Denver’s elevation is 5,280 feet above sea level (aka the Mile High City). Miami’s elevation is roughly 6 feet above sea level. This beats out the previous largest elevation difference in 3,668 feet between the elevations of Chicago (597 feet) and Salt Lake City (4,265 feet) in the 1997 and 1998 Finals

TL;DR: Intense gameplay cures my burnout and there isn't enough of it.
I know Archon Hunts/bullet sponge bosses may not be everyone's cup of tea so this is me putting my desire out there knowing that
My friends and I got back into this game for the first time in years when Duviri launched. We came back for all the major story updates in the past as well but never stuck around for more than a couple of days. This time we did stick around and we got back into the classic Warframe grind. It has been good.
Steel Path is what truly hooked us back in. It is SO good to see how the Steel Path has been expanded.
The difference between Steel Path and regular missions is night and freaking day at this point. Without Steel Path the game is extremely boring for us. While I am asking for more content like Archon Hunts, I'm mostly just asking for more hard content that gets us sweating a bit.
The weekly Archon Hunt is the absolute highlight of the week for me, and I'm sad once it's over. Since the first Archon Hunt I did a few weeks ago I've optimized my weapons and some frames and now the bosses aren't so spongey, but they still feel like decent bosses that are fun to fight, that I can unload my guns into for more than 5 seconds and feel the power of my weapons. The missions at least feel somewhat intense... and I crave that intense feeling in this game. It makes me question my gear and feel grateful for what I've acquired and what I've learned.
That intensity momentarily cures my burnout.
It's becoming hard again to go back to the regular mission formula. Even Steel Path has become easy-ish now, unless we stay in a mission for over an hour which is rare for us. Burnout is showing it's ugly face again... But one thing I know for sure is that I feel ZERO burnout or fatigue when the Archon Hunt is the thing that we're about to do, and when it's over I sit there and I think MAN, I want to do more of that

I’ve had 3 different electricians totaling 11 hours diagnosing the issue and none of them have any answers.
I have 2 closets and 1 bathroom, on the same breaker, with non functioning overhead lights and exhaust fans, but the outlets work. The 2 closets are off the main bath and everything in the main bath functions fine. All the overhead lights are the LED puck style lights if that matters.
The attic appears to be tied to the same breaker as the lights are also dead, never checked which breaker as there is no “attic” breaker. I also have 2 dead outlets in the hallway between the affected rooms, but the overhead lights work. No separate breaker for the hallway.
Any ideas? I have basic electrical knowledge and training, but this is way beyond me.

Let's just say, hypothetically, but I only have enough money to buy one of these games. Which is more worth my time? They seem very similar although one you're moving a squad of people and the other you are moving individual people. Other than that, I know very little of the differences between those two games. Is there any customization? Any procedural elements? Can I play as tyranids in either game? Which one would you say is the most replayable? Sorry for the Myriad of questions, I just simply don't know a whole lot about this games. I guess the reviews I watched didn't go too far into detail. Thank you in advance for all of the help.

When I think about it, I could've achieved much more in life if I spent less time thinkin about it. All the time I spent self-pitying and comparing myself to others made it difficult to maintain any motivation. Be that as it may, I'm still in a much better position now than a few years ago. I need to clear my head of all these pointless, harmful thoughts. There are plenty of people better off, just as there are people doing worse and more-or-less in my position. I gotta just focus on myself.
When I was 20, I was penniless and depressed, with a bone-dry resume and a dwindling will to live. At 25 turning 26, I'm still depressed but with some income, good credit and mostly useless IT experience. It sucks that I'm losing my health insurance soon, especially since that means I'll have to pay for therapy outta pocket, but that's on me. I've had years to find a stable job and got a chance last summer, just to get myself fired early this year. A couple days ago I found a gray strand of hair on my head. Well, we can't be young forever. I'll try makin the most outta my last few free therapy sessions; I'd probably have wound up on the streets without that guy.
I did finally get back into learning coding. I'm probably not gonna land a job anywhere with it (at least not anytime soon), but the course material is free and it's a good skill to have. If I push myself hard and luck out, I might be able to move out within a year. Being realistic, probably my late 20s to 30. Man, I'm deathly afraid of waking up one day 5 years from now, wondering what I've been doing with my life.
My social life, like my life overall, is better than before but still not ideal. Over the past year or so, I've grown closer to my older sisters and was accepted into the circle of one of my childhood friends. I've actually been making an effort to put myself out there. Being around people is still pretty nerve-racking for me though, since I'd get reminders of just how abnormal I am. When it comes to finding the "right" thing to say, it can feel like trying to form a sentence with a spoon and a bowl of alphabet soup.
I've had the interest of some women, but I wind up pushing them away unintentionally. To be honest, even after all my progress, I ain't even confident that I'd be a good boyfriend. I'm moody and financially unstable, with a future about as clear as astigmatism. Honestly, in the dating scene, I'm a handful of years away from a game over, so if I weren't afraid of dying alone, I probably woulda hit Alt+F4 by now. Well, keeping up with my self-care routines bought me some time, so I won't quit just yet.
Sometimes, I feel like my behavior sets off something like the uncanny valley effect in my peers. I usually don't do or say anything that sticks out tremendously (At least not to my knowledge), but there are just enough idiosyncrasies to let neurotypical people know something's not quite right. The subtleties, the little things that you'd probably overlook in the moment, can be the difference between average and oddball.
I'll try being more positive and worrying about what others have. I have to focus, because my decisions from now on will impact my life more. I ain't got too many mistakes left to make.

Hi! I plan on starting a beat channel on YouTube. I've been doing a bit of research on YouTube and I have a few questions about making money off my beats.
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1. At what price should I start selling my beats? Or should I start by making them free and gradually increase the price afterwards?
2. What's the difference between "FREE FOR PROFIT", "FREE FOR NON-PROFIT" etc. Need help with the tags.
3. How do I set up payment methods so that I can start making money off of my beats?

​
Any tips would be greatly appreciated! I'm new to this so I need all the info I can get.

​
#playstation3 #rpg #magic --
Skylanders Swap Force for Sony PlayStation 3. In this game, you can swap between your favorite Skylanders to create a different play style. Collect and combine the different Skylanders to build a unique team in this brand-new adventure. You may have to swap between your different characters as you complete levels to find hidden gems. Use wonderful powers to take down bad enemies. Please note additional Skylanders figures and portal are required to use extra characters and certain features in-game which is not included. It's time to bring the magic of Skylands to your home! --
Hey check out similar videos here: https://www.youtube.com/watch?v=05uKspxQ89s&list=PLVduyMnVQjzNYPljUBqwgAXdMPQ9CEKWY

Title explains it all. Been using Linux for years for work and fun, run a number of personal servers and do a lot of management of distros at work, familiar with custom compiling kernels and drivers, WSL kernels, etc. Been wanting to root an android device for ages to get a feel for it, before doing it on a daily driver flagship I can't afford downtime on. Bought a pretty much brand new Oneplus Nord N10 5G today to test it out, and just kinda playing around at this point. Doubt I'll ever stick a SIM in it honestly but will add it into my automation workflows. Was wanting to actually run a distro with a more mainline kernel like postmarketos, arch ARM, or similar, but figured I at least want to get a feel for rooted vanilla android first...and hardware support is worse than I would have expected lol.
One of the first things I noticed on setting up termux and running htop was "youtube music" running 2 full cores at nearly 100%...and I never even opened the app or logged into google in the first place much less, lmao. Reminds me why I got so into Linux in the first place.
In that same vein, any general comments on things to check out, tips for rooted android, recommended apps, features of existing apps that you can only do as root, differences between android and mainline Linux kernel/non-foss portions of android, repos to use in termux for some degree of compatibility with mainline packages, etc.?
Hoping to start a decent technical discussion; I feel like it's hard to find nearly as much info that isn't just like...cookbook style guides when compared to the mainline Linux community.

If you are in a game and you disconnect even if it's not something you decided to do the matchmaking lock still applies and I can't play for 6 hours because I disconnected even though it wasn't my decision

Motivation — A Close Reading of Tea Time

"I'm six feet from the edge and I'm thinking: maybe six feet ain't so far down?"
Nimander Golit
Chapter V of Weathered
2002 BS
Click Here for the Introduction to the essay series.

Prelude to the Close Reading

Why, hello there, again. It’s been a few weeks but I promise that this endeavor is still moving forward. For those that don’t know, this essay is a part of a collection I’ll be putting together which investigates the Eleint, their blood, and sorcery within the Malazan shared secondary universe. We’re still laying down our foundations, and today we’ll be covering a sequence of scenes in Chapter 8 of Toll the Hounds.
My intentions were to cover all of the scenes in a single post, but that has proven itself to be difficult. As such, I’ll cover the first scene in this sequence in this post. There’ll be one or two follow-up posts.
There are ten scenes that are in this sequence:

1. Nimander 1
2. Desra 1
3. Desra 2
4. Skintick 1
5. Desra 3
6. Nimander 2
7. Desra 4
8. Kedeviss 1
9. Nimander 3
10. Kedeviss 2

I’ll be approaching these scenes (including the one discussed today) through a few lenses.

A ringing of bells.

In his musings on writing, Erikson discusses the notion of a bell. I’ll let him speak for himself.
In the scenes we’ll be looking at, some of the bells that I believe are used are (and not all of these are represented in this first particular scene):

• Past versus present — ancestors/parents vs. living/children
• How others see us, and how we see others
• The word ‘beast’ and its many meanings
• The words ‘child/children’ and their many meanings
• The relationships between gods and mortals
• Portals/thresholds

Existentialism.

Particularly the genealogy of continental philosophy that led to Sartre’s existentialism and the shared/adapted/bifurcated philosophies of his contemporaries (such as de Beauvoir, Camus, and Merleau-Ponty). This wasn’t my initial intention when I decided to use this sequence of scenes as a launch pad into my collection of essays. However, the beauty of close-reading is that you go into a text with a hypothesis seeking evidence and support, and then end up with new insights.
Some of the concepts that will be brought up are:

• Anxiety
• Facticity and transcendence; Authenticity and bad faith
• The Look/Gaze and being-for-others
• The Absurd and Revolution
• Perception

Genre conventions as grammar.

Particularly, we’ll look at Erikson’s use of genre conventions from the likes of Gothic literature and Weird Fiction — namely the Sublime, cosmic horror, and the Weird — as the subtle language used to convey tension that is congruent with some of the other subtexts. If these grammars are subverted, we’ll try to point that out too.
We will later delve more into Malazan’s literary genealogy in other essays, but I want this lens to be present during the reading to see how Erikson aligns or subverts these genre conventions.
We’ll be using Professor Michael Moir’s YouTube lectures on Weird Fiction as reference.

What the fuck is happening?

This is a question about plot that I will answer at the end of all of the scenes, but keep it in mind as we go through. It has less to do with existentialism and Gothic literature and more on what Gothos was trying to do during these scenes.

Pre-TtH Context

We first meet Nimander and his siblings (unnamed) in House of Chains on Drift Avalii. By Bonehunters, they had left Drift Avalii and ended up at Malaz City, where they then joined Tavore Paran’s fleet while fleeing Malaz City. In Reaper’s Gale, we find the siblings had been ‘adopted’ by Sandalath while they traveled to Lether with the Malazans. Phaed wanted to kill Sandalath. Nimander stopped Phaed from killing Sandalath. Withal (Sandalath’s husband) throws Phaed out a window. The murder is taken as a suicide. The siblings intern Phaed and then meet Clip, who offers to lead them to Anomander in Black Coral via Kurald Galain.
This gets us to Toll the Hounds, where Nimander is being haunted by Phaed. They’ve left Kurald Galain and are now on Genabackis (but not yet to Black Coral). Nimander fears the future meeting his father and the rest of the Tiste Andii. The siblings and Clip ‘stumble’ on Morsko, where Clip is curious about its cult of the Dying God. A ritual takes place there. Nimander and Skintick are nearly enthralled, but are saved by Aranatha (and thus Mother Dark herself). The group then find Clip, who is in a coma. They collect him, and set off in a wagon to follow the Dying God’s priests to Bastion. Along that journey, the siblings stumble upon the High King, Kallor, who reluctantly chooses to not kill them and instead travels with them.
The sequence of scenes in Chapter 8 that we’ll be discussing follows some time after Kallor joins the siblings.
Now that the administrative stuff is out of the way, let’s dive into the first scene.

Nimander 1

Rum-induced memories.

We start this sequence thrust into Nimander’s introspection on ‘rage’ as a breaking of a vessel, impossible to fix. He recalls Deadsmell’s musings that ‘rage in battle’ was a gift while the two drank rum. Rum that awakened memories once ignored by Nimander.
(Note: in Scene 2, we’ll see Desra’s view of Nimander, and we’ll see that Nimander’s ruminations on rage here are what inform Desra’s view of him, and not in the way that Nimander’s doubt imagines.)
In the previous post, we discussed memories and their decay. So much of this series and the lore surrounding it is driven by the memories of ancient beings. Nimander is younger with respect to ancient beings (but ancient nonetheless), and even he struggles with his memories. Perhaps this is a result of the traumas he’s experienced with respect to his being in diaspora and perceived abandonment by his father (a symmetry itself with Rake’s — and the Tiste Andii as a whole — relationship with Mother Dark).
He recalls the rum lighting “a fire in [his] brain, casting red light on a host of memories gathered ghostly round the unwelcoming heart.” He reminisces on the time after Kurald Galain (but before Drift Avalii) and his father’s emotional indifference. He recalls the pranks him and his kin would pull on Endest Silann; the arrival of Andarist and his arguments with Anomander. It is unclear what the arguments were — if you’ve read Forge of Darkness, you might be able to infer what’s likely, but I’m curious if the argument is Andarist asking to take the siblings and Anomander refusing, or Anomander asking Andarist to take the children and Andarist was reluctant? Was the argument about Anomander thrusting the Hust blade, T’an Aros/K’orladis (i.e., Vengeance / Grief), onto Andarist or did Andarist already possess the blade? We don’t know exactly to my knowledge, but it’s fun to speculate.
Regardless, Nimander recalls, like a certain inscribed hearthstone, there was peace. Andarist was to take them all through a threshold, a portal elsewhere (as mentioned, portals end up being a rung bell, so pay attention). Nimander remembers Endest’s weeping as the children were pulled through a “portalway into an unknown, mysterious new world where anything was possible.”
Andarist raised the Tiste Andii children on that portal’s other side, on Drift Avalii. We know (or can infer) that this was a task to protect the Throne of Shadow, but Nimander and his kin didn’t understand this as children. But Andarist led them with his pragmatism, he ensured they learned how the world was. With our knowledge of Kharkanas, this is so powerful. We know Anomander’s hubris was abused as a motivating factor for Hunn Raal’s despicable acts. We know that Andarist likely lacks children of his own in response to this, and so his taking on guardianship over the children of his brother — that very same brother that rejected Andarist’s grief in favour of vengeance (and materialised in the T’an Aros/K’orladis dichotomy) — is a stark, challenging, and ultimately selfless decision.
But this pragmatism created child soldiers. The collision of reality’s necessity to survive and carry out the duty of protecting the Throne of Shadow came at the expense of what little remaining childhood innocence Rake’s brood still had (even as a people on the run, exiled from their home due to a sociopolitical schism). Andarist became a stern teacher, juxtaposed to the echoes of Endest’s gentleness. “The games ended. The world turned suddenly serious.” Nonetheless, the Tiste Andii siblings grew to love Andarist.
Nimander continues his introspection:

See a bored child with a stick — and see how every beast nearby flees, understanding well what is now possible and, indeed, probable.

This reminds me of a general rule of advice: ‘never fuck around when a child has gun.’ Tiste Andii or not, children can be cruel especially when mixed with unknown doses of trauma and violence. Regardless, I want to call attention here that this notion of children and beasts are each bells rung. To Nimander, Andarist “unleash[ed] them, these children with avid eyes.” He “had made them good soldiers,” ones that know rage.
Vessels broken.
As such, from his own experience, Nimander suspects that the Dying God is a child. He speaks to the dialectic between gods and their worshippers (another bell rung):

The mad priests poured him full, knowing the vessel leaked, and then drank of that puerile seepage. Because he was a child, the Dying God’s thirst and need were without end, never satiated.

The group stumbles on desiccated bodies staked among fields: dried up, tapped of their libations. This speaks to a particular exploitation between mortal and god, symbolised literally as worshippers feeding a god to then become the harvested. This perpetuates the Dying God’s power to accumulate more worshippers via addictive kelyk. The language here shows that the Dying God has stumbled upon a sort of cheat code, an exploitation of the god-mortal dialectic that allows him and his priests to arbitrage power. Like a cancer that, via the law of large numbers, is equipped with the mechanisms to divert a body’s resources to it while it slowly destroys the body.
The scarecrows being in fields is such a perfect choice of this analogy: things to be harvested. A product, a commodity — a thing with both use-value and exchange-value, for our Marxians out there. I believe Erikson has said that he was thinking of oil here, and that is fine by itself, but I do like the mirroring to Eucharistic transubstantiation in Catholicism (due to my being a very-very-lapsed Catholic). Especially with wine, an extremely addictive substance, transcending into God’s blood to cleanse us as cannibalistic sacrament.

Dal Honese burial practices.

Nimander sees these fields as “bizarre cemeteries, where some local aberration of belief insisted that the dead be staked upright, that they ever stand ready for whatever may come." This makes him recall some shipwrecked Dal Honese on Drift Avalii. He thinks on the ancestor cult and burial practices of Dal Hon: literally constructing their homes with their dead in the walls as both material and essence, the building stretching out with additional rooms as time moved on and kin died.
This reminds me of the Neolithic proto-city, Çatalhöyük, found in Anatolia within modern-day Türkiye where ancestors have been found to be buried beneath platforms in living quarters. See: Chapter 6 of The Dawn of Everything by Graeber and Wengrow.
With or without intention, I like to view this ritual via an existentialist lens, particularly Sartre’s notion of the Look. To Sartre — in contrast to other phenomenologies — being is in flux, some path of a given chaotic double-pendulum switching to and from poles of being-in-itself¹ and being-for-itself². The Look, to Sartre, is a sort of symmetry breaking — a realisation by being-for-itselves that decentralises it, the sudden awareness of its being an object, an Other, to Other consciousnesses.
A heuristic often used to showcase Sartre’s notion of the Look (or Gaze) is that of a voyeur peeping through a keyhole into someone’s room that hears a noise down the hall. Regardless if that noise is from another person (another being-for-itself) or not (say, the house settling), the subjective voyeur suddenly objectifies themselves, collapsing the chaotic pendulum from being-for-itself (nothingness as "no thing-ness") to their facticity — their being-in-itself, their thing-ness — whose meaning to Other being-for-themselves is relative to a separate centre than the voyeur’s own.
To Sartre, the resulting anxiety experienced snapping from subject to object is a proof against any nihilistic approach to solipsism. The fact that we can Other our own being-for-itself means that we can also recognise being-for-itself external to us since those we Other too can Other us as we Other ourselves. The reflexivity as a result of the Look is evidence against solipsism to Sartre.
As a result, this Dal Honese practice is a cultural self-burdening via Sartre’s Look by literally having your ancestors clay-filled bodies decentralise your subjectivity and externalise you as an object that can be judged by its facticity. This results in a sort of collective Dal Honese being-for-others, Sartre would argue. This isn’t inherently good or bad to existentialists, but it does necessitate a calculus that discerns if the living descendants are authentically expressing their freedom with each moment they accept this practice, or if they are living in bad faith.
Regardless, though, this is a haunting of the Past. This haunting isn’t something that is only important to existentialism or other philosophical traditions (such as post-structuralism — see: Derrida’s hauntology), but to the genre conventions and tropes of Gothic horror and its descendants (such as cosmic horror, weird fiction, and their influences on sword and sorcery, etc.).
There are mappings (some more subtle than others) between the Sublime and the existential anxiety and dread experienced in phenomena similar to the Look. The experience of looking upon the vastness of the sea, of stumbling upon an ancient statue, of learning of the size of the universe — which are described as the Sublime, the Weird, or Eldritch in some literary traditions (e.g., Romantic, Gothic, Horror, the Weird, etc.) — are the same experiences that are often analysed in continental philosophies using words such as angst/anxiety/despaiabsurdity/alienation.
Nimander goes on to further expose the relationship between this Dal Honese ancestor cult and inter-tribal conflicts that lead to deaths and stolen bodies that leave physical voids in Dal Honese architecture. He muses how this physical representation of wounds begets a cycle of vengeance (a cultural tradition, a product of facticity and bad faith): “blood back and forth,” he says. He mentions that this cycle is what pushed the shipwrecked Dal Honese from their homes, an act of revolt and perhaps even authenticity to Sartre. Eventually the Dal Honese recovered and “paddled away — not back home, but to some unknown place, a place devoid of unblinking ghosts staring out from every wall.”
I love that Erikson has this whole little short story in this scene, especially in the contrast of its being some rum-induced reflection by Nimander on his own past’s haunting of him and his siblings. Moreover, these Tiste Andii are travelling with Kallor, the Undying Unascendant: a being-for-itself that literally manifests the past’s haunting on the present — a man cursed, jaded, who carries the past with him wherever he travels. All of these together show that one’s freedom can have one flee (even be redeemed — which balances with other plotlines in TtH), but that doesn’t necessarily — nor sufficiently so — annihilate the past.

Finding a tower.

After this, Nimander’s reminiscing is interrupted by his hearing Kallor nearby (like a footstep in a hallway). Kallor comments on the use of the corpses and notes that the flora “[is] not even native to this world, after all.” Nimander replies that the corpses are being used for saemankelyk. The mention of the plants not being native to this world should orient the reader back to the Weird, especially since it brings upon a sense of unease, an Othering — the house settling that again serves to reduce both Nimander and the readers to our thing-ness
‘The past’ versus ‘the present’ versus ‘the future’ (and their hauntings of one another) bubble up again with some banter between Skintick and Kallor about the state of things. Kallor states ‘nothing changes.’ Skintick counters ‘it keeps getting worse,’ to which Kallor claims is but an illusion.
I find this dialogue to be a comical little conflict between Kallor’s perceived-postmodern, nihilistic judgement of the state of things being inert versus Skintick’s pseudo-Rousseauian, inverted-Hegalian, modernist grand narrative of things getting worse.
Again, it alludes to a haunting of the past on the current generation. Interestingly, this is a trend within the Book of the Fallen in general: not as an espousing of the ‘old vs. young’, but Erikson’s decentering/challenging/deconstruction of that binary. Think of Raest in GotM; Menandore, Sukul and Sheltatha in RG; Karsa in HoC; the Witness trilogy. He does this via a sort of Ancient's Hubris colliding with its differences to the Present’s Ingenuity, and this being dual to the Present’s Naivety colliding with the Ancient Wisdom.
Kallor eventually hits a sore spot with the Tiste: he brings up Rake. Unlike the Dal Honese whose freedom had them flee the cultural practices of letting their ancestors haunt both literally and figuratively, Nimander and his siblings were pulled/pushed away from their father (and people) as children — by what very well could be their father’s request. The Tiste siblings are haunted by Anomander’s active absence. Their continued distance from their father isn’t an act of expressing their freedom against an Ancestor’s Gaze — it isn’t an act of revolution — it is their facticity and a source for their Othering of themselves. We often see this from Nimander’s POVs up to and including this sequence.
Kallor sniffs out this weakness and presses upon the wound. Nimander gets flustered and retorts. To which Kallor responds:

'Anomander Rake is a genius at beginning things. It’s finishing them he has trouble with.'

Damn, Kallor.
Also, I didn’t need my ADHD called out so harshly, dude. What the fuck.
Without diving into what Erikson was dealing with while writing this book, this hits hard for Nimander, and is an interesting commentary nonetheless. His father, Anomander, is the leader of a diasporic people who’ve been without home, without a centre, for 400,000 years. I think Kallor’s words hurt Nimander so much because the Tiste siblings don’t know Anomander’s current plans nor have they experienced the "settling-down" from the unveiling of Kurald Galain in what is now Black Coral. They are unaware of Rake’s teleology for his people, for himself even. Regardless, we see again and again that Kallor isn’t just a strong skirmisher, his words cut nearly as well as his blades.
Kallor goes on to confirm that he knows Rake before the group notices a ruined tower among the alien plants and scarecrows. Kallor says its Jaghut. Kallor trudges forth indifferently, pushing corpses out of his way as he bee-lines it to the ruined tower. I don’t think such a sequence of action has ever described Kallor’s whole raison d’être and modus operandi so well: just a man seemingly indifferent to the corpses in his path as his will pulls him forward.
We get a small interaction between Skintick and Nimander that reveals Skintick’s acuity in reading Kallor’s take on Rake. Kallor sees their father as an equal (it isn’t just the readers that need to be keen to subtext, characters do too).
Skintick offers the idea of sicking Kallor on the Dying God, hoping he “decid[es] to do something for his own reasons, but something that ends up solving our problem.” I like the use of “deciding to do something for his own reasons,” as this aligns so well with authenticity in existentialism (and the absence of some absolute morality for authenticity).
As Nimander approaches the tower behind Kallor, both Nimander and the readers get a great sense of horror, the weird, the uncanny, and the sublime with how Erikson describes the scenery:

Drawing closer to the ruin, they fell silent. Decrepit as it was, the tower was imposing. The air around it seemed grainy, somehow brittle, ominously cold despite the sun’s fierce heat.
The highest of the walls revealed a section of ceiling just below the uppermost set of stones, projecting without any other obvious support to cast a deep shadow upon the ground floor beneath it. The facing wall reached only high enough to encompass a narrow, steeply arched doorway. Just outside this entrance and to one side was a belly-shaped pot in which grew a few straggly plants with drooping flowers, so incongruous amid the air of abandonment that Nimander simply stared down at them, disbelieving.

Nimander notes an incongruity of this place — its aesthetic of abandonment juxtaposed with a curated garden. “The cold despite the sun’s fierce heat.” This evokes a certain unsettledness to Nimander (and thus, the reader). These genre conventions are sources of tension and anxiety, similar to non-diegetic violins building up to a real or false jump-scare in a slasher flick.
Arrogantly, Kallor chooses to go out of his way and insult the presumed Jaghut within the tower. Classic Kallor. The Jaghut replies “nothing changes,” resulting in Kallor shooting Skintick and Nimander a “pleased smirk.”

Tea time, but before falling into a rabbit-hole and not after.

Before Kallor can announce himself, the Jaghut lists off Kallor’s titles, his facticity. Kallor’s reputation precedes him and there’s an asymmetry here in which the Jaghut knows who Kallor is but Kallor doesn’t yet know who the Jaghut is. This is our first hint that this meeting isn’t serendipitous, and is instead an intentional interaction with regards to the plot. And if this Jaghut knows of Kallor, does he know those who Kallor travels with? Who is this Jaghut’s intended audience among those options?
I also like the play here with facticity: the Jaghut lists out things about Kallor, but is Kallor some sum of those thing-nesses? How many are true, how many are manufactured myths? It’s an act by this Jaghut to Gaze upon Kallor, to show to Kallor that he’s being seen. It’s a deliberate tactic to destabilise and decenter Kallor: an offensive.
We as readers are informed of Kallor’s limitations from the Azathanai curses via Draconus, K’rul and Nightchill, but these limitations on Kallor don’t necessarily restrict his freedom until Kallor allows them.
We get a flash of Jaghut humour and guest rites — this ancient dismisses Kallor while inviting everyone in for tea. Interestingly, Erikson has this Jaghut use the proper noun of ‘Others’ which lends me to think that an existentialist lens hasn’t been the worst pick (not that ‘Othering’ is strictly existentialist by any means).
So, we’ve had corpses drained dry for kelyk, alien plant-life, a ruined tower of an unknown age stumbled upon beyond the urban, a preternatural creature to Nimander and his kin (something they’ve maybe only witnessed a handful of times) and then we get this description:

The air of the two-walled chamber was frigid, the stones sheathed in amber-streaked hoarfrost. Where the other two walls should have been rose black, glimmering barriers of some unknown substance, and to look upon them too long was to feel vertiginous — Nimander almost pitched forward, drawn up only by Skintick’s sudden grip, and his friend whispered, ‘Never mind the ice, cousin.’
Ice, yes, it was just that. Astonishingly transparent ice–

I love this. First: “it was just that” screams “no it isn’t” to anyone paying attention to the words Erikson is using to make the reader uncomfortable. We know: Jaghut + Ice = Omtose Phellack. The atmospheric setting here is directly being called out in not just a sublime way, but his description has an added layer of horror to Omtose Phellack.
Erikson uses “vertiginous,” giving both Nimander and us a sense of vertigo, being decentred and unoriented. This isn’t too different from descriptions found in works like Vandermeer’s Annihilation or other New Weird authors. This ice wall calls to Nimander, draws from him feelings of unknown when he’s caught himself staring for too long — emphasis on staring.
For all intents and purposes, this ice wall is a thing, a being-in-itself, neither active nor passive. But its effect on Nimander is similar to the Dal Honese ancestors’ Gaze — this ice wall objectifies him, calls to him, evokes his being-for-others, and emotionally alienates him. The pull Nimander feels is his submitting his being-for-itself with the freedom of those that Gaze upon him. A justification of his facticity, his bad faith. This will be important later.
Eventually we get this awesome line from the Jaghut host:

’Once, long ago, a wolf god came before me. Tell me, Kallor, do you understand the nature of beast gods? Of course not. You are only a beast in the unfairly pejorative sense — unfair to beasts, that is. How is it, then, that the most ancient gods of this world were, one and all, beasts?’

There’s so much going on to unpack in this paragraph.

• He’s called Kallor a beast, but says his doing so is unfair to beasts (damn, this ice orc just roasted Kallor).
• It calls back to Nimander’s thoughts on children wielding sticks and beasts fleeing as a result. With or without knowing it, this Jaghut is calling Kallor a child, too, in the pejorative sense, unfair to children.
• He says the first gods were beasts, but does he mean these early gods were explicitly Beasts (in essence, not the pejorative sense) or that they were beast-like akin to the pejorative sense used on Kallor (or some combination of both)?
  • Interestingly, we know that this wolf god is possibly an Azathanai d’ivers from FoL — with this knowledge, would Fanderay and Togg count as a Beast-as-literal-beast beast-god?

Later, again, we get this Jaghut saying Others as a proper noun, and then the Others are called Tiste Andii.

‘Ah, and what of the Others with you? Might not they be interested?’
Clearing his throat, Skintick said, ‘Venerable one, we possess nothing of worth to one such as you.’
‘You are too modest, Tiste Andii.’
‘I am?’
'Each creature is born from one not its kind. This is a wonder, a miracle forged in the fires of chaos, for chaos indeed whispers in our blood, no matter its particular hue. If I but scrape your skin, so lightly as to leave but a momentary streak, that which I take from you beneath my nail contains every truth of you, your life, even your death, assuming violence does not claim you. A code, if you will, seemingly precise and so very ordered. Yet chaos churns. For all your similarities to your father, neither you nor the one named Nimander — nor any of your brothers and sisters — is identical to Anomander Dragnipurake. Do you refute this?’

Above, the Jaghut goes on to describe genetics, but also calls out the fact that they are children of Anomander — dude definitely knows more than he’s leading on, that’s for sure, and is winking directly to us readers, seemingly going over the heads of both Kallor and the Tiste. Also, the bit about chaos in blood will come up again and again in later scenes and later essays.
Moreover, we see that the Jaghut says that which he scrapes "contains every truth of you, your life, even your death" — our genetics are facticities, among our thing-nesses. "Yet chaos churns," the Jaghut rebuts. That chaos in our blood is a source of our "no thing-ness," from which we may express our freedom against the determinism of genetics — of facticities — and transcend.

For each kind of beast there is a first such beast, more different from its parents than the rest of its kin, from which a new breed in due course emerges. Is this firstborn then a god?’

I love this for two reasons. One, it speaks to a criticism of the assumption that a prime-mover is necessarily divine. But, through the existentialist lens, it’s a challenge and criticism of the presumed Authority of Genealogy. Jumping back to the early musings on ancestry: if ancestors haunt us and dictate our facticity as a result of suppressing our being-for-itself, then where does that chain of dictating/suppressing end? And is that terminus also an Authority above all generations below it just due to its being something new, something sufficiently different from its own genealogy, its ancestors ‘behind’ it?
I also like the subtext of trauma as hereditary here with the double entendre behind ‘beast’, we can think of this Jaghut as asking if the primordial source of generational trauma has authority over its descendants? What does this dialogue mean for Nimander and his siblings and their place with respect to their father and the rest of the Tiste Andii people? Does this inform an analysis of Nimander’s chaotic double-pendulum between being-in-itself, being-for-itself, and his being-for-others?
A huge thing I would like to point out here, too, is that neither Skintick, Nimander, nor Kallor have used the Tiste Andii’s names, yet this Jaghut knows them by name. Kallor could deduce they were Rake’s children, but he didn’t know their names. Even though Skintick showcased an acuity to subtext when considering Kallor’s opinions of Rake, he doesn’t catch onto this subtlety. This Jaghut not only knows of Kallor, he knows of Nimander and his siblings. The evidence that this meeting isn’t serendipity continues to build.

‘You spoke of a wolf god,’ Skintick said. ‘You began to tell us a story.’
‘So I did. But you must be made to understand. It is a question of essences. To see a wolf and know it as pure, one must possess an image in oneself of a pure wolf, a perfect wolf.’
‘Ridiculous,’ Kallor grunted. ‘See a strange beast and someone tells you it is a wolf — and from this one memory, and perhaps a few more to follow, you have fashioned your image of a wolf. In my empires, philosophers spewed such rubbish for centuries, until, of course, I grew tired of them and had them tortured and executed.’

This sequence of dialogue is fantastic and reminds me of arguments foagainst the strong/weak Sapir-Whorf hypothesis/es. We see the Jaghut musing on a seemingly prescriptive Platonic idealism that Kallor interrupts with a more descriptive, pragmatic, empirical framework in which he follows with a jest of torturing and executing philosophers (remind me to never live in the Kallorian Empire).
Kallor speaks as if his words contradict the Jaghut and show the assumed idealism to be wrong. But, by Kallor’s own argument, the Jaghut’s words of ‘pure’ and ‘perfect’ are just as empirically contingent to one’s memories as ‘wolf’ is. The combinations of signs and symbols language users use give flesh to those signs’ and symbols’ own meaning — but bury that meaning beneath the flesh by doing so. The concept of a ‘perfect wolf’ (i.e., ‘perfect’ + ‘wolf’) emerging from one’s own contingency with the notion of ‘perfect’ and ‘wolf’ is entirely possible without that imagined ‘perfect wolf’ being actually some idealisation, i.e., some Platonic Perfect Wolf.
The Jaghut responds with laughter to Kallor’s absurdity: both in his misinterpretation of the Jaghut’s musings as well as the nature of Kallor’s brutal reaction to those that question things he finds to be rubbish. This pairs well with Skintick’s future POV in this sequence, but the contrast between Kallor and this Jaghut is entertaining nonetheless. Sometimes it’s hard to distinguish when Kallor is telling the truth about his brutality or if his mutterings are just words congruent to his reputation.
The two then have a pissing contest. We find out the Jaghut was in disguise — I don’t have the evidence or time here to say, but there are ideas that this particular Jaghut is not only a soletaken Eleint, but a d’ivers Eleint, which I think is fucking awesome even if it isn’t true. The discussion here points to some T’lan Imass’ Jaghut War. It being the Kron, I’m inclined to wonder if there is a relationship with the bones Karsa stumbles upon in HoC (where he and his war party find Calm).

Skintick squatted to pick up two of the cups, straightening to hand one to Nimander. The steam rising from the tea was heady, hinting of mint and cloves and something else. The taste numbed his tongue.

Don’t take candy from strangers tea from Jaghut, people.
We find out that Raest is this Jaghut’s child. We find out that this Jaghut took on 43 T’lan Imass and a Bonecaster, killing them all. This is a threat rallied back against Kallor’s assertion that he’s killed Jaghut.

Teeth bared, Kallor bent down to retrieve his cup.
The Jaghut’s left hand shot out, closing about Kallor’s wrist. ‘You wounded that wolf god,’ he said.

Oh shit. What follows is one of the first times I can recall that Kallor is scared. Contrast with his earlier treatment of Rake as equal.

'Oh, be quiet, Kallor. This tower was an Azath once. Shall I awaken it for you?’
Wondering, Nimander watched as Kallor backed towards the entrance, eyes wide in that weathered, pallid face, the look of raw recognition dawning. ‘Gothos, what are you doing here?’
‘Where else should I be? Now remain outside — these two Tiste Andii must go away for a while.’

The revelation: the Jaghut is none other than the Lord of Hate himself, Gothos. You can understand why Kallor, always so arrogant, submits to Gothos and listens to his instruction.
Immediately after the reveal, Skintick and Nimander succumb to the effects of whatever extra ingredient Gothos had slipped into their tea. We get this final sequence:

Nimander’s eyes were drawn once more to the walls of ice. Black depths, shapes moving within.
He staggered, reached out his hands–
‘Oh, don’t step in there–’
And then he was falling forward, his hands passing into the wall before him, no resistance at all.
‘Nimander, do not–’
Blackness.

Again, the readers eyes are drawn along with Nimander's to the icy, abyss-like, objectifying, Gazing threshold. Here's where the sublime and the weird really flavour the setting in this scene.
There's a bell’s echo here from the start of this scene: this sequence starts with Nimander discussing the uncertainty related to moving through a portal with Andarist away from the rest of his kin, a breaching. During these final lines of this first scene, we get a tension between us and the unknown, between what has happened and that-which-is-to-come, between what we’ve imagined about Malazan’s cosmos and some contorting of those assumptions. What’s beyond the veil decentres not only Nimander in its draw and pushing him to being-for-others, but it decentres the readers too. Hic sunt dracones, terra incognita, the sublime, the enigmatic, the terror. We’re made to feel small and inconsequential by this icy threshold.
It isn’t mysterious because it evades our Gaze like other fantastical things (e.g., many renditions of some archetypal tricksters found within various folklores), instead it invites our Gaze eventually since It Gazes back (almost Nietzschean).

Thoughts

Calling back to the genre conventions, this extended scene is one that definitely plays with the established conventions of Gothic literature and its descendants. Constantly, Erikson hits us with tension sewn into his choice of words in Nimander’s ruminations, his angst associated to diaspora, the notion of Dal Honese ancestors gazing upon their descendants from clay walls, absent ancestors that too haunt the same, the fields of scarecrows as desiccated (and harvested) bodies of worshippers, the alien plant-life, the ancient Jaghut tower, the ice threshold. Each of these (and those unmentioned) add onto to the dissociation (de-centering) of both Nimander and us, the readers. Each of us seem small and inconsequential to the dynamism of the cosmos: everything we know, including that of what we already know about the Malazan universe (and our own) can be challenged. We’re each just travellers who have stumbled upon a shattered visage in the desert that reads: “My name is Ozymandias, King of Kings. Look on my Works, ye Mighty, and despair!”
This stands in contrast to — almost a revolution against — the modalities one can garnish from the Enlightenment and post-Enlightenment that favour an almost religious rationalism and positivism. This is why I believe (and hope I have shown) that the existentialist (and those schools of thought peripheral to it) lens is apt. The genealogy of Gothic literature serves as a grammatical sandbox that gives way to exploring the things that existentialism tries to frame in its study, such as the dread and anxieties — the nothingness (no thing-ness) — of being.
Not only are the Dal Honese clay-filled ancestors present to alienate the reader by entertaining a certain ‘exoticism’ (by the readers’ juxtaposing such practices against what we consider ‘normal’ — here's where Sartre is applied to White or Male Gazes), but they are there as conduits for understanding how Nimander is affected by Others, by their Looks — his siblings, his absent father, his dead uncle, Kallor, Gothos, and the icy threshold — even if this ‘othering’ is one done only by Nimander onto himself (the house settling perceived as a footfall). This becomes more important in the scenes that follow.
So, how does this relate to the Eleint, dragonblood or sorcery? If you want to know now, please read ahead in the text — i.e., he future scenes in this sequence in Chapter 8 of TtH — you’ll find out. Otherwise, I’ll attempt to provide more clarity in the follow-up post(s). Until then, I just want put forth some questions:

• Are the Eleint actually dragons in the usual fantastical/conventional sense, or are they something different, something alien, something terrifying, something that evokes horror?
• If meaning-making (and, as such, essentializing) — according to my reading of existentialism — is a choice of ascribing/burying the Real with its facticity, what does this mean for K’rul’s warrenification and the birth of sorcery? What does this mean for aspecting, particularly for the Eleint and the Azathanai?

Beyond those questions (which align with my grander narrative shared in this collection of essays) — in regards to the plot, I think it is smart to continue asking, ‘why has Gothos ensured that Anomander’s children and Kallor would stumble upon his tower?’
¹ the facticity of what can be understood as objective states ascribed to things, including social constructions — thing-ness — e.g., how things are thrown into the world, a mode of existence that simply is, the contingent being of ordinary things, such the language(s) one speaks, one’s occupation, etc.
² the mode of existence of consciousness that stands in contrast to being-in-itself, “no thing-ness”, that which negates being-in-itself

​
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I am on the lookout for prices when they drop, obviously the 965 will not drop massively if any since it is new, but the epix2 is starting to drop very close to 965. Any real hard difference between them? I walk, cycle, strength, pilates. Nothing crazy, just looking at these 2 as i also want the look and feel of a watch not a sports band Appreciate the insight. Thank you

Hi! I'm sorry if my post isn't as nice looking at the others, but I hope you like my idea! I enjoy world/story building and Black Clover! I'm looking for someone to be either Fuegoleon or Nozel to go along with an OC of mine. Since they're side characters, we basically have to build our own story anyway!
While away on a mission, he finds a strange looking woman battered and all alone. He gets a strange feeling that he can't leave her there.
Some type of arranged marriage with Fuegoleon or Nozel to help strengthen the bond with another kingdom.
Those are 2 ideas that I have, but I prefer we build a plot together!
I'm looking for a longterm roleplay partner who is literate, 3rd person, and detailed. I usually match my partners length. I'm fine with doubling so we can both get someone we want. I need my partner and all characters to be 18+ since this roleplay will get explicit at times, but thats not the focus. I prefer a mix of romance/slice of life/action to keep it interesting. I'm happy to discuss any and all other aspects with you! We can go along with the anime or make something completely new. The romance between them will be kind of a slowburn. I'd like for us to build a world we're both happy with. You need to have discord.
I have about 8 years of roleplay experience (back when IG and kik were really popular so starting in 2012) and am trying to return to it. I'm 23F and my timezone is +1 CST but I'm fine with any time difference. I'm a SAHM so I understand life gets busy and you can't respond all day. Just also let me know ahead of time if you'll be unavailable for an extended period of time. Feel free to dm me!

I have a hard time delineating scifi from fantasy. I think that's because I don't really know what defines fantasy or how grounded in reality scifi needs to be. I have heard that scifi needs to be grounded in reality but all of the scifi I have read has been about things that do not currently exist, and my only conception of fantasy is that it has creatures/races that don't exist. However, scifi has aliens which don't exist (as far as we know) so... I'm confused. Can you help me understand the difference between these genres?

Hi! I'm sorry if my post isn't as nice looking at the others, but I hope you like my idea! I enjoy world/story building and Black Clover! I'm looking for someone to be either Fuegoleon or Nozel to go along with an OC of mine. Since they're side characters, we basically have to build our own story anyway!
While away on a mission, he finds a strange looking woman battered and all alone. He gets a strange feeling that he can't leave her there.
Some type of arranged marriage with Fuegoleon or Nozel to help strengthen the bond with another kingdom.
Those are 2 ideas that I have, but I prefer we build a plot together!
I'm looking for a longterm roleplay partner who is literate, 3rd person, and detailed. I usually match my partners length. I'm fine with doubling so we can both get someone we want. I need my partner and all characters to be 18+ since this roleplay will get explicit at times, but thats not the focus. I prefer a mix of romance/slice of life/action to keep it interesting. I'm happy to discuss any and all other aspects with you! We can go along with the anime or make something completely new. The romance between them will be kind of a slowburn. I'd like for us to build a world we're both happy with. You need to have discord.
I have about 8 years of roleplay experience (back when IG and kik were really popular so starting in 2012) and am trying to return to it. I'm 23F and my timezone is +1 CST but I'm fine with any time difference. I'm a SAHM so I understand life gets busy and you can't respond all day. Just also let me know ahead of time if you'll be unavailable for an extended period of time. Feel free to dm me!

A few months ago I was looking for a psychiatrist after not being on any psych meds for a little over a year and since my city is heavily underserved for psych, I ended up in the hands of an NP listed in the psychiatry section online. I believe she was fulfilling the role of psychiatrist in a clinic where an MSW was fulfilling the role of psychologist.
My goal was to resume my old medications my psychiatrist prescribed years before (adderal and ambien) because I started studying for the MCAT and had trouble managing everything at once and at this time in my life. I have a long history of ADHD and insomnia, both starting in elementary school, and I’ve been on many different medications for both conditions for the past 10 years. I managed it pretty well without medications for my senior year of college but my grades and personal life both took a massive hit by doing this. When i started studying for the MCAT i realized i needed to be back on these meds, but couldn’t get in as a “new patient” with my old psych or any other psychiatrist within 100 miles.
I was upfront with her and she told me I was drug seeking and relapsing, called me an addict, told me to find a therapist for the ADHD, and gave me gabapentin for the sleep. She literally sat there with google open, googling medications and their uses. She referred to gabapentin as a “brand new sleeping pill,” and said that ambien was an opioid. When I corrected her and told her to check my PMP for previous prescriptions she told me “I have a medical degree and you’re struggling to even study for the MCAT” then laughed. I walked out so fast and didn’t even pay. She referred to herself as a psychiatrist and a “medical practitioner” on her page and in person, she was very defensive about it too… real psychiatrists don’t need google to decide what prescriptions to write for lol
I then found a clinic which has several PA’s working under an MD. I have been very happy with how cautious and diligent my PA has been. She doesn’t blindly write and she always asks me about side effects, day to day symptoms, etc. She restarted my adderal at 2.5mgs a day, then 5mgs, and now 10mgs, replaced ambien with quiviviq. She goes above and beyond, and I feel good knowing that she is very careful with medication management and works closely with her supervising MD between appointments. This mid level’s practice is night/day with the other one, she doesn’t pretend to be a physician, and she’s very careful, and open to input from other clinicians (and the patient).

https://imgur.com/a/BW7RT3N
Hi everyone! Long time sig owner but first time posting here. I have been carrying the original P365 from for 4 years and my wife carries a P238. I was never motivated but recently swapped the grip with the P365XL grip and I would noticeably tell the difference with tighter groups at the range, even though I have small hands and the regular P365 grip feels totally okay but XL feels great!!!
Right now I am torn between the Spectre Comp vs. the regular Spectre but in battle washed finish. I LOVE the battle washed look a lot but it comes in almost the same price as the FDE Spectre Comp version. Any feedback or comments to kill the itching LOL appreciated!

Hi all, my wife and I are planning a 7 night trip to Italy in July. We heard great things about Ischia and plan to do 3-4 nights there.
We are looking for another area to go as well for 3-4 nights and would appreciate recommendations. We aren’t looking to do one of the big cities or touristy areas (e.g. Rome, museums, etc.). We are very much looking to relax, have great food/wine, and do a couple of fun activities in nature or in local towns or in beautiful historical sites.
Going to another part of the Amalfi coast is an option but we are open to going a bit further to experience a different vibe.
We love the idea of one of the beautiful Tuscany wine/farm type hotels but feel that traveling between there and Ischcia will be hard. Is it? Anything else like it near Amalfi?
Have any other ideas?
Max hotel price range we are looking at is about $700/night.
Thanks!