Hello!
Here's the behind-the-scenes video for
"Seven Sticks of Dynamite",
an animated short that I've created.
You'll have to excuse me for so obviously
glancing at the script right behind the smartphone
here, because, unlike my previous videos I
don't want to keep on doing the thing where
I record 50 takes over and over for each sentence,
because I keep wanting to talk too fast, and
sometimes I trip over my own words,
and all that.
And, y'know, whatever, imperfection is a part
of life, let's just embrace it and roll with
the flow and all that.
Anyway!
So, a few months ago, I got to work with Red
Bull Records after Valve referred them to me—
which was a very nice surprise to find out about!
They wanted me to re-create something in the
Dota 2 universe: the latest music video of
the label's biggest band, which is AWOLNATION's
"Seven Sticks of Dynamite".
RBR was like "hey, Valve, can you make a cool
SFM music video for our upcoming music pack",
Valve was like "hmm, we can't do it, but ask
this guy", and, turned out, "this guy"...
was me!
And, man, just...
I know it's gonna sound silly to put it that
way, but like, I never expected to get that much...
professional validation?
All at once.
When I found out about that, it just made
my entire goddamn month.
My year, even.
It just means a lot, y'know,
as you might imagine.
And, thank you to whoever, out there,
just, thought my stuff was good enough
to be worthy of a referral.
And I really truly deeply appreciate it.
It's just very nice.
Thank you.
Anyway, uh,
This is not the breakdown video
for my TI7 film, I know.
Mostly because I would consider this one to
be more interesting, and it's easier to talk
about making Seven Sticks of Dynamite, because
it's a lot more fresh in my mind.
I'm not going to make this an hour long this time,
because, unlike my previous behind-the-scenes
stuff, I'm going to be focusing on the specifics
of the project, instead of touching on broader
notions and basic SFM concepts again.
For that reason, if you're looking for something
that serves more as an introduction to the
Dota 2 version of the Source Filmmaker,
I would suggest watching "King of Pain"
and its breakdown video.
"Enigma's Exasperation" also works,
but it's a lot older, and more outdated,
and it has a lot of overlap
with the "King of Pain" one anyway.
I've stared at the words I'm saying for a
while, not sure where to begin the breakdown
and in which order to proceed... so I figure
I'm going to do something a bit different
this time: I'm gonna go ahead and show the
side-by-side comparison, and while that's happening,
I'll try to mention all subjects and issues
that this video will cover.
And since I'll be talking over the side-by-side,
you'll be able to find it again, without commentary,
at the very end of this video.
Red Bull Records wanted for the music video
to be "recreated".
The details on how do that were all up to
me, and I had lots of creative control.
That said, going for a "shot-by-shot" remake
was the easiest and most sensible path.
I've said it before: coming up with ideas
is very easy, but coming up with *great* ideas,
the ones you want to keep,
that's the tough part.
To put it another way, executing on ideas
is a lot of work, but it's often not as hard
as knowing what you need to do
in the first place.
It was tough enough to come up with ideas
for the past three TI Short Film contests
and that was just for 60 to 90 second runtimes...
and here, I was looking at 210 seconds.
I wasn't going to reinvent
a perfectly fine-looking wheel.
Mind you, this is not the full music video;
Red Bull Records made me a version that's
shorter than the original by about a minute
to make the recreation easier,
and speed things up a bit.
There's lots of environment art.
The share of bespoke content made specifically
for my videos keeps growing!
The entire bar is close to being 100% custom,
and was created by Shaylyn Hamm
(a.k.a. Chemical Alia).
I had to exercise some creative liberty to
some shots to get around the lack of resources,
or to get away from technical constraints.
I could've had a mirror here, but the process
would've been so elaborate that every shot
that shows the mirror would have suddenly
become three times as hard to make.
Not worth it.
Lighting was pretty tricky again, there needed
to be something very diffuse, warm, smooth,
coming from the exterior,
as well as overhead lanterns.
All of that mixing in LDR space, and manually
faking global illumination.
There are lots of light sources, and a lot
of exploitation of shadowless ones.
I also had to extensively upgrade and customize
characters; the majority of them have modified
materials with reimported customized textures
that have 16x the pixel count.
I also had to create custom eyes so that the
characters could look directly into the camera.
I used motion capture very extensively, because
there's no way I'd be able to animate up to
13 characters at a time otherwise.
The SFM was a great fit for this kind of use,
thanks to its motion editing tools.
All the facial animation was
entirely hand-keyed, however.
In a few seconds, there are another couple
of shots where I diverged heavily from the
original... the long-beard guy is a cameo;
his name is Rick Rubin,
and he's a big music producer.
It didn't make sense to keep a shot of what
is essentially a random outsider, so I replaced
this one by a couple of shots that highlight
the rivalry a bit more.
This shot right here is probably the best
facial animation of the entire video,
I'm really proud of how it came out.
And right after this one, I couldn't make
Bristleback cross his fingers like Dr. Woo,
the main tough guy... because he doesn't have
any... they're just stumps.
I've seen a few comments compare Beastmaster's
appearance to Kratos, because I made him bald
to match the real-life actor...
I had never paid any attention to the God
of War series at the time, but now that I've
played the latest one (which I really loved),
I definitely see where they're coming from!
I just noticed that I reversed the focus order
in this one.
I think mine makes more sense anyway.
And right there, with the table slam, this
is one of the few instances where animation
has a bit of an advantage over real life.
Because I could make everything on the counter
jump up with the shock of the impact.
The standoff scenes revealed that the bar
was not only a bit too small compared to the
real world, but at the same time, I needed
to fit bigger characters in the same space...
there's a lot of "cheating" involved.
Lone Druid doesn't play an electric guitar
for a few reasons: 1) it's tricky to animate,
2) it doesn't really fit a fantasy universe,
we'd have to design something entirely new,
3) running away from an impending fight fits
his role narratively and also what he tends
to do in-game anyway.
The second cameo is here:
the leather jacket guy is Duff McKagan,
the former bassist of Guns N' Roses.
I make Lina do the punch-out in his place,
because it's interesting to see her not do
something through burning everything for once.
There are two swapped shots coming up: Bristleback
looking down and Tusk looking up, which is
the opposite in the original.
This is so that I can have easier continuity
in the "getting back up" action, which needs
to take longer to bridge the continuity "error"
of the cut-down music video.
Animating 20 people fighting in the background
was just too much for me; I raised the camera
so that Tusk would look up at it, and I only
have "hints" of people back there,
flashes of ults, Rylai falling over...
and it works reasonably well.
You know, in hindsight, this comparison is
really not flattering!
Though I reckon it's because when I look at it,
I see everything I would have loved to
polish, make better, recreate more faithfully,
but was unable to.
But...
that's definitely a glass-half-empty
way to look at it.
Anyway, let's get started with... characters.
While Red Bull Records left me with a lot
of creative control, one thing which we agreed
on very fast was that the two sets of characters
should be well-defined and opposed.
For the the band & their friends, the so-called
"Runts", I picked heroes that are less bulky,
less threatening in their design, with primarily
cold colors, and mostly supports.
On the other hand, the "bad guys" are mostly
orange/red, with an imposing stature, and
kind of the typical "1v5 teamfight hero".
I also wasn't asked to tie it in with the
Bristleback vs. Tusk lore story thing... but
when RBR first came to me to explain the project,
my mind immediately jumped as to how to integrate
the video into the Dota 2 universe
as much as possible.
Given that the game's world stays mostly in
the background of Valve's own creative output,
that's an aspect which I believe is something
we, the community, generally "crave", and
want to see more of...
and we soon will thanks to Artefact.
Right now, outside of a few dialogue lines
every so often in the game,
there's not much to go on.
That's also why I believe it's pointless to
animate super sick teamfights; there would
be little point in doing that when any fight
that you would see in a tournament, or performed
by yourself in a match, will always be more
exciting than 99% of what a video can convey.
In my opinion, it's a lot more interesting
for Dota 2 animations to explore what you
*don't* see in the game while playing; that
is to say, how characters interact with each
other outside of hitting each other with spells
and other gameplay mechanics.
Armed with the color and silhouette guidelines
that I set upon myself,
these are the heroes I chose.
The two guys with a hat are band members.
I considered a few other choices that might
have seemed more obvious, such as the use
of Brewmaster for the Bartender, but not only
did Lone Druid have a much nicer face,
his beard was also a perfect match.
General body proportions also mattered a lot;
applying motion capture is a lot easier
when the characters are close enough
to real-life people.
There are a lot of close-ups in the video.
And, unfortunately, for the most part, Dota's
character models don't really hold up
to that kind of visual scrutiny.
Upgrades needed to be made!
While the Source 2 tools streamline a lot
of the content processes, and make a lot more
things more accessible, they do so at the
cost of some flexibility.
They make a lot more assumptions about who
is using the tools and in which context / environment.
I've mentioned before that it's not possible
to edit base content.
However, I've discovered it is possible
to override it instead!
This is what Valve did with Siltbreaker: some
of the enemies were material edits
of existing heroes, such as Ogre Magi and Lycan.
And it works just like in Source 1.
If you have a certain file in the base content,
it will be overriden if you have a file with
the same name and path in the addon.
This is also how game mounting works
in SFM1 and Garry's Mod.
There are quite a few source files that make up
a hero, and we don't have access to most of them.
We need the VMDL, the VMAT, every single image
referred to by the VMAT (diffuse, normal map,
shader masks, ramps...), all of the animations,
the Lua scripts used by Valve to do fancy
processing on those animations, and most importantly
the model file itself, complete with all of
its metadata, some of which is required to
get facial animation going.
But we only have this.
That is however enough to easily override materials.
The workshop sources also happen to have the
textures in up to 4x the in-game resolution:
they are, for the most part,
2048x2048 instead of 512x512.
I'll demonstrate with Jakiro.
I've downloaded his... or... is it theirs?
His or their package from the
dota2.com/workshop website.
I batch-converted all the TGAs to PNGs for
the sake of compression and also to have thumbnails
display in the file explorer.
You can use XnConvert to do this if you'd like.
There are a few files in here that
I can straight up delete,
either because they're empty or useless.
The root folder contains the textures for
the slots, while the base folder will have
everything that pertains to the base model,
which is usually what interests us, with the
exception of a few heroes where the head is
separate from the base.
The files in the package don't strictly follow
Valve's own naming convention, which is required
for the material editor to
"autocomplete" the shader masks,
so you can fix that too if you want.
It's not the case for Jakiro, but some of
them are also sometimes flipped upside-down!
Watch out for that.
Anyway, I'm gonna copy the files over to my
addon, under materials/models/heroes/jakiro.
Now I'll open the tools and look for "jakiro vmat".
The first one is what interests us.
Unlike most materials that come with the game,
we can actually edit this one, because we
have the editable source version, the VMAT,
the one that lives under "content", and not
just its compiled version, the VMAT_C,
that lives under "game".
Don't start replacing the paths to the textures
just yet, however; as it is right now, the
VMAT is still considered to be under "dota",
the base folder, and therefore this resource
can't access our folder, which will override it.
We need to save a copy of it first; the tools
should give you the correct path,
but make sure to double-check.
After you've done this, it's your copy that
will be loaded, but it will technically be
overriden by the base content; that's what
the message up there means.
That's because it's invalid right now; we
haven't fixed the material yet, so it can't
compile, be loaded from the "game" directories,
and override the base folder version.
All we have to do is replace the paths to
the textures, which are currently pointing
to where Valve artists
stored their original working files,
and make them use our new textures instead.
You might run again into the dialog box that
tells you that your VMAT is in the wrong mod,
but just save it at the same place as before;
it should still be pointing you
to the proper path, in your mod.
See how much difference that makes?
We are quadrupling the resolution of all textures
involved in the rendering of Jakiro!
And of course, you can do whatever you want
to those textures, and editing material properties,
especially specular, is very useful to get
characters looking nicer under SFM spotlights.
You can actually go one step beyond
by disabling DXT compression.
It's responsible for some of the blockiness,
especially in normal maps.
It can be found in the options
under each texture path.
Tick the box "No Compress Hint" and you're set.
However, mind that this increases the file size
and memory usage of a texture significantly.
One way to help a bit with this
is to tick "No Mips",
which removes mipmaps from the texture.
It's no big deal to do this for movie assets.
The mipmap and compression settings are shared
across the Mask 1 and Mask 2 categories so
you don't have to tick all boxes for both
sets of four shader masks, just one in each.
You can also replace the slots if you'd like,
but, unless I'm mistaken,
we don't have the VMATs for those.
However, the material properties for slots
are derived from the base material (something
that theorically saves on draw calls) so you
could just re-use the base material, and swap
out the textures for the ones from the slot,
and then save the VMAT under the appropriate
name (in this case, jakiro_wings.vmat)
So yeah, higher-resolution materials are pretty nice.
Now, we can edit all the texture files we
want and make things a bit nicer.
I did a whole bunch of editing
to bring out the details in Tusk's fur,
and get it to blow out a lot less.
But it's not the only thing that can be done now.
We can alphatest whatever we want to effectively
remove parts of the model without editing
the base mesh itself!
(which, remember, we can't)
And if I alphatest the eyes out...
I can put brand new ones in.
I don't have to awkwardly try the thing from
the King of Pain video, which was taking the
existing eye geometry, duplicating it on top,
and then attempting to rig that one by making
a best guess at the location of each eye bone.
With spheres, the center will be the pivot
of the eye (with very rare exceptions).
It's so much more straightforward and easy.
I also don't have to worry about clipping
with the existing mesh, or at least not as
much, since the eyelids might be susceptible
to clipping sometimes.
At first, I was just re-using the existing
material for the eyes,
clamping the UVs to the available region.
I thought it was a smart efficient thing to do.
Turns out it's not: there's often a lot of
weird stuff at the edges of the eye in the
hero's shader masks, and the normal map,
so it's better to have a different material.
Clamping the UVs is tedious to do and looks
bad, so it's better to just make my own texture,
and it's a lot more convenient to have the eyes
segregated away from the base material anyway.
Sometimes you might think you're being smart,
but you're just really playing yourself.
I also gave Bristleback his right eye back,
and removed his scar.
I figured that this specific bar fight is
just one of the many leading up to the big one
in Wolfsden Tavern, and that's probably
the one that gave him those wounds.
Material overrides might not seem that significant,
but they open the door to an interesting possibility:
instead of alphatesting the eyes out, I could
also alphatest the entire body out,
leaving only the head.
Then I could fix the rigging on the body,
make the model nicer, etc. and then apply
the opposite of that alphatest mask to the
new body, removing its head.
All of that without losing the original facial
setup.
One thing that made a big difference was making
the tusks of Tusk smaller.
They're really quite big otherwise... they
definitely were getting in the way.
Another thing that will go unnoticed, and
it should, because that's the point: I had
to cap off Lone Druid's base model because
those spots are usually covered by clothing,
but his base without any armor pieces looks
very similar to his real-life counterpart.
It should come as no surprise that animation is
one of the most
time-consuming disciplines out there.
In front of me, I had the challenge of animating
many characters over a 3mn30 video,
most of that runtime having
a lot of them on screen at once.
The great thing about SFM is that it is built,
by design, to edit existing animation data.
You can change hierarchies, apply and remove
IK rigs, do a lot of freaky things,
all without harming the animation.
It's what the entire Motion Editor mode (which
I prefer calling the "F3 mode") is about.
I would say it's really flexible in that regard,
and one of its most useful parts is being
able to re-time animation data as easily as
your hand can re-shape clay; you can select
ranges, with smooth falloffs, then nudge stuff
forwards and backwards...
And you have all the filters, for smoothing,
procedural staggering and noise. In the parts
where everybody is bobbing their heads to
the rhythm of the song, this feature was a
life-saver, especially since, while acting
each character in my mocap suit, I intentionally
tried to go a bit out of rhythm to induce
natural stagger among all characters,
for a natural feeling...
and I ended up overdoing it...
but thankfully adjusting the timing was a breeze!
I used a Perception Neuron mocap suit,
and acted out most of the mocap myself.
I also used "stock" clips from Adobe Mixamo,
especially for the fight scenes.
While it has suffered the many ills of acquired
start-ups and has had many really useful features
removed, Mixamo is still great here for one
reason: it can export straight to FBX.
Upload the hero base model, pick the animation,
tweak the parameters, download it,
and you can import it right away in SFM.
A few heroes required me to edit their skeleton,
and cut away everything that wasn't a limb
(clothing bones, etc.) otherwise the service
was unable to make heads or tails of it.
Outside of Mixamo, though, the process is
a bit more involved.
First, if I don't have one already, I have to make
a CAT rig (Character Animation Toolkit) for the hero.
Thankfully, this process is streamlined thanks
to my friend Ricky van den Waardenburg,
who wrote a bunch of
awesome MaxScript code for me.
He made a smart aligner, which snaps object
A to object B while ignoring which axis is which,
using the closest 90 degree angle instead,
so that you can easily align bones and rig
objects regardless of their axis orders
and local orientations.
His most useful tool auto-generates all the
constraints between the bones and the
rig objects, which saves me a few hundred 
fastidious clicks... and that helps you
keep your sanity intact, believe me.
This enabled me to make a CAT rig
for almost everyone a lot faster.
Now, after the rig is done, I have to import
my BIP file on it...
but to do that, I first have to import
my motion capture on a good old Biped.
It also provides a few useful filtering options
that help overcome the Perception Neuron suit's
tendency to have a spike on each step taken.
I could, in theory, import a BVH file right
onto my CAT rig, but unlike BIP, they aren't
as standardized and can vary a lot in structure,
scale, etc. to a point that going through
Biped as a "purification" process is
by far the most sensible option.
Once that's done, I can export a proper BIP
file, and then import that on my CAT rig.
After that, I tweak the animation, animate
over it, etc. until I'm happy with the results,
then I export as FBX and import that into SFM.
There's a lot of steps to all this, it's true,
but once you're used to it,
it's relatively straightforward.
The only really annoying bit is importing
the animation on the eyes.
SFM doesn't allow animation to be imported
if there's a control rig present,
or constraints in place.
So every time, I have to unlink the eyes,
import the animation on both the base model
and the eyes, re-lock the eyes to the base,
then zero-out the difference
between the head bones of the base and the eyes.
Most of the time, however,
I did the eyes right inside SFM,
using its own look-at constraints,
or animating the rotation myself,
and using the workaround trick that
I described in the King of Pain breakdown.
One special case was the last shot, in which
I needed to have Tusk's eyes following a moving
camera, so I couldn't, no pun intended,
eyeball its position in SFM.
I had to transfer the movement.
I figured that I could maybe try to export
the 3ds Max camera object as FBX and importing
that right onto the SFM camera,
but it didn't work.
Instead, I used a weapon bone from Tusk to
carry the data over!
It was a bit jittery because it was at the
end of the chain and it had to counteract
the motions of the right arm, but un-linking
the camera after import and applying
a bit of smoothing did the trick.
Something else to mention while I'm here:
I think consistency matters a lot.
It makes more sense to me to have something
that may be only "decent" the entire time
but doesn't go below that "decent" level,
instead of something that may sometimes hit
very high notes but with lower lows.
It might seem a little off-topic, but this
is actually a very roundabout way for me to
point out that I didn't animate Tusk's beard.
But because I didn't animate it AT ALL, instead
of sometimes animating it very smoothly and
sometimes only doing a half-assed job, you
don't really notice that it's stiff.
You get me?
(It also does help that it doesn't look off
by being unanimated, but yeah.)
And as a last side note, Lone Druid has a
very nice, distinctive face, and it was great
fun to do his facial animation, but I was
disappointed when the time came
to copy it over to his beard...
it made his mouth look kinda weird.
I mentioned earlier that I couldn't replicate
the real-life mirror because it would have
tripled the workload of every shot in which
it would have been.
Let me elaborate on this.
You can sometimes see mirrors in other SFM1
videos that look completely off
because they get the position
of the mirror's camera completely wrong.
It has to be the exact opposite angle and
position, as if the mirror was a symmetry plane.
While that's the correct approach, it wasn't
possible here because it would have required
to cull everything past the wall
on the second render pass,
but SFM can't do arbitrary culling planes like that.
It would have also required me to animate
the camera in 3ds Max for every mirror shot,
in order to be able to export a perfectly
opposite version of it.
A different approach was considered,
the old-school style:
duplicating the entire scene across the mirror.
Unfortunately, that would have also required
to mirror every single character,
and mirroring animations is a tricky endeavour...
even if you don't take into account
that you can't mirror models in SFM.
In the end, I chose it to replace it by a painting,
which references another music video by the band.
If you're an AWOLNATION fan, I'm going to give
you five seconds to try to guess where it's from!
The building was modeled entirely in 3ds Max
by Shaylyn as a single "prop", with a few
parts being broken off into independent models.
Here's a neat thing: you can take a look at
it yourself in real-time 3D,
directly in your browser, thanks to Sketchfab.
Check out the link in the description for that!
As for the surrounding environment,
it's just something I did
by mashing existing assets together.
The houses are from the Dueling Fates main
menu scene that showcased Pangolier
when he was added to the game.
The exterior was based on the eponymous comic,
while the inside is a recreation that tries
to be faithful to the real-life bar,
"The Old Place", in Cornell, CA.
Now onto lighting!
Let's go light by light for a few shots.
I encourage you to look at the list of lights
in the Animation Set Editor,
as I've taken care to label them
in anticipation of this moment.
You might remember the "bottom bounce" thing
from the King of Pain breakdown.
It's more refined now; it turns out it's a
lot more powerful with shadows toggled off
and with the angle set just right. It gives
a lot of depth to the characters and allows
to simulate soft radiosity a lot better.
I started making use of shadowless lights
a lot more in this short, in general.
For the overhead lanterns, I have three lights
facing downwards to cast shadows, and three
more facing upwards, with a gobo, without
shadows, to light up the ceiling a bit.
You can see here how a shadowless light
from behind and to the side
makes a huge difference on Lone Druid.
It helps that his face is very well made, with
a lot of nice edges to catch the light just right.
Combined with the global specular highlight
from the other side of the face, the result almost
looks like it could be from the Source 1 SFM!
The volumetric light beaming in from the window
is tweaked on a shot-by-shot basis
to keep the "density" consistent.
It was usually done just by shifting it a
bit left or right,
and making the falloff a bit longer or shorter.
Here, the "bottom bounce" tries to make it
look like the sunlight that hits the table
is reflecting back onto Tusk's face.
It's rough but, even if it doesn't read as
such, it's nice added shading regardless,
I think.
The shots of Bristleback and his gang make
use of a lot of lights to get a nice rimlight
going on everyone involved.
Here, I have a global "bottom bounce" light,
and another one to light up Troll Warlord's
face specifically, when he gets closer to
the countertop.
Unfortunately, his quills are low poly enough
that they can't catch the light
on their edges very nicely.
I think if I had more time, I would have definitely
reworked and remodelled them.
One thing that I liked a lot about him being
there was that the volumetric light from the
window framed him in an interesting way, and
his quills helped add a bit of detail
to the volumetric shadows.
This one shot uses only three lights, and
shows again how powerful the technique of
a shadowless light from behind is.
It really gives the impression of light bouncing
back up from the ground.
And here, you can get a clearer look at
how each of the three lanterns
lights up different characters.
Finally, outside, I re-use most of the tricks
from indoors, but I also have to light up
a lot of the vegetation myself (again, with
shadowless lights),
so that the directionality
of the sunlight can be read.
Speaking of which, it is supplemented by a
huge volumetric with a gobo,
and the fog plays into it:
I set it to be somewhat blueish to
cancel out the warmth of the volumetric,
and the way it blends together helps out in the
color grading phase to bring out the beams
a bit in interesting ways.
And that's it for this video!
I hope you enjoyed it and found it insightful,
even if you didn't like the short itself.
If you have any questions about stuff that
I did or did not talk about in this video,
feel free to get in touch, whether it's by
e-mail, tweets, or YouTube comments.
Although, YouTube comments are probably the
better way to go on about it, because, if
you have a question and you ask it down here,
it's a lot easier for people that have the
same question to find it.
So yeah.
Actually, please do use YouTube comments.
And, um,
y'know, you might be wondering,
what's next for me?
Hopefully, the TI7 breakdown video...
I'm gonna try to be a bit less slow
about that one.
But, of course, there's gonna be the TI8 Short
Film Contest, assuming there's another one
this year, and assuming they don't ban me
from entering because three is too much already...
uh, but yeah.
I do have quite a few interesting ideas, loose
threads floating around in my head right now,
and, I wanna try to do something
a bit different this time,
and hopefully I succeed, and that'll be nice!
I guess I feel like I have to enter this time—
I mean, I have less pressure
about entering now, because last year it was
number three, y'know, oh, "Valve can't count
to three", "Max, make them count to three",
also "three is the hat trick so you have to win!",
y'know, so it was a lot of pressure.
But this time, eh!
Four isn't a special number
so I don't feel the pressure,
it's fine.
To cut things short, yeah, I'm gonna try to
do something nice and interesting.
Although I do wish they gave me
more than 90 seconds!
Y'know, I can't remember if I've said this,
but they actually extended to 90 seconds
after I asked them to.
I sent them this big e-mail of feedback,
and they didn't listen to much of it, but the
90 seconds thing, they did listen to it!
But I feel like now I should've asked
for two minutes.
Then again it's probably gonna be the same
for everything I do.
If I did get two minutes, I would feel like
I had to ask for three.
But anyway, you get the idea!
That's enough for now,
and thanks for watching!
