of the Caribbean

which opened without license in 1967 in Anaheim and in 1992 in France thereafter

In this attraction we are guided by the scenettes,

without knowing the strong storyline of the story

Each detail point allows us to define situations

Why do men seem to be hurrying out of jail?

Surely because of the flooding of the building and the crumbling ceilings

Why is this man drowned in a well?

It must simply be the mayor of the village that pirates are looting

But why does this man sleep with pigs?

Surely because of the rum!

Short I'm sure you understand where I'm coming from!

All these small points of interest allow the visitor to integrate little by little

the narrative plot and the universe of attraction

But do not dwell too much on this attraction we will have the pleasure to talk about it in an upcoming analysis

and let's go right to the last category

The induced narration

For once the name I give it is surely not

one that is used as a rule

What I call induced narration is all that will flow from a universe much more well known than the media that we observe

in general products of this type are derived from a strong license

and known to all

Like big movie blockbusters or literary fiction

In the Star Wars Rebel series, when we first mention the word Dark Vader,

The viewer directly grasped whoever is spoken without even having seen it on the screen

When we talk about Graal in the Kaamelott series of Alexandre Astier

It's easy to understand that this is the ancient relic

described in the novels of knights of the round table

Being in a universe known to the viewer helps develop

the most discrete aspect and so to bring new things into the basic worlds

Like humor in Arthurian novels

Or an alternative adventure in the world of Star Wars

As for video games or this narration is present we can talk about

toy story 2 which takes up the big narrative lines of the film while

adding gameplay sequences adding depth to the universe with

the different mini boss for example

Or the many games of the extended Star Wars universe that have revealed the unknown aspects of strength

While remaining fittings and constant with the guidelines

Of the ten main opus of the saga

Level attractions we can talk here about Disneyland Resort's Opening Dark Rides

Since Snow White, Pinocchio, Alice and Peter Pan

respect this scheme perfectly

We will go from scene to scene without really explaining to us that they are the characters we meet

While telling us briefly the story of the Disney Classic

Thanks to scenery and sequencing

For these attractions, do not have to describe the storyline precisely

Since known to all

deepen the narrative

And so to live an experience very different from that described in the basic support

To resume the example of Snow White

Where in the film is joy and friendship takes a big place

In the attraction the atmosphere is much darker and describes all the misadventures that go

meet the different characters in the story

allowing visitors to take note of the dark dimension of the story of the country's most beautiful woman

It's the same for the Pinocchio attraction that transports us

in the fairground universe setting aside all internal debates of the character

wishing to become a real little boy

As for Alice present only in Anaheim

We will discover the whole universe of madness

and for Peter Pan highlight the Adventure

Of course, the world of narration is not as closed as what I just explained to you

but I think that may allow you to more easily dissociate

different works that are you proposed it is sure that there is only

very few productions that use only one of his narrative methods

the goal being to use them all with one good balance to make the exhibition

of the most interactive universe possible and make sure that this does not

do not become boring to sleep or spam button A

in the game dialogues

Anyway I think I have exposed everything for me

takes on importance in the Narration of a game, book or attraction

but I just lift it it's a personal interpretation and

I invite you to tell me in comment what you think of the different

storytelling categories I hope that this video talking a little bit more

theory of attraction you liked

It was Ballaw and do not forget that

You Can Fly

We Can Fly