Beat every stage on itouch version of btd4

Legendary Builds Overwolf App

2016.12.08 22:12 ColorfulStan Legendary Builds Overwolf App

Our goal is to make it easier to pick up new champions and to help you make good build decisions in every stage of your match. Legendary Builds shows you competitive builds from professional players right in your game, using Overwolf's overlay technology. Get builds for each champion, role and stage of the game while playing, or browse through them on our desktop version while waiting for your next queue-pop.
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2015.03.17 05:56 EpikYummeh The home of Risky Strats

This subreddit is a place for fans of the real-time strategy game Risky Strats by White Collar Games from all platforms to come together and discuss the riskiest of strats as well as get information on updates, new releases, and any other information related to Risky Strats and its development.
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2016.05.27 20:43 Wehraboos In Action

Ein Reich, Ein Volk, Ein Rommel!
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2024.05.21 17:20 StiggusOversteerus NDI Runtime Analyse

Moin at everyone, had a big problem this Weekend with NDI: Setup 1 ProPresenter 7 Win 10 HP z440 Workstation 3x 1920x1080p50 streams via NDI
Setup 2 Resolume Arena 7 Version 7.15.0 Win 11 13900K 4090 Incoming of the 3 NDI streams (Out over SDI to 2 Beamer and 1 LED Wall)
Idea was, to send the Graphics from the ProPresenter over NDI to Resolume, so we won’t have to use 2 more Decklink Cards. (What we did in the end)
We testet the Setup a few days in advance and had no problem with flickering, framerate or any compression errors.
After the rehearsal the Resolume NDI Input showed Black frames every few Seconds. Very ‚present‘ on stage :( These Blackframes where not visible in the NDI Monitor Application, only in Resolume
My idea is, because ProPresenter 7 ist uptodate, it uses the latest Runtime of NDI. Resolume on the other hand, beeing an older version, using an older NDI Runtime 🤔
  1. Does anyone has an idea, why this could have happend?
  2. Does anything like Runtime difference exist, or is it only the version of NDI, that ist the problem? (E.g. NDI 6 vs. NDI 5)
  3. How do I know, which version of NDI an application like ProPresenter or Resolume uses? Is there a list?
  4. Is there a ‚Real‘ Analyse tool for NDI, that shows the version, which the incoming Source is using? (The NDI Analyse tool doesn’t show anything like that, also the NDI Source Browser from Tractus won’t show that)
Searched a lot for anything related to this topic, didn’t find any solution, so any idea would be appreciated!
Thanks
submitted by StiggusOversteerus to VIDEOENGINEERING [link] [comments]


2024.05.21 17:10 Famas_1234 FFXIV soundtrack has many motifs/leitmotifs, but does that mean it's better, or is it becoming predictable? (data inside)

FFXIV soundtrack has many motifs/leitmotifs, but does that mean it's better, or is it becoming predictable? (data inside)
This is more to observation regarding FFXIV music I hear and I feel/think to post here
FFXIV soundtrack factually has many leitmotifs even the community have tracked all the leitmotifs in a website form. I'm a bit enthusiastic about video game soundtracks at the past, but FFXIV feels like a good place to take the data for it. However, as the content formula is going established, or for better or worse matured, I think there is a predictability in the content including the tracks because they are tied to each other. So I want to open this from the data then we talk about the tracks themselves.
Based on what I've gathered in the web, motifs are musical notes/movements/passages that are modular to use for contextual stuffs (characters/environments/moments), which further called leitmotifs. Say like a specific character coming in the stage, the notes are played similarly which makes the music memorable by using leitmotif technique. This is also frequently used in FFXIV too.
However, there must have something in the balance. Too reliant on motifs may sound boring. But no motifs may sound nothing or less memorable (unless they make you pump it out). With motifs and leitmotifs together, you can also predict the scene what will happen next. But you may argue not every moment must have motifs so that it can decrease predictability, or not everything must be reliant to it so that it may sound unique. I believe there is a technique for that. In the end, it's the composers'/arrangers' ability to create. They can use it, but it's about how they insert those. It can be subtle in plain sight, or blatantly in your face.
You may feel this kind of thing, and I feel that too. But because I am usually data driven, I would like to share the data, accompanied by how the game is designed. The game design is also crucial for the music itself.

The Data

To use the data. I use my sound tracker data whose the leitmotif tracker is based from the compendium. Here's the data I've collected so far
Album version. Imgur is blurry on mobile so you may refer to the sheet itself above. Too complicated? Alright then, I'll upload it here
FFXIV 1.0 is kinda minimal on motifs besides classic FF motifs
ARR motifs are increasing. Not to deny the major relaunch of the game
ARR 2.x is minimal in comes into reusability
Heavensward 3.0 was the first to establish the formula, hence high reusability
Then followed by 3.x which was the early template for future motifs
Stormblood 4.0 has high reusability based on the field themes, but still not as much as Heavensward. You can neglect other one-off FF themes (I blame collaborations)
Shadowbringers has high reusability, may on par or more then Heavensward. Ignore the 1s, they're bloated anyway
Shadowbringers patches are also good while maintaining the post patch status compared the launch patch
Endwalker is simplified but you can see the numbers are much higher. Maybe too much?
Too many 1s man. But also many motifs from previous versions are represented again

The Content and Implementation

For main expansion motifs, they can be separated into pieces. However, main expansion motifs usually being reordered to give variety, but still the same. This is the case for:
  1. Main theme: stores all the motifs <- the templates are here
  2. Field battle: some open world mobs
  3. Cities: most main theme motifs end up in here but in different flavors
  4. Field hub (aetherite)
  5. Dungeon midboss
  6. Dungeon boss
  7. Most cutscenes: usually for the expansions they can have 7 out of 10 tracks that shares the motifs inside the main theme
  8. Solo duties/story battles: usually tied to some parts of the main theme
  9. Occasionally some trials: usually for crucial trials there are some motifs in the main theme
  10. Occasionally some dungeons
  11. Occasionally some fields that is crucial enough to have main motif in main theme
With at least 11 categories related to main theme motifs, it is a fact that main theme is the most used within expansion. Let's say Heavensward motif. It has many and consistent motifs that can span to other contents outside what I mentioned in the list. Because expansions here are treated like a book or a movie serial, they need to use different motifs per season.
For field motif, especially at the expansions, usually used in 3 tracks:
  1. Field day
  2. Field night
  3. Dungeons: each field usually has a dungeon, so they rather use that field's motif to simplify the process
Each FFXIV expansions usually has 6 fields. This is actually many, just reuse the motifs then you're done. In fact field themes are foundational. It started from main field day theme, then getting a piano rendition in night theme, then make an intense version in dungeon theme.
That means, you can estimate for each expansion, you probably get at least 11 main categories + 6 fields * 3 = 29 tracks. It can be more if we count more cutscene music and other eventful music that uses motifs. It can be approximately 35 tracks with motifs, but that is in estimate.
Yes, I made the numbers above without reference, but let's go to the real data. Let's open Endwalker album as the example. Here's what I get. This writing is going too messy later
With 63 tracks, you can see some major numbers are at least proven compared to approximate
Notes:
  1. Main theme is expected. However, FFXIV usually has two main themes. In Endwalker's case, it's "Endwalker" and "Flow" as they are usually promoted in their YT channel. This main theme can be applied the category I mentioned before. Let's say 12 tracks
    1. Endwalker motif is used in most cutscenes
    2. Flow motif is also used in most cutscenes. Sometimes it also tandems with Endwalker motif
  2. Cities: 2 day, 2 night, 1 neutral. That uses "Flow" motif. That goes 5
  3. Story cutscene: of 11 tracks, there are 3 independent tracks. That goes 7
  4. Dungeon midboss and boss. That's 2
  5. Each field has dungeon. It's 6 fields*3+2 extra dungeons = 20
WIth this, you can get at least 12+5+7+2+20= 46 tracks with related motifs. It may be inaccurate, but you may get the picture
With Endwalker data above, I've counted that only 5/63 tracks (~8%) that are independent from the motifs.

Motifs/Leitmotifs are contextual, but how predictable in FFXIV?

Predictability here comes into sections:
  1. The events. May be a place, character, or some game elements
  2. How the music is made. May be the composition/arrangement itself
It may be predictable for main and field themes because how the game is structured. It could be better or worse. You may suggest like this:
  1. Make the field theme variative.
    1. The open field has two methods. Loop the track or play-silent-play the track. If the latter is used, it would be beneficial to have variant tracks. Take Genshin as the example. The open nature of that game allows to cycle the tracks. In fact, FFXIV ARR had this method especially in La Noscea, Thanalan, and Black Shroud. They have multiple movements in a track hence why the track is long. The question: should they revisit that method?
  2. Make the music longer or variate the melody
    1. If the gameplay is around the 2 minute meta, you don't realize that the music anecdotally follows that too. That is a single take without loop. You can variate by extend the music for a bit or maybe at least rearrange them.
    2. The concrete example I got is Monster Hunter music. That game has many renditions of monster themes while keeping the same melody. They have variations across the melody too
But there is a shock factor which makes it unexpected
Shock factor here means you don't expect one/some of the motifs are applied in the scene you are currently in. For example, who would think The Twinning music is a combination of Crystal Tower and Omega motif? Who would also think Anamnesis Anyder uses long buried Sastasha motif? How about mash all the old motifs in your face like how they made "Embers" which includes all tracks related to Lahabrea? How do you expect "Dynamis" comes back to "Flow" motif? This factor makes one of the most memorable musical experience in FFXIV.

Bonus: I already know who made this track

Related posts:
  1. How to spot FFXIV composer
  2. A Thread of Interviews and Showcases Related to CBU3 music team (FFXIV and FFXVI)
I just leave those here because this topic may be related to them and how the music workflow goes. In the end, you can predict who composes/arranges the music based on the style/implementation

Closing

And so that's it. What do you think about current formula of FFXIV music? Has it become better or worse?
I have ongoing survey about FFXIV music. You can pick before a week before Dawntrail!
-----
My other posts
I gonna edit this later. I know the writing is getting messier
submitted by Famas_1234 to ffxiv [link] [comments]


2024.05.21 16:59 CDown01 Eagles Peak Pt.10

Previous Part
The first sound I heard that morning was foot steps outside my tepee.
“Get up! Shaoni wants you all in town.”
The gruff but familiar voice of my driver from three days ago shouted at me. It had to be some sick sense of humor on Shaoni’s part, sending this guy to come get me for things again and again. Honestly, even I was starting to feel bad for him. Bianca stabbed his friend I knocked him off that stage yesterday with one of the war clubs. I speak from experience when I say those things HURT.
“Alright alright, just give me a second to get dressed!”
I yelled back to the man as I rushed to get around inside. At least he had the common courtesy to stay outside. A minute or two later I stepped out to see everyone else gathered around the man. Brooke, Katrina, John, and Robert all stood there, just staring at me.
“Mornin’ sleeping beauty”
Robert finally said after what seemed like forever, nearly choking on laugher at his own joke.
“I thought you were never going to wake up. Did you not hear Shaoni last night? We were supposed to be up 6 sharp.”
He explained after his laughing fit. Apparently I had missed that bit of Shaoni’s whole presentation last night. Katrina grabbed a pair of keys out of her pocket and started walking away.
“Come on, we’ve got to get into town and finish this whole thing.”
She called back to us just a little too eagerly.
“She’s letting us drive? I thought she didn’t want us heading back to town without some kind of supervision.”
I questioned as we all walked toward the same beat up red pickup that had brought me here.
“I guess she decided to make an exception.”
Katrina replied, not even bothering to look at me.
“Besides I don’t think running is much of an option at this point.”
She continued, pointing up towards the sky. A storm was brewing there, a killer one by the looks of it. The odd thing was it didn’t seem to want to break, it was just stuck in that state right before it starts raining cats and dogs. The dark, angry clouds tapered off in the sky the further they got from town, Shaoni’s doing, it had to be.
The five of us would just about fit in the truck, not comfortably but we would fit.
“Oh hell no! I’m not dealing with you up here!”
“Why not?! You know you love it.”
Brooke and Katrina argued as he tried to take the passenger seat next to her.
“No you go in the back or I’m driving us straight into a tree, I can’t put up with you anymore.”
Katrina yelled at Brooke, tensing up and getting ready for a fight.
“Would you guys just knock it off! Just sit in the back Brooke, I’ll take the passenger seat.”
I scolded both of them, I was done with their little arguments, it was starting to get under my skin. An evil grin crossed Brooke’s face as he turned to me
“What’s up with you two? You’ve been all buddy buddy with him since we all beat the shit out of each other with wooden sticks. He didn’t get to you first did he? Hmmmm?”
Brooke prodded with a wink.
Katrina Immediately punched him in the face before I even had a chance to respond.
“Ey that’s a good right hook! Give em’ another one, come on come on!”
A heavily accented voice cut in from below my feet. Rocco had managed to slip in without any of us noticing. When Brooke lay eyes on him he just about jumped straight into the truck bed. Apparently whatever Rocco did to him yesterday had left quite the impression.
“I’m not even gonna ask, just shut up and take a seat.”
Katrina told Rocco, slamming her door shut as I took a seat next to her and Rocco hopped in the back. Robert and John pretty much made themselves flat to their doors as Rocco took a seat in between them in the back. Brooke rode in the bed, shooting nervous glances at Rocco every now and then.
Katrina drove like a bat out of hell through the woods and back into town. I’m not sure if she was in that much of a hurry to get all this over with or if she just hoped her crazy driving would throw Brooke overboard. Given where we were headed and how close we would probably be to Bianca, I can’t say I wasn’t hoping the same thing.
We pulled into the parking lot of the Save-A-Lot I’d gotten groceries from my first day here. The storm over head was raging but oddly enough It still wasn’t raining or anything like that. The wind was picking up and the sky looked absolutely sinister but other than that everything seemed fine in the town.
Before Katrina’s combat boots had even touched the ground she was already giving orders.
“Alright listen up, We’re working as a team this time wether you all like it or not. I want us to split up and see what we can find. Anything out of place, anything that seems suspicious, I want you to make a note of it. We have to figure out who the victim is going to be and who’s doing the killing. We have nothing to go on either so nothing is to small here. Lets all take a look around town and meet back here in two hours. That’s two hours sharp Keith!”
Katrina barked, taking charge of the situation and leveling one quick jab at me before turning on her heels and heading out into the town.
As everyone else hurried off in different directions I took a second to think. If I was looking for someone where would I go? Where in town would I most likely go no matter what? That line of thought is what led me to the front door of the Eagle’s Roost. Cliche I know, but a bar was a good a place as any to start, even if it was 8 in the morning. Maybe someone new had stopped by and Tuck would know something about it.
The door was unlocked as usual so I let myself in, if Tuck didn’t want guests I’m sure he’d lock it.
“Hey, Tuck? You in here?”
I called into the bar as I noticed the usually roaring stone fireplace had fallen silent.
“Tuck’s not here right now sweet heart, but I can take a message if you’d give me a moment.”
“Oh, ok take your time then.”
I answered before realizing the motherly southern voice couldn’t possibly belong to Tuck.
“Wait who are you?!”
I chirped as I rushed up to the bar and peered back into the kitchen where Tuck usually was. In his place was a dark skinned woman that looked a little older than Tuck. She wore a pink checkered shirt under an apron that read, “Kiss the cook”.
“My, I haven’t seen you around. I’m Richelle, Tucker’s wife.”
She answered. Her southern accent was smooth and calm. The exact opposite of Tuck’s brutal hillbilly speak that he tried to hide.
“Did he not mention me? He doesn’t like to introduce me to the new comers, always worrying about me that one.”
“No, I think he mentioned you helped keep this place running when I first met him.”
“He must like you then, most people round here don’t even know he’s married. Anyways what can I help you with sugar?”
Her motherly voice did wonders for my stress. I could see why Tuck married her, with just a few words I’m sure she could set anyone at ease.
“I was wondering if anyone new came into town or passed through here. Maybe someone out of place, something like that? Oh, and where’s Tuck?”
“Well I can help with both those things. There was a man here, got off a bus last night all alone and came right in. I don’t know what it was but I just had a bad feeling about him, made me shiver.”
She gave a little shiver at that, to demonstrate I guess?
“As for Tuck he’s been staying with those scientists and…. and I wasn’t supposed to tell anyone that.”
She explained, a look of embarrassment crossing her face as she finished.
Before I had a chance to respond I heard the door slam open behind me. I swore I heard someone shriek my name. All I saw before someone knocked me over the stool I’d been standing next to was a blur of black hair flying toward me, and bright glowing blue eyes.
Bianca wrapped me in a bear hug on the floor.
“What happened to you, are you hurt, how are you back!?”
She fired questions at me as fast as she could.
“Bianca, crushing my… can you just, ease up a bit.”
I pleaded as she squeezed me harder than a boa constrictor.
“Sorry! I just didn’t think I’d see you…”
She squeaked, trailing off suddenly. A single tear making its way down her face as she blushed slightly and released me. In that moment I realized Bianca, who had stabbed a guy not to long ago for grabbing her hand, just bear hugged me. I’m not sure what I felt about that but at the moment, I was just happy to see her and even happier that she was happy to see me.
“Shaoni let us back into town for the last of the trials. We’re supposed to stop a murder in town.”
“A murder?! Is that what you were asking about? Is that man a murderer? My, what is going on in this town.”
Richelle shrieked, reminding Bianca and I that we weren’t alone in here. I felt the hot blood rush to my face as I looked up to see Bianca blushing as well, even redder than before.
“So, did you end up finding anything out about Shaoni?”
I asked Bianca as we took a seat at the bar, getting straight down to business as Richelle started stress cleaning in the kitchen.
I was a bit surprised by what she said. I never expected Shaoni to be THE Thunderbird or a descendent of them. I was still trying to wrap my head around the whole thing.
“So she went into hiding here then? That cave we stumbled into that was connected to the mines. Was that her… nest?”
I thought out loud, hoping Bianca would have some kind of answer.
“I guess, that’s what Frank and Stein have been calling it too. Speaking of Frank and Stein we should probably go see them. We were planning to break you out today, guess we were a little late on that huh.”
Bianca said, getting up from her seat at the bar. I’m not sure reuniting with Frank, Stein, and the rest of them was the best idea. At the moment I didn’t have a whole lot of other options though. I got up and followed Bianca out the door, heading back to her house to call off their rescue mission.
“Good luck darlin’!”
Richelle called after us, I felt sure we could use all the luck we could get.
“How the hell’d ya get back here son?!”
Tuck asked as soon as Bianca and I walked through the front door. Rocco had already found his way back and had apparently been filling everyone in on what had been happening. Stein was unloading some sort of pistol with a long thin barrel on the kitchen table.
“I’m glad I won’t have to use this at least. It’s been… many years since I’ve had to take this out of storage.”
Stein explained to no one in particular while staring at the gun. No doubt it brought back memories of his time with the German military. Frank walked out of the basement at that moment and nodded to me.
“Glad to have you back Keith.”
He said, clapping a hand on my shoulder.
“It’s great to see you all but I can’t stay too long, I’ve got to go back.”
“WHAT?!”
Everyone yelled in unison, even Rocco.
“It’s the last trial and Shaoni is overseeing it personally. You see that storm outside? That’s all her, if I don’t go back she’ll know and I’m sure there will be consequences. Besides Brooke is here too, I don’t want to give him any reason to go looking for me and bump into Bianca.”
I explained to everyone, not enough to wipe the shock off all their faces but at least Stein seemed to understand. Just the mention of Brookes name made Bianca freeze up. Only for a second but I could see this tension pass over her whole body and her eyes suddenly glowed blue and widened with fear. I was paying so much attention to how she’d react to that name that I almost didn’t feel her reach out and squeeze my hand from her place at my side. She sighed quietly before her eyes returned to normal but she still kept my hand in hers.
“You can’t go back! We only just got you back!”
Bianca protested, but my mind was made up.
“I need to see this through and besides someone’s life is at stake. I should try and stop that at least.”
Bianca couldn’t argue with that, neither could anyone else. I could tell Tuck and her wanted to but they didn’t. All Tuck did was quietly nod his head and grunt. I could tell Bianca was running through every possible argument in her head to try and make me stay but wasn’t coming up with anything. Bianca let go of my hand and asked,
“Can I at least come with you? To help stop the murder I mean.”
She looked into my eyes like a puppy, begging me to say yes.
In any normal circumstance I would’ve given in immediately to that, especially coming from someone who looked like her. This time though, I just couldn’t. I couldn’t take the chance that Brooke would see her and something bad would happen.
“You can’t Bianca, I don’t want anything happening to you especially with… him out there. I think Shaoni offered to help him find you if he showed up for these trials or something like that. Either way I’m pretty sure he’s here for you.”
I told her as gently as I could. I could see her recoil at the idea that Brooke might be here just for her. She was scared, maybe more scared than she’d ever been that there was even a small chance of Brooke getting his hands on her again.
“I… no, no your right.”
I didn’t expect her to give in so easily but it was a welcome surprise.
“I hope you know what yer doin son.”
Tuck told me as I got ready to head back out. Frank and Stein cornered me before I could leave as well.
“Take this.”
Frank said, thrusting what looked like a jury rigged walkie talkie into my hands.
“If you need anything call us on that. We’ll help however we can, and don’t expect us to sit around quietly when you go back. We fully intend get you out still, no reason to let a perfectly good plan go to waste.”
I thanked them for the walkie talkie. I was glad they were still looking out for me even if I doubted they could do much against whatever was to come, it was good to have people in your corner. Bianca was waiting for me when I got to the door.
“At least I get to say goodbye this time.”
She said with a little smirk. She’d been acting different since I got back, much more… personable?
“Yeah I guess so. What’s been up with you? You’ve been acting… different.”
I asked her, a little nervous for some reason.
“You helped me… a lot actually. Your the first person who’s really cared about me in years.”
“That’s not true, look at Frank and Stein.”
I responded, missing the point of what she was saying.
“No, not like that. I mean your a friend, a good friend… no that’s not, ugh.”
She said, shaking her head and looking a little embarrassed. Then she did something I really didn’t expect, she leaned over and kissed me.
“Just… make sure you come back ok? For me.”
She added as she pushed me out the door, starting to turn lobster red. My head was spinning but there was a bug dumb smile on my face, I’m sure of that. Filled with all the confidence that brought me, I headed back to the Save-A-Lot to see what everyone else had turned up on the impending murder.
As I walked back lighting began to crack across the sky. The lightning took all kinds of unnatural shapes. I swore one time it almost looked like a pair of eyes, watching me from the sky.
“Alright everyone, I want reports!”
Katrina shouted like a drill instructor, bring the group of us gathered around the hood of the truck to attention.
“The elderly cashier inside, she was… disquieted. More so than I would expect of someone in this strange town.”
John spoke, saying the first words I’d ever heard from him in a wise sage-like voice.
“I looked around for some kinda police station but this shit hole town doesn’t have one. How the hell am I supposed to report a murder if there’s no police!”
Brooke complained to the crowd.
“So, you accomplished absolutely nothing, I kinda figured that.”
Katrina scoffed at him.
“Yeah there hasn’t been a police station here as long as I remember. We never needed one, everyone either moved on to fast or stuck around and just wanted to be left alone, never caused any problems. Still, it’s a little strange come to think of it, would’ve figured the government would make us have some kind of police.”
Robert informed us before giving his own report.
“I looked around a bit myself, didn’t come across much on account of there not being all that many people to talk to in this town. Those old scientist types in the big white house never answered the door when I knocked and I couldn’t find their daughter.”
To my horror Brooke’s eyes lit up and he was suddenly razor focused on what Robert had to say.
“I did see some guy I’d never seen in town before walking around. Didn’t want to talk much though, he just turned around and walked the other way as soon as he caught sight of me.”
Robert finished with a shrug. Brooke seemed less interested after he heard nothing else about the daughter Robert mentioned. Did he know Robert was taking about Bianca?
“Wait that strange guy, was he wearing an old hat? Some kind of bowler I think, looked really out of place.”
Katrina asked suddenly, her eyes lighting up.
“Yeah now that you mention it I think he did.”
Robert answered after thinking for a second.
“Damn it! He saw me and ran when I was searching around town myself. So next order of business we find that guy. Keith! Did you see anything else?”
Katrina asked, whirling around to face me.
“I stopped by the bar and the bartender there told me someone new came into town a few days ago. Apparently she had a bad feeling about him. Maybe its the same guy you two saw?”
I proposed, pointing to Robert and Katrina. Katrina paced around for a bit, thinking I guess. She finally came to a rest again at the front of the truck, apparently she’d come up with another plan.
“Alright, I want that guy in the bowler hat found so we’re breaking into teams of two.”
“Uh, isn’t there five of us, that won’t work.”
Brooke interjected, earning him a look of pure murder from Katrina.
“Keep that up and I’ll find that raccoon, you can pair up with him!”
She yelled completely over Brooke’s attitude.
“I’ll go alone, Robert, John, you two are together same with you Keith and asshole.”
“I have a name you know!”
Brooke complained, getting yet another look from Katrina. If he kept that up I had a pretty good idea of exactly who the murderer and victim would be.
“Alright alright Jesus lady cool your jets!”
He said, putting his hands up in surrender as Katrina took a threatening step towards him.
A few minutes later Brooke and I had broken off from the other three having all agreed to meet up back at the truck in another hour. Brooke had insisted we go to the bar and search for the guy but I had a feeling there was more to it than that. He proved me right when he ducked into an alley and pushed me up against the side of a building right on main street. Usually that would be instantly seen by someone but here wasn’t like anywhere else. There was no one around to help me out or even see what was going on.
“I know we’re supposed to be looking for a murderer but I’ve got other things in mind. That daughter Robert was talking about, you know something about her don’t you.”
Brooke questioned with a growl, arm against my throat holding me uncomfortably tight against the building.
“Daughter? What are you talking about?”
I choked out, deciding to play dumb. He didn’t like this to much and pushed me even harder against the wall.
“That raccoon mentioned her name the other day when the fuckin thing attacked me and it seems pretty buddy buddy with you! Bianca! ring any bells!”
I felt my face grow red at the mention of her name as I thought back to the way she kissed me at the door. That reaction betrayed me and the beginnings of a twisted smile appeared in Brooke’s eyes.
“Oh yeah, you know her don’t you? Know what she can do to I bet. Did she tell you about me, how she threw away everything I could’ve given her.”
He hissed at me, venom dripping off every word.
“At first I didn’t care but then I heard stories of this whore who could wrap you around her finger like nothing else. She’d do whatever you wanted but you’d also pay whatever she asked, do whatever she asked. Imagine my surprise when I started looking into it and it turned out to be my little escaped bird.”
Brooke continued, grinning like a mad man. He was obsessed with her, it didn’t take a genius to see that. But I was in no position to argue with him, I could barley speak with the pressure on my neck from his arm.
“They called her a succubus, the crazy ones at least. Turns out they were right though, there was something off about her from the first day I met her but I had no idea she was something exotic like that. See I make a habit of collecting things, rare things, and she’s the rarest I’ve ever been able to find. I was so close to having her at one point but she just had to break away. When I met Shaoni late one night researching the supernatural she agreed to look into her for me on one condition. I agree to show up in this town in the ass end of nowhere and participate in some trials for her. Easiest deal I ever made, now I’m this close to getting my hands on her again. Imagine what she could do for me, what I could get with her powers.”
Brooke finished his monologue, finally letting me go.
“Now you’re going to show me where she is and I’m going to get the hell out of here. Get going!”
He shouted at me, drawing a pocket knife from his white suit jacket.
My first reaction was to look around and search for a way out. I couldn’t fight him, that was clear. I really didn’t want to get stabbed either. My eyes darted around trying to find anything that could get me out of this. Then I found exactly what I was looking for on the other side of the street.
Katrina had found the man in the bowler and he was running back toward the Save-A-Lot like Usain Bolt himself.
“Katrina, HELP!”
Brooke whipped his head around, trying to catch sight of her before she did anything. Katrina wasted no time though. She took one look at him, pulled the gun from its holster on her waist, and fired. The crack of the bullet made me run on pure instinct and Brooke dropped to the ground. It hadn’t hit him unfortunately, but it had bought me enough time to run.
“Argh that bitch! I’ll find her myself!”
Brooke shouted before getting back to his feet and running the other direction. The guy Katrina had been chasing used the distraction to make some distance on her. He was nearly to the corner that turned towards the Save-A-Lot. I took off after him as Katrina did the same, ripping the walkie talkie from my pocket as I ran.
“Stein get Bianca out of there! Head out to the mine, maybe there aren’t to many people there now, just get her out of town! Brooke is here and he’s looking for her I’ll meet you once this is all over ok.”
I think Stein said something back but I didn’t catch it. The adrenaline spike of getting shot at and chasing this guy who was likely a soon to be murderer made it hard to hear.
We weren’t as fast as we hoped but we were just fast enough to see the consequences of that. As Katrina and I got into the parking lot the guy was already inside, pointing a gun of his own at the elderly cashier that gave me a hard time about my ID. I made out the movements of her lips just before he pulled the trigger. It looked like she said “Oh, you’re the one she sent then.” Just before he killed her.
I stopped dead when I saw the body drop, I’d never seen someone die before. In Imalone people had died but I’d been knocked out for most of it. Seeing it up close though, it made my stomach drop. I fell to my knees and threw up on the spot, the blood, god the blood splatter behind her it was horrible.
Katrina didn’t stop after the shot, if anything she charged in even faster. The gun was still in her hand and she held it up in front of her, using the weight of the gun to smash through the glass doors with the bottom of the grip. The shards of glass rained down on the murderer who surprisingly, seemed just as stunned as I was by the corpse. Katrina dropped her shoulder and charged into him, hitting him so hard they both fell to the ground. She was back on her feet quick as lighting, flipping the guy over onto his front and putting a knee on his back in between his shoulder blades. Katrina locked his arm behind his back and said something I couldn’t hear. At that point I kinda spaced out. The only other thing I remember before getting in the truck was Katrina leading the man out of the store with his hands zip tied behind him. The few people who were in the store had come out and were starting to pick over the scene as we shot out onto the road back to the mine.
I noticed one of us was missing when we came to a stop.
“Where’s Brooke?”
“I wasn’t waiting for him, not after whatever he pulled in town. He can find his own way back.”
Katrina answered me while pushing the man she’d apprehended out of the truck and toward the entrance to the mine.
“Are you doing ok? You looked a little white on the way out here, like you saw a ghost.”
Robert asked me as we got out and followed behind Katrina.
“Sure sure I just… never saw someone die like that you know.”
I said, never so sure that I wasn’t ok. Robert gave me a knowing nod as we made our way down to the coliseum.
Shaoni and Katrina were waiting for us already. Brooke was there too, beaten and bloody against the wall. It looked like someone had dragged him back here against his will, probably Shaoni if I had to guess.
“I can’t say I’m pleased with what went on in town but in the end you did discover the murderer, even if it was too late. Now it’s time for the second part of this trial. I want to hear your judgements, what should this man’s punishment be?”
Shaoni greeted us, ignoring everything that had gone on before like it didn’t even matter. Something about that made my blood boil.
“Katrina, you first. What should this man’s punishment be?”
“P please.. you said.”
The man muttered before Shaoni slapped him hard across the face.
“You will be silent!”
She ordered, the room suddenly becoming electric with her temper. Katrina stepped up in front of Shaoni and gave her judgment.
“He took a life, he should be killed as well. It’s the only way to be sure he doesn’t do something like that again.”
Shaoni nodded at that and pointed to me.
“You next Keith, what should we do with him?”
I was filled with a rage I’d never felt before as I looked at the whole situation. Shaoni was meant to be a spirt of justice, or so I thought. Yet she let that woman die. Worse still, after what the woman said I believed Shaoni may have arranged the whole thing, murderer, victim, and all. That’s not justice, that’s playing god, using her power and influence to mess with people like pieces on a chessboard and for what? Just so she could “test” a few people who’d caught her eye?
“You deserve punishment Shaoni. That man is innocent, you put him up to it didn’t you? Him, the victim, all of it! It’s all just some kind of game to you isn’t it?! You keep claiming you represent justice but from what I’ve heard you’ve had a problem with that. This is something else though, where is the justice in this Shaoni, where! I don’t pretend to know what you’ve been through over the years Justice, but this isn’t right. If it was up to me this man should be let go so he doesn’t have you whispering in his ear and you should go back to sleep like you had been years ago.”
I shouted at her, not caring what she would do to me. It felt good though, to finally let her have it, especially after all she’d put me through.
I learned Shaoni’s real name from Bianca but hearing it seemed to make her shrink. The second I said it I had her full attention.
“No! You don’t understand Keith! These people were terrible, guilty of their own crimes. I found them both and offered them a deal. Submit to my judgment or do something for me and face the judgment of another. They got their punishments, I’m no monster!”
She roared back, the beginning of tears brimming in her eyes.
“Guilty or not you used them like pawns Justice! None of this is right, there’s no justice in it, no right and wrong. It’s just a game to you! Don’t you see this is wrong!”
I yelled at her again.
“DON’T YOU USE THAT NAME!”
She thundered back.
“Would you prefer Vengeance?!”
I added, shattering her.
The mention of that name brought Shaoni to tears and she lost her temper. She threw her hand out toward the man still zip tied on the ground in an act of anger. The tattoos on her arms glowed with a blue, ghostly light. The energy grew until a bolt of lightning arced from the tattoos, filling the room with the scent of ozone. The bolt hit the man in the head, searing the skin of his face black in an instant as his body went still.
“You don’t understand, all those years, all those mistakes. Do you know what that…!”
Shaoni started to scream to me again, but she was cut off by the sound of vehicles above us and the cracks of gunfire.
I looked around in surprise, still in shock after the brutal death of the murderer in front of me. I saw Katrina holding her own walkie talkie and smiling.
“Looks like my ride is here, time to end this little charade. Keith, I’d suggest running if I where you. Shaoni, I’d say its been fun but you’re the whole reason they sent me out here in the first place. You’ve been way too much trouble but for what its worth, good luck.”
Katrina hissed at the two of us. Robert, John, and I were stunned, even Shaoni herself seemed shocked back to reality by whatever was happening. With her piece said, Katrina turned and walked out of the mine, towards the growing sounds of shouting and gunfire coming from outside.
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2024.05.21 16:57 Shagrrotten The Greatest Car Chases in Movie History, Ranked

Taken from: https://www.theringer.com/movies/2024/5/21/24161120/greatest-movie-car-chase-scenes-ranked-furiosa-mad-max-saga
In honor of the imminent ‘Furiosa: A Mad Max Saga,’ we’re shifting into high gear to determine the best chase scene in cinema history
By Miles Surrey May 21, 2024, 6:30am EDTGetty Images/Ringer illustration
After wowing audiences with Mad Max: Fury Road, director George Miller returns to the franchise’s post-apocalyptic wastelands for Furiosa, the epic origin story of the eponymous heroine (now played by Anya Taylor-Joy), premiering on Friday. As the follow-up to one of the greatest action films ever made, it’s hard to overstate the hype for Furiosa, and that was before word got out about a showstopping 15-minute sequence that required nearly 200 stuntpeople and took 78 days to shoot. While Furiosa will have its own distinct flavor, as is true of every Mad Max movie, there’s one thing that unites these projects: intense, jaw-dropping scenes of vehicular mayhem. And what better way to honor the franchise than by celebrating what it does best?
Ahead of Furiosa’s release, we’ve put together our definitive ranking of the best car chases in cinema. There weren’t any strict rules in place, other than capping the list at 20—mostly for my own sanity—and limiting every franchise to one entry. (Apologies to Fury Road’s kickass predecessor The Road Warrior.) We also won’t discriminate against scenes that feature motorbikes, so long as cars (and/or trucks) remain part of the equation. As for what, exactly, constitutes a good car chase? Like list making, it’s bound to be subjective, but I tend to gravitate toward two key elements: the skill of the stuntwork on display and the ways in which a filmmaker conveys the action in relation to the story. (Also, the less CGI, the better.) Buckle up, ’cause we’re not wasting any time shifting into high gear.

20. Quantum of Solace (2008)

There have been some memorable car chases in the James Bond franchise: the first sequence featuring the iconic Aston Martin DB5 in Goldfinger, the corkscrew jump in The Man With the Golden Gun, the Lotus Esprit submarine in The Spy Who Loved Me. But I’m going with a somewhat controversial pick here: Quantum of Solace. There are many issues with Quantum of Solace—namely, it was one of the most high-profile blockbusters affected by the 2007-08 writers strike—but its opening scene isn’t one of them. Picking up right where Casino Royale left off, we find Bond (Daniel Craig) evading henchmen through the narrow roads around Italy’s Lake Garda. The frenetic, furious chase mirrors Bond’s sense of anguish after losing Vesper Lynd (Eva Green), the woman he opened his heart to, and his relentless quest for answers. It’s a thrilling tone-setter for Quantum of Solace and one that doesn’t overstay its welcome, capped off by Bond sending his final pursuers flying off a cliff:
If we’re being honest, though, it feels like James Bond has yet to create a franchise-defining car chase. Perhaps that’s a mission the newest 007, whoever it ends up being, can undertake.

19. Mission: Impossible—Rogue Nation (2015)

The Mission: Impossible franchise is no stranger to electrifying chase scenes, the best of which find Tom Cruise’s Ethan Hunt working up his heart rate. When it comes to action behind the wheel, though, Fallout tends to dominate the discussion—even on this very website. But I think the vehicular chase in Rogue Nation is being slept on. What we have is effectively two sequences for the price of one: The first finds Hunt pursuing Ilsa Faust (Rebecca Ferguson) by car through the narrow streets of Casablanca alongside some nefarious henchmen; the second sees him continue the chase outside the city on motorbike. (Adding to the chaos: Hunt had only just been resuscitated, and he’s clearly not all there.) In terms of death-defying stunts for the audience’s entertainment, a helmetless Cruise taking corners like a MotoGP racer is child’s play compared to his other exploits, but the actor’s authentic reaction to scraping his knee on the road underlines that there’s no one else in Hollywood doing it like him:
We’ll be sure to update this ranking if and when Cruise does something even more dangerous down the road, pun unintended.

18. Vanishing Point (1971)

A movie that counts the likes of Steven Spielberg and Quentin Tarantino among its biggest fans, Vanishing Point is the first of a few entries on this ranking that’s essentially one extended car chase. The film stars Barry Newman as Kowalski, a man tasked with delivering a Dodge Challenger T 440 Magnum from Colorado to California while eluding police across four states. One of Kowalski’s most memorable run-ins comes when a guy driving a Jaguar E-Type convertible challenges him to an impromptu race. Incredibly, we’re expected to believe the man in the Jag comes out of this crash in one piece:
Vanishing Point might not boast the impressive production values of other movies on this list, but considering Tarantino would go on to feature a white Challenger in Death Proof, its influence in the car cinema canon is undeniable.

17. Fast Five (2011)

Let’s face it, Fast & Furious has seen better days. Some believe the franchise’s dip in quality coincided with the death of Paul Walker; others are dismayed by the pivot from street racing to absurd feats of superherodom—emphasis on the Dom. Perhaps it’s a bit of both, but the very best movie in the series, Fast Five, manages to strike the perfect balance: It’s a relatively grounded heist thriller that nevertheless takes the franchise to ridiculous new heights. After Dominic Toretto (Vin Diesel) and his crew steal $100 million from a Brazilian kingpin, they drag the entire bank vault holding the money through the streets of Rio de Janeiro, all while being pursued by authorities. It’s a delightfully destructive sequence that does untold damage to Rio’s infrastructure and features some of the most bone-crunching crashes committed to film:
If the Fast franchise is going to break out of its recent slump, it would do well to remember that there’s nothing better than letting its heroes live their lives a quarter mile at a time—no detours to outer space required.

16. The Blues Brothers (1980)

A good car chase isn’t reserved just for action flicks: Comedies can get in on the act, too. In The Blues Brothers, starring the recurring Saturday Night Live characters played by John Belushi and Dan Aykroyd, the beloved bandmates must prevent the foreclosure of the orphanage where they were raised by scrounging together $5,000. Naturally, that’s easier said than done: Along the way, the Blues Brothers draw the attention of neo-Nazis, a country-and-western band, and local police. While The Blues Brothers has amusing gags and musical numbers, its chase sequences with the Brothers behind the wheel of a 1974 Dodge Monaco are what really steal the show—and none are better than a climactic pursuit across Chicago. More than 60 old police cars were used in the film, some of which are wrecked in a comically over-the-top pileup:
The sheer scale of The Blues Brothers’ final set piece is commendable in and of itself—as is the movie’s commitment to treating real-life cars like a bunch of Hot Wheels.

15. Baby Driver (2017)

For good and for ill, Edgar Wright’s movies exude an abundance of style, and Baby Driver is no exception. Baby Driver is centered on a clever gimmick: The action works in tandem with its soundtrack because the film’s protagonist, Baby (Ansel Elgort), suffers from tinnitus and constantly plays music to drown out the ringing. When everything’s clicking into place, Baby Driver feels like a supersized series of music videos, and nothing hits quite like its opening sequence. Baby acts as the getaway driver for a bank robbery while listening to the Jon Spencer Blues Explosion’s “Bellbottoms.” The ensuing chase works around rhythms of the song, as if Baby’s Subaru WRX were the star of its own dance number. Take nothing away from the actual driving, either, which puts the rally car to good use:
Baby Driver’s gimmick stretches a little thin by the end, but it’s hard to deny the crowd-pleasing power of Wright’s film when it’s firing on all cylinders.

14. The Raid 2 (2014)

With a trio of kickass Indonesian martial arts films under his belt, Gareth Evans has established himself as one of the most exciting action directors on the planet—someone who seems most in his element staging positively brutal hand-to-hand combat. In The Raid 2, however, Evans also brought his signature brand of carnage to the road. While there’s some cleverly executed close-quarters fighting within the confines of an SUV, courtesy of Iko Uwais’s hard-hitting protagonist, what really cements this sequence’s greatness are the moments when Evans turns the cars into an extension of the characters’ fists:
This belongs in an entirely new category of combat: car fights. There are so many action scenes in The Raid 2 worth writing home about—the kitchen showdown is an all-timer—but the fact that Evans casually tossed in an unforgettable car chase shows why he’s one of one.

13. The Driver (1978)

I’ll say this for Walter Hill’s The Driver: It sure lives up to its title. In this stripped-down thriller—one where none of the characters have a name—we follow the Driver (Ryan O’Neal), a getaway driver who has become a thorn in the side of the LAPD. In the film’s best scene, we see its taciturn protagonist living up to his reputation. With the Driver behind the wheel of a 1974 Ford Galaxie, a cat-and-mouse game unfolds when a handful of police cars are hot on his tail. What I love about this sequence is the pared-down nature of it all: The Driver outwits the cops as much as he outraces them. (Though, ironically, that wasn’t entirely by design: As Hill later explained, an accident on the last night of shooting meant they had to cobble together what had already been filmed.) Frankly, you’d never know the difference from the finished article:
If the general vibes of The Driver seem familiar, that’s because it was a major inspiration for Nicolas Winding Refn’s Drive, which just so happened to feature an unnamed protagonist (Ryan Gosling) evading police through the streets of Los Angeles.

12. The Bourne Supremacy (2004)

The shaky-cam style of the Bourne franchise isn’t for everyone—just ask John Woo—but credit where it’s due: These movies know how to deliver a good chase scene. (A friendly reminder that The Bourne Legacy is an underrated gem with an awesome motorbike sequence to boot.) But there’s one Bourne chase that stands above the rest: the Moscow getaway in The Bourne Supremacy. After being wounded by the Russian assassin Kirill (Karl Urban), Jason Bourne (Matt Damon) hijacks a taxi, with both the police and Kirill in hot pursuit. This isn’t the kind of sequence that lingers on any one shot; instead, what makes it work is the frenetic nature of the editing, which allows the viewer to feel like they’re in Bourne’s fight-or-flight headspace:
If I’m being honest, I’m usually one of those people who doesn’t like the Bourne movies’ shaky-cam style, but when it’s executed with such craftsmanship, you can’t help but get caught up in its adrenaline-pumping power.

11. The Seven-Ups (1973)

Philip D’Antoni was the producer of two movies featuring Hall of Fame car chases, Bullitt and The French Connection, the latter of which won him an Oscar for Best Picture. And with his lone directorial feature, The Seven-Ups, D’Antoni sought to craft an iconic sequence of his own. The film stars Roy Scheider as NYPD detective Buddy Mannuci (elite Italian American name; I can practically smell the gabagool), who commands a unit handling major felony cases that lead to seven-plus-year prison sentences; that’s why they’re known as the Seven-Ups. Midway through the movie, when one of the team members is killed by two shooters who flee the scene, Buddy chases after them. The 10-minute sequence, which starts in the Upper West Side before moving out of the city, is thrillingly immersive, alternating between close-ups of the characters and wider shots of all the damage they’ve caused. But the chase’s defining moment comes right at the end, when Buddy narrowly avoids a grisly death:
The sequence isn’t quite at the level of Bullitt or The French Connection—very few are—but D’Antoni still manages to leave an unmistakable imprint on the car chase canon.

10. Death Proof (2007)

If you ask Quentin Tarantino, Death Proof, his knowingly trashy tribute to exploitation cinema, is the worst movie he’s ever made. But that doesn’t mean there isn’t a lot to admire about the film, which honors the unsung heroes of Hollywood: stunt performers. The first half of Death Proof follows three female friends who cross paths with Stuntman Mike (Kurt Russell), a misogynistic serial killer who takes them out in his “death-proof” Chevy Nova. Fourteen months later, a group that includes stuntwoman Zoë Bell, playing herself, also lands on Mike’s radar. As Bell and her friends test out a ’70s Challenger, she performs a “ship’s mast” stunt, clinging onto the hood of the car with fastening belts. Unfortunately, when Mike pursues the women, it puts Bell in a precarious situation. Most of the entries on this list celebrate some next-level driving skills, but Death Proof’s inclusion is all about Bell pulling off one of the wildest stunts you’ll ever see. She’s quite literally hanging on for dear life:
If the Academy handed out Oscars to stunt performers—and let’s hope it does happen one day—Bell would’ve won in a landslide.

9. To Live and Die in L.A. (1985)

William Friedkin was already responsible for an all-time great car chase in The French Connection (more on that later), but the filmmaker made a commendable bid to outdo himself with To Live and Die in L.A. In this neo-noir thriller, Secret Service agent Richard Chance (William L. Petersen) is hell-bent on arresting an expert counterfeiter, Rick Masters (Willem Dafoe), who kills Chance’s partner days before his retirement. To capture Masters, Chance and his new partner, John Vukovich (John Pankow), attempt to steal $50,000 from a jewelry buyer for an undercover operation. The sting goes bad when the buyer, who is later revealed to be an undercover FBI agent, is killed and a group of gunmen goes after Chance and Vukovich. It’s a clever inversion of the usual car chase formula—this time, it’s the lawmen running away from the criminals. The outside-the-box thinking extends to the film’s most astonishing stretch, in which Chance evades the gunmen by driving into oncoming traffic:
The fact that Friedkin shot the chase at the end of filming—in case anything disastrous happened to the actors—underscores just how risky the endeavor was. The pulse-pounding results speak for themselves.

8. The Matrix Reloaded (2003)

The Matrix sequels have never been held in high esteem, but I’m ready to live my truth: The Matrix Reloaded fucking rules. (If anyone’s got a problem with this take, file your complaints with the Architect.) What’s more, the film happens to boast the finest action set piece of the franchise: the highway chase. After Morpheus (Laurence Fishburne) and Trinity (Carrie-Anne Moss) free the Keymaker (Randall Duk Kim), a program capable of creating shortcuts within the Matrix, they’re pursued by the Twins (Neil and Adrian Rayment). Morpheus once warned that going on the freeway was “suicide,” and it doesn’t take long to see why: The chase draws the attention of several Agents, who repeatedly take over the bodies of other drivers on the road. The scene is the best of both worlds: There’s some incredible stuntwork on display, including when Moss weaves around on a Ducati, and CGI augments some feats of superhuman strength. But the most jaw-dropping aspect of the sequence is how it came together, as the production spent $2.5 million to construct its own highway (!) on California’s Alameda Island. If that weren’t unique enough, I’m pretty sure Reloaded is also the only movie in existence in which a katana takes out an SUV:
The Matrix remains the Wachowskis’ masterpiece, but don’t get it twisted: The filmmakers were still cooking with gas in the sequel.

7. Gone in 60 Seconds (1974)

Size isn’t everything, but for H. B. Halicki, who produced, wrote, directed, and starred in Gone in 60 Seconds, it’s certainly part of the package. The indie action flick follows Maindrian Pace (Halicki), a Los Angeles insurance investigator who has a lucrative side hustle jacking high-end cars. The plot kicks into motion when a South American drug lord enlists Pace to nab 48 cars within five days in exchange for $400,000. Of course, Gone in 60 Seconds is best known for what happens after Pace is caught stealing a 1973 Ford Mustang Mach 1, when he leads police on a chase that lasts a whopping 40 minutes. (More than 90 cars were destroyed in the process.) Halicki, for his part, did all the driving himself, including a spectacular jump off a makeshift ramp of crashed cars:
While Halicki wound up making a few more indies after Gone in 60 Seconds, he died in an accident on the set of its sequel. His legacy as a do-it-all daredevil, however, lives on.

6. Terminator 2: Judgment Day (1991)

Long before James Cameron immersed himself in the world of Pandora, he was a pioneer of state-of-the-art visual effects. Case in point: Terminator 2: Judgment Day is credited for having the first CGI character in a blockbuster, the T-1000 (Robert Patrick), a killing machine composed of a futuristic liquid metal. But Cameron also understood that the CGI of that era shouldn’t be the main attraction: It worked best as a complement to the practical effects, as seen in Judgment Day’s epic viaduct chase. When the T-1000 tracks down a young John Connor (Edward Furlong) in a shopping mall, he’s saved at the last minute by the Terminator (Arnold Schwarzenegger), giving John a chance to escape on his dirt bike. As the T-1000 gives chase, the David and Goliath vibes between man and machine are further epitomized by the T-1000’s commandeering of a truck. The sequence already has a terrifying sense of urgency, but it hits another level when the T-1000 crashes through the viaduct like the Kool-Aid Man:
Big Jim is still revolutionizing what can be achieved with visual effects in the Avatar franchise, and while I cherish those movies, nothing beats his old-school showmanship.

5. Duel (1971)

The feature-length debut of Steven Spielberg—perhaps you’ve heard of him—the TV movie Duel is essentially one extended chase sequence between salesman David Mann (Dennis Weaver) and a sinister trucker determined to drive him off the road. I’ve attached a clip from the ending of the film, but that doesn’t do Duel justice. What cements this movie’s greatness is how it sustains an unbearable level of tension across its 90-minute running time—with a budget under $500,000, no less. Spielberg’s masterstroke is never once showing us the other driver, anthropomorphizing the truck itself as a monster. (You can see a lot of similarities with how he would build suspense in Jaws.) When Mann finally gets the upper hand, tricking his adversary into driving off a cliff, it feels like you can breathe again:
Spielberg would move on to bigger and better things after Duel, but considering how much the director accomplished with so little, you can’t help but wonder what else he could conjure up with limited resources.

4. Mad Max: Fury Road (2015)

Like Duel, Fury Road is basically one long car chase—the difference is Miller got to work with a blockbuster budget, and made every cent of it count. It’s hard to pick a single standout sequence in Fury Road, but if I had to choose, I’d go with the first attack on the War Rig after Furiosa (Charlize Theron) flees with the wives of Immortan Joe (Hugh Keays-Byrne). Here’s why: Think back to when you saw Fury Road for the first time, before you fully grasped the vehicular carnage that was in store. And then stuff like this kept happening:
To quote Steven Soderbergh’s thoughts on Fury Road: “I don’t understand how they’re not still shooting that film and I don’t understand how hundreds of people aren’t dead.” Whether or not Miller manages to one-up the action in Furiosa, the director is already in the pantheon.

3. The French Connection (1971)

We return to the Friedkin-verse for what may be his best film, The French Connection, the crime thriller based on Robin Moore’s 1969 nonfiction book of the same name. The story concerns two NYPD detectives, Jimmy “Popeye” Doyle (Gene Hackman) and Buddy “Cloudy” Russo (Roy Scheider), and their tireless pursuit of a French heroin smuggler. But while there’s plenty to admire about how The French Connection illustrates the thin line between police and criminals, its greatest claim to fame is its car chase. After Popeye narrowly survives a sniper attack, he goes after the shooter, who escapes on an elevated train. The ensuing sequence is true daredevil filmmaking that Friedkin shot without permits, leading to real crashes with New Yorkers that made the final cut. But Friedkin’s finest touch was mounting a camera to the front of the car, making the audience feel like they’re part of the action:
My Ringer colleague Justin Sayles believes The French Connection’s chase should’ve landed at no. 1, and I’m sure many folks will agree with him. Being the only film on this list to win Best Picture, however, is a solid consolation prize.

2. Bullitt (1968)

When it comes to modern car chases, all roads lead back to Bullitt. A Dad Cinema classic, the film stars Steve McQueen as Frank Bullitt, a San Francisco detective who pursues a group of mobsters after a key witness is killed in protective custody. In his search for answers, Bullitt realizes he’s being tailed by a couple of hitmen, and then turns the tables on them. From there, the chase is on. Aside from McQueen doing most of his own stunts behind the wheel of a Ford Mustang GT 390 Fastback, what’s so impressive about the sequence is how timeless it is. Even the little imperfections, like hubcaps repeatedly coming off the wheels, work to the film’s advantage, stressing just how much these drivers are living on a razor’s edge. It’s been more than 50 years since Bullitt revolutionized the car chase, and yet few movies since have felt like they’re pushing the envelope to such an exhilarating degree:
That the car driven by McQueen was recently sold at auction for $3.74 million, a then-record price for a Mustang, underlines Bullitt’s enduring legacy.

1. Ronin (1998)

“If I’m going to do a car chase,” filmmaker John Frankenheimer said in an interview with the American Society of Cinematographers, “I’m going to do a car chase that’s going to make somebody think about whether or not they want to do another one!” Boy, did he ever. In Frankenheimer’s late-career masterpiece, Ronin, the director actually incorporated several chases, but it’s the climactic sequence that stands alone as the greatest ever filmed. The movie concerns an international group of mercenaries who are hired to steal a mysterious briefcase; a series of double-crosses and double-bluffs ensue. But for the final chase, all you need to know is that Sam (Robert De Niro), a mercenary with ties to the CIA, is in pursuit of Deirdre (Natascha McElhone), an IRA operative in possession of the case. Winding through the streets and tunnels of Paris, what’s most striking is just how fluid it all feels. You’re completely engrossed in the chase’s forward momentum, captured from every conceivable angle; a symphony of controlled chaos. The driving styles even reflect the characters: Deirdre is reckless and impulsive, while Sam remains calm and controlled.
There are many worthy car chases in this ranking, but in my view, Ronin takes pole position. And while I can’t imagine a movie ever topping what Frankenheimer achieved, I’d love nothing more than to be proved wrong.
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2024.05.21 16:56 CDown01 Eagles Peak pt.8

Previous Part
By the time I’d woke up bright and early at 4 A.M., Rocco had amassed an impressive pile of pilfered food in the corner of the tepee. He was just dragging in a turkey leg when I saw him, must’ve been at it all night form the looks of it.
“Rocco, what the hell!”
I shouted, waving my hands at the pile of food he’d brought in.
“I told you to stay out of trouble, lay low. This is… not that!”
I complained, trying to think of how I’d talk my way out of this if anyone asked about the missing food. Rocco simply responded by shrugging, turning around, and diving face first into the mountain of food. I was annoyed at the moment but then I got to thinking. If Rocco stole all that and no one saw him what else could he do without being noticed?
“Hey… hey Rocco no-one saw you stealing all this right?”
I asked, grabbing his tail and dragging him out of the food mountain.
“WHATS DA BIG IDEA!”
He protested, flailing around as I held him in the air by his tail before regaining his composure and adding.
“I’m a profesional, of course I didn’t get seen. Why?! Did someone say something!?
Rocco shot his head from side to side, like he would find someone listening or critiquing his heist. All the movement causing him to spin slowly, still dangling from his tail.
“No, I was just thinking, as long as your out here I could have a job for you.”
I said, setting him down as he answered,
“Whad’ya mean? Spit it out!”
with his classic charm.
“I mean, I want you to sneak into that blonde guy’s tepee. The one with the shitty attitude, Brooke I think his name was. Just see if you can find anything in there.”
I could see Rocco’s interest was peaked but he still had one last all to predictable question.
“What’s in it for me?”
“You keep whatever you find in there no questions asked.”
Before the words even left fully my lips Rocco cried, “DEAL” and sprinted out of the tepee on all fours, leaving me alone.
I wasn’t really sure what the process was now, was Shaoni going to come get us or did she expect us to meet her in the coliseum? I’d never been part of anything like this before, I had no idea what the attendance policy was like. So, lacking anything better to do, I walked down into the mines and waited in the coliseum. It was obvious they were’t really ready for us yet. A few of Shaoni’s people were down there placing cactus looking things into five carved wooden bowls on the floor. Five bowls, five people in these trials so those had to have something to do with us. I looked around the room, trying to find Shaoni. She wasn’t up on her perch like yesterday and she certainly wasn’t part of the small group setting up those bowls. I felt a little different about her now that we’d had a chance to talk. Before I’d been afraid of her, and for good reason, but she seemed to want the opposite of that. Maybe not from me specifically but in general. Although, how could you not be scared of someone who could turn into a giant bird and seemed to consistently be the cause of freak storms. There was a lot of power to her but she didn’t want people to be afraid of it, she wanted respect. I’m sure there was more to her that I hadn’t heard but I certainly was going to hear anything new here.
Seeing as I was still apparently early, I decided not to wear out my welcome in the coliseum. I made my way back out of the mines and settled down back at that canvas tent with the huge table. It was again filled with food that had come from nowhere in particular, probably set up by more of Shaoni’s people. As if to confirm my suspicion, the bandaged man Bianca had stabbed earlier emerged from the camp, walking towards me with a platter of bacon. He starred daggers at me as he placed the platter at the table but didn’t say anything. I was almost tempted to apologize on Bianca’s behalf but I got the sense that wouldn’t be a great idea. Not long after I saw two of the others approaching.
“… Sure, but for some glorified tent it’s still pretty comfortable.”
Brooke said to Katrina who looked thoroughly uninterested in what he had to say.
Brooke wore a… purple suit that made him look like some stereotypical version of a pimp. I couldn’t think of any reason he’d wear that out here, at least no-one would mistake him from anyone else, that ’s for sure. Katrina wore an equally confusing getup, a blue tank top and jeans that made her look kinda like the girl from those tomb raider games. It was about 50 degrees out and probably wasn’t going to get much warmer. If she wanted to freeze, so be it. I gave a slight nod to them as they sat down across from me. Katrina still eyeing Brooke with an expression that begged for him not to open his mouth again.
I couldn’t stop staring at her, no not like that, I was staring at her belt where a holster sat,
“You like it?”
She asked, noticing the staring that I should’ve been trying harder to hide, drawing the handgun from the holster on her hip.
“Beretta M9 semi-automatic pistol, my father’s service pistol actually. Always served me well, so I always keep it on me, well almost always.”
She said with a wink, checking the gun and pulling back its slide. I wasn’t all that familiar with guns but I distinctly saw her flip the safety off. Which had a profound effect on my nerves considering I was staring down its barrel.
“They let you keep that around here? I would’ve thought they take that from you.”
I asked incredulously, still eyeing the gun she had pointed at me.
“I hid it on me yesterday, if they have an issue with it they can try and take it from me. I’m not doing anything like this without some kind of insurance. They get me and Luke or nothing at all.”
She retorted, spinning the gun back into her holster and turning the safety back on with a practiced hand. “Oh that’s cute, she named it” I thought sarcastically as my nerves settled, a loaded gun no longer pointed directly at my face.
“I’m not sure Shaoni would let you leave, even if you wanted to.”
“Oh please! She wouldn’t dare lay a finger on me or she’d have bigger problems coming her way.”
Katrina laughed, throwing her hand back in seemingly genuine amusement. She really didn’t have a care about the Thunderbird? I found that hard to believe.
“So what do you do anyways then? If you’re so sure she wouldn’t touch you.”
I asked incredulously. This seemed to grab her attention as she immediately snapped her head down, locking eyes with me and barking,
“That’s a need to know thing and you don’t.”
Before returning her attention to the food on the table and ignoring me. She was military, that was probably a safe assumption.
Brooke had been listening in to our conversation as he ate. After Katrina snapped at me he finally spoke up.
“So hang on, you came all the way out here with no insurance, no protection? Does anyone even know you’re out here?”
I briefly thought about Rocco, he wasn’t great insurance but he sure came cheap. I hadn’t stopped to think about preparing anything to bring out here with me. I just stupidly assumed everyone was on the same page as me, an unprepared fish out of water.
“No, I guess not.”
I responded, a little shaken at the realization that everyone here was probably more prepared than me.
“You must be stupid or have balls of steel to do something like that.”
Brooke told me, reaching over the table to clap me on the shoulder. I didn’t know if this really was the Brooke Bianca told me about or not but I really did not like this guy. We ate the rest of our breakfast in silence. John and Robert never showed up but I guessed they were down in the mines helping set everything up. I guess being a participate in the trials didn’t exempt Shaoni's followers from having to help get ready for them.
Apparently my guess was right because Robert and John were both already in the coliseum when the three of us arrived. Shaoni was once again up on the balcony and all of the people that had been there earlier were gone. I could clearly see what was in the five bowls now. It was some kind of small cactus thing with a white-pink flower at the top. I’d never seen anything like it before but it did seem a little out of place.
“This is your first trial, the trial of morals. This trial is meant to show us where your morals lie through visions of the past and beyond. Sometimes the plant has a mind of its own though so I don’t expect anyone will have the same experience. Some may not even serve the purpose of the trial but the vision is more important than anything I hoped to learn.”
Shaoni spoke like an announcer from above us.
“There is a plant there for each of you, peyote plants that I had grow for just this occasion. Each of you will eat one of the plants and they will give you visions. You will walk among the spirits and they will show you what you need to see.”
Shaoni finished, like she hadn’t just asked us to take hallucinogenics in an unfamiliar environment surrounded by people we didn’t really trust. I wasn’t a huge fan of being here when I was in control of my faculties but while experiencing a vision, oh no, fat chance. Then again it wasn’t like I had all that much of a choice, I realized just before I opened my mouth to protest.
“Fine but what does that tell you about us? Sure we can go get high for you here but it doesn’t really help anyone.”
Brooke spoke up, taking his usual disrespectful tone with Shaoni.
“I have my ways of knowing, but this experiences is for you. It should tell you more about yourself than it will tell me but I assure you, I will learn something.”
An annoyed but composed Shaoni responded. With that she turned and left us to our task.
“So does anyone want to go first?”
Katrina asked, putting a finger to her nose, inviting anyone else to go first.
“Not so fast sweetcheeks, I don’t trust any of you so how about you take the first crack at it?”
Brooke pointedly suggested. I think Katrina wanted to throw a haymaker at his face right then but I stepped in first.
“What if we all did it at once? Then no one is waiting around and I highly doubt she would let anyone come down here and do anything to us if these trials are that important to her.”
I reasoned, pointing up at the balcony Shaoni had been standing on.
“I still don’t like it but I can live with that, I agree everyone at once like… what’s your name?”
“Keith”
“Everyone at once like Keith said.”
Commanded Katrina, looking everyone in the eye and daring them to challenge her. I didn’t know what she did before coming here but whatever it was gave her a glare even Shaoni would be proud of. No-one hesitated to walk up to their respective bowls and take a bite of the strange pinkish flower at the top of the cactus.
The effects weren’t immediate, John just ate his flower then knelt by his bowl, eyes closed waiting for the vision to come. Robert leaned against the wall looking at his watch, seemingly judging the time before it took effect.
“It’s not my first time with peyote, I’ll probably stay up a little longer than you guys.”
Brooke bragged to the room, taking a seat by his bowl as Katrina and I did the same.
Poetically, Brooke was actually the first of us to go down for the count. I had to resit the urge to stand up and kick the crumpled up purple ball that was formerly Brooke. I don’t think anyone would have stopped me, heck the way Katrina was glaring at him this morning she might’ve joined in. But given what came next it was probably a good idea I didn’t stand. All of a sudden the room began flashing different colors, orange then brown then blue. I felt like I was falling but I hadn’t moved. Eventually a sensation came over me, like I had stood up but I was acutely aware of the fact that my body was really lying on the floor of the coliseum. As my vision cleared I started to recognize things, sights and sounds of a hospital room. It would seem my vision had started by bringing me back to my father.
I inched through the hospital room, sure of what I’d see on the other side of the thin curtain. A heart monitor beeped, just the same as the first and last time I’d been in this room. I saw my father, splayed across the bed no different than the only time I’d been in this room. I’ve always maintained that my family life was generally normal, anything that lay outside of that box of normality could be attributed to my father. He was never what I’d call a good person. Sure, he was never aggressive towards me but it didn't really count for anything. You could tell he never really wanted me. What he did to my mother, that was another story. He came home drunk almost every night and she end up with a black eye or worse at least once a week. Unfortunately for us he had a good job, he paid the bills and my mother and I couldn’t really support ourselves on our own back then. Worse still my mother always told me she put up with it for my sake when I asked her about it. That meant I always felt partially responsible every time I heard a fist meet skin in the room below mine.
My father had ended up in this bed by way of a drunk driving incident. Funnily enough it wasn’t actually his fault. He just so happened to be in the wrong intersection at the wrong time when a box truck plowed right into him. The accident left him with severe brain and spinal damage. It was a sick joke he survived, not a miracle. He’d be on life support from now on. I could’ve made him pay for everything he did with the simple tug of a cable. The only reason I didn’t was that the owner of the company that employed the box truck driver offered to pay all his medical bills. He must not have looked to closely because my fathers insurance was covering all of it. But every week a hefty check came in the mail anyways. As long as he was alive and in that hospital bed, me and my mother could live comfortably. It wasn’t really the right thing to do but I figured it was what my mother deserved after years of putting up with his abuse.
The heart monitor’s shrill beeping focused me back to the situation. I stood over my father’s body, the old urge to just pull the plug washing over me again.
“It would be so easy. Mom’s fine now, you’re managing, why do you still need him?”
I thought to myself, toying with the idea as another voice spoke in my head, Shaoni’s voice.
“He’s earned it, he ruined years of your mother’s life, Its only fair he pay a price for what he did.”
I looked around for the source of her voice but I saw nothing, maybe I was just hearing things, it was just a vision after all right? I looked down to see I was now on the opposite side of the bed, hand reaching toward the cord that powered the life support. Time seemed to move at a crawl, was this really the best option? He was probably solely responsible for the distance between my mother and I, he beat her so many times. Some of the blame for it even sat on my shouldres, would killing him take that away? Could I live with myself if I did this? Knowing I took the easy way out at his expense. No… I couldn’t, it would make me just as bad as him. It just wasn’t right I shouldn’t be the one to decide if he dies. Besides, whatever sliver of sentience remained in him deserved to watch as he shriveled and died in his own way, in some ways that was far worse but he didn’t deserve an easy way out either. The room spun as I made my choice and pulled my hand back from the plug. Sending my vision spiraling as my body collapsed to the cold hospital floor. When I finally fought my way through my spinning vision and back to my feet I was somewhere else. I was in Imalone and if I had to guess it was the night I first saw Shaoni.
I was somewhere in the town square where I got chained into the wooden monstrosity the cultists had made. Shaoni was circling in the sky so I guess I was watching this memory from outside of myself. I was made absolutely sure of this when I saw myself being carried out of the old rotting bar. I watched as the situation played out exactly as I remembered it. Right up until Shaoni landed and came to speak with the one masked cultist. What had been gibberish to me before was suddenly crystal clear english.
“What IS this! You think this is right!? This is what you think I stand for, human sacrifice?!”
Shaoni shouted with such intensity and force I jumped back, looking for a place to take cover.
“Brother Aaron foretold your approach, this outsider wandered in so we thought he would make an excellent gift to you.”
The masked cultist answered, missing the point entirely as Shaoni’s eyes flashed with fury.
“There will be a sacrifice alright, a price must be paid for everything you’ve done here. You have no understanding of what I stand for, You’ve spit in the face of it in fact and for that, each and every one of you will make a sacrifice. Release that poor boy, NOW!”
Shaoni commanded the cultists with a voice so stern I almost ran to try and free the trapped version of myself. None of them budged, they didn’t even seem to realize what kind of danger they were in. Shaoni strode past them over to me where she offered me her all to familiar deal. I was stunned, I never stopped to think that she fully intended to let me go either way. Sure, now I knew that these guys weren’t her usual followers. I still never thought she came here intending to wipe them out. I didn’t really have a chance to dwell on it. Before I knew it Shaoni was transforming again causing a tornado to appear in the middle of town as lightning struck around the area like machine gun fire. As the wall of wind rain and lighting reached me I felt a familiar falling sensation and blacked out again.
When I came to I was back on the cave floor again. I wasn’t sure if I was still in a vision until I felt a sharp kick to my side.
“Oh… that felt… very real. Oh god why?”
I groaned as I looked up at the smirking Katrina.
“He’s awake, that’s everyone then.”
She called out to the rest of the group who were all standing around me. She and the others walked off in the direction of the exit, leaving me there on the floor. With nothing better to do I followed them out. Outside the full moon had shown itself, bathing the camp in shimmering moonlight. Shaoni walked up to greet all of us who’d just collectively decided to just go outside.
“You’ve all made it through it would seem, I hope your experiences weren’t to unpleasant.”
Brooke charged straight past her, I could practically see the steam coming out of his ears. Obviously he’d seen something he didn’t like while he was under the influence of that plant. Katrina seemed completely unaffected, marching by Shaoni filled with the same confidence she had when I first saw her. Robert and John seemed completely unaffected by whatever they had seen but something told me they might be used to it. Me, I wasn’t doing so great. I wasn’t all that pleased about revisiting my father and all those old memories and whatever that flower was called had really done a number on me. I weakly waved to Shaoni as I walked by, just trying to focus on walking straight. She didn’t seem to surprised that none of us wanted to talk to her. She didn’t say anything to us as we all quietly sat and ate. I didn’t like the silence, it felt like everyone was just waiting for something to happen but no-one had any idea what. So I got up and headed back to my tepee, maybe Rocco had turned something up on Brooke.
Rocco was waiting for me atop his mountain of food when I got back.
“I found somethin yous might be interested in”
He said triumphantly, waving around a polaroid photo he had clutched in his paw.
“Give that to me!”
I snapped, ripping it right out of his paw.
“Well someones in a mood.”
“Getting drugged will do that to you.”
I snapped as Rocco stared at me, paws on his hips like he was about to give me attitude.
“I’m sorry My heads still just spinning from… well everything today.”
I sighed, holding my head in one hand as I shook it. Apologizing to a raccoon, my life really was something wasn’t it? I looked down to the picture enemy hand and immediately ice shot through my veins. It was a picture of Bianca taken not too long ago by the looks of it. She was walking back into her house in the photo and it looked like it was taken from a passing car. The photo itself isn’t what really concerned me though, the message written on the back did that. “What you seek can be found in the town of Eagles Peak”, the note read in a singsongy way. I’d never seen Shaoni’s handwriting but given the circumstances I was sure that’s what I was looking at.
I looked up at Rocco who looked more serious than I’d ever seen him.
“Now I don’t know what happened to that girl but somethin’ hurt her before we knew her. If that’s the somethin’ that did, and I’m guessin’ it is lookin’ atcha’. I say we should hurt em’ back.”
Rocco told me with cold steel in his voice. It was weird, hearing him speak without a hint of a joke or over exaggerated movement. We finally found something that the little menace to society could focus on, something… productive.
“My hands are tied, I don’t think anyone here would take kindly to me just attacking someone. Besides, look at him, he’s taller and obviously stringer than me. I’m just a scrawny guy who’s way out of his element, I don’t want a fight. Just… keep an eye on him, maybe we can find something to turn the others against him?”
It wasn’t the answer Rocco was looking for, that’s for sure. He deflated at my words, I’m sure he wanted to go in guns blazing and confront Brooke with what we thought we knew. That wasn’t really going to be an option here, even if it was I’d rather not do that.
“Oh, one more thing, Don’t let Brooke go back into town if he tries to leave, I don’t care how you do it just don’t let him leave.”
I added as an evil grin crossed Rocco’s face.
“Aye’ aye’ captain!”
He cried, raising a paw to his head and saluting me.
Just then I heard someone knocking, no rustling? Screwing around with the front flap to the tepee trying to get my attention. I opened it only to see, “Shaoni?”
“I wanted to ask about the visions today, I’ve talked to everyone else but I couldn’t find you so I guessed you’d be at… is that a raccoon?”
Shaoni stopped, seeing Rocco frozen mid step behind me as he tried and failed to run before she saw him. Realizing he’d been seen Rocco twirled around and in a way only he could announced,
“Whatcha’ think you were looking at Pocahontas?”
“Oh? It talks as well?”
Shaoni said, somewhere between bewildered and bemused as she looked between me and the mouthy Raccoon.
“Course I talk! I thought you woulda’ seen somethin’ like that when you were busy painting with all the colors of the wind!”
Rocco yelled back at her. I wasn’t sure if he was actually offended by Shaoni’s questions, or just deliberately trying to be a nuisance, probably the second thing. I whirled around and glared at Rocco, holding my finger to my mouth in an attempt to shut him up. For once he actually listened.
“I… sorry about him, he’s always like that, part of his charm you know.”
I said with a shrug and a nervous chuckle. Shaoni shook her head dismissively and continued.
“Did you see anything in the cave that you wanted to talk about?”
She asked me, now sounding a little annoyed. I thought back to my father and that hospital room, I wasn’t really ready to talk about that with anyone just yet. But I did have some new questions about how I got into this whole mess in the first place.
“You said back in Imalone you saved me because I realized there was a price for being saved. That wasn’t really it though was it? I saw it again, I could understand you this time. You were going to save me regardless. So why mark me Shaoni? Why did you really bring me here?!”
I said, my voice raising outside of my control as I spoke. I had to finally admit to myself that I was sick and tired of being dragged around in the dark. I was suddenly furious and I didn’t care who it was standing in front of me, I wanted an answer.
“Those men were ruining my name, they thought they were following the Thunderbird but it was just some idea of me they had come up with. They used me to justify their horrid actions and I came to put a stop to it. You were there and when I offered you a deal you didn’t fight it. That’s why I marked you.”
Shaoni spoke quickly, like she wanted to avoid the subject, all but turning around and leaving right then.
“Bullshit! I want an answer Shaoni, a real answer!”
I yelled at her, my fury taking full control of me. Shaoni was silent for a minute, when she finally spoke she looked down, never meeting my eyes as she softly said.
“You remind me of someone from a long time ago. They were blind to the way of things at first, an outsider even. In time though, he became what bound our people together as one family. I don’t have a better answer for you than that. I wasn’t sure I should’ve chosen you at first, I had a feeling that day and I followed it. What you’ve done since you’ve got here, how you’ve handled learning what little you know about the world of the supernatural. Those things are what tell me I made the right choice.”
As she walked away I thought I saw tears reflecting in the moonlight shown on her face. As I settled down I swore I heard soft sobs, echoing across the camp long into the night.
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2024.05.21 16:47 fifi_edits Is Pesto Keto-Friendly?

Pesto is a nutritious sauce and condiment available in many tasty variations, but is pesto keto-friendly?
Yes, traditionally prepared pesto is low in carbs and can be a great way to add depth of flavor to various keto recipes.
Discover the benefits of regularly incorporating pesto into a ketogenic diet and learn how to make the best Healthy Keto® pesto recipe.

What is pesto?

Originating from Genoa, Italy, authentic pesto sauce is crafted from simple ingredients, including fresh basil leaves, garlic, parmesan cheese, pecorino cheese, pine nuts, olive oil, sea salt, and pepper.
The name pesto comes from the Genovese word pestare, which means to pound or crush. It depicts the traditional method of preparing pesto using a mortar and pestle to combine ingredients.
Here are common ingredients used in different pesto varieties.

Common herbs used in pesto

The original pesto recipe, Pesto alla Genovese, exclusively uses Genovese basil as the primary herb due to its unique sweetness.
Basil is a delicate herb, and using the mortar and pestle instead of harshly chopping or blending with a food processor slows down the oxidation of the leaves. This not only helps preserve the sauce's vivid green hue but also enhances its flavor and aroma.
However, pesto has evolved to encompass a broader range of ingredients.
Here are some other common herbs used in many pesto recipes:
In addition to herbs, many pesto sauces incorporate ingredients such as arugula, spinach, kale, lemon juice, or tomatoes.

Common nuts used in pesto

Similarly, some recipes replace the traditional toasted pine nuts with other types of nuts to add a unique twist to the classic dish.
Here are some commonly used nuts used to prepare pesto:

Is pesto keto-friendly?

Traditional pesto is low in carbohydrates and contains less than one gram of net carbs per tablespoon. This makes pesto an excellent keto-friendly option that offers impressive flavors.
However, since there are many different pesto variations, it’s crucial to read labels to check that there are no added sugars or hidden carbs that could interfere with ketosis.
For those following Healthy Keto, a low-carb diet that focuses on nutrient-dense whole foods, checking the ingredients list is essential, as many pre-made pestos can include potentially harmful additives and preservatives.
Watch this video to discover the health and nutritional benefits of basil.
Amazing Health & Nutritional Benefits Of Basil

4 health benefits of pesto

Authentic basil pesto combines several superfoods high in nutrients, offering many potential health benefits.
Here are four reasons why you should incorporate more pesto into your meals.

1. Anti-aging properties

Research published in Frontiers in Nutrition shows that healthy fats, particularly the monounsaturated and polyunsaturated fatty acids found in olive oil, can improve brain function and help reduce the risk of cognitive decline.
These fatty acids are also vital for supporting eye health and contribute to healthier skin by improving skin barrier function and hydration.

2. Supports the immune system

According to a study published in Foods, Genovese basil is particularly rich in polyphenols, including rosmarinic and caffeic acid.
These health-promoting compounds have been linked to potent anti-inflammatory effects that support immune system function and may lower the risk of chronic diseases.
3. Potential anti-cancer effects
Key ingredients in pesto, including basil, garlic, and olive oil, are exceptional sources of antioxidants that may help lower cancer risk.
Antioxidants can counteract the effects of free radicals, thereby preventing oxidative stress, which is linked to cellular and DNA damage, a leading cause of cancer.

4. Promotes digestive health

Parmigiano Reggiano, widely considered the best cheese for pesto, contains digestive enzymes and beneficial gut bacteria, also known as probiotics.
Probiotics help maintain a healthy gut microbiome essential for nutrient absorption, digestive health, and overall well-being.
Research published in Food Technology and Biotechnology found that Parmigiano Reggiano also contains oligosaccharides, which act as a prebiotic food source for beneficial gut bacteria.

Store-bought vs. homemade pesto

Italians will be the first to tell you there's no comparison between store-bought and homemade pesto sauce.
Pesto is a delicate sauce that’s best consumed fresh, as its flavor and quality can deteriorate quickly, becoming bitter and dull as the enzymes released from basil oxidize.
To help extend pesto’s shelf life, store-bought versions often contain preservatives and additives that can negatively impact the flavor and quality of the sauce and may harm your health.
Additionally, many store-bought pestos will substitute critical ingredients, such as extra virgin olive oil (EVOO), cheese, or fresh garlic, with cheaper alternatives or omit them entirely, leading to a bland or unpalatable flavor and a significantly lower nutritional value.

How to choose the best store-bought pesto sauce

Homemade pesto sauce is always preferred, but if you don't have time to make it, the best premade pestos can often be found in the refrigerated section.
Look for pestos that don't contain artificial preservatives or low-quality ingredients, such as sunflower oil or potato flakes. Instead, opt for certified organic and non-GMO products that use high-quality oil and real cheese sourced from grass-fed and pasture cows.

Keto-friendly pesto recipes

If you're looking for a way to add extra flavor to your keto meals, look no further than pesto. Chicken, fish, steak, and most vegetables pair exceptionally well with this tasty and versatile sauce.
Here are some delicious keto-friendly pesto recipes:
To complete your pesto experience, try experimenting with keto pasta recipes.
Zucchini noodles, keto gnocchi, and keto egg noodles are excellent low-carb pasta alternatives that work well with keto pesto sauce.

Tips to make the best pesto sauce

Here are some tips on how to choose the best ingredient to make a nutritious and flavorful pesto at home.

Parmesan cheese

Opt for authentic Parmigiano Reggiano, an Italian staple that’s been in production for over 900 years.
Known for its rich, nutty flavor and granular texture, Parmigiano Reggiano undergoes a meticulous aging process and adheres to stringent production standards, ensuring its authenticity and superior quality.
The Parmigiano Reggiano standard guidelines underscore a commitment to natural production, prohibiting additives and ensuring cows are fed local forage.
This approach not only guarantees the cheese's premium taste but also preserves essential nutrients and probiotics.

Olive oil

Select only pure cold-pressed EVOO. Many olive oils on the market are diluted with cheaper oils that compromise flavor and can introduce harmful ingredients that may negatively impact your health.
In addition, evidence published in the Asia Pacific Journal of Clinical Nutrition summarizes, "phenolic content of olive oil is reduced by chemical extraction and refining."
By prioritizing cold-pressed EVOO, you ensure your olive oil is rich in flavor and health-promoting properties.

Fresh Genovese basil

Harvested during early growth stages to ensure optimal flavor, Genovese basil is the prime choice for making basil pesto.
As Dr. Berg explains, "Basil has some amazing health benefits. It’s loaded with vitamin K, manganese, and flavonoids, which can help support healthy bones, blood clotting, and skeletal health while offering potent anti-inflammatory properties.”
submitted by fifi_edits to DrEricBergDC [link] [comments]


2024.05.21 16:44 Lonely_Caramel9707 cisco logs

I'm new to elsastic and i have been trying to get my cisco logs to show up in elastic. i have tried setting up the cisco logs intergation all with no luck. I keep getting a message that "No data has been received from this module yet". I may have an issue with the filebeat.yml or cisco.yml file.
I have attached both. Any help would be great
Thanks

FILEBEAT.ymk

################ Filebeat Configuration Example

This file is an example configuration file highlighting only the most common

options. The filebeat.reference.yml file from the same directory contains all the

supported options with more comments. You can use it as a reference.

You can find the full configuration reference here:

https://www.elastic.co/guide/en/beats/filebeat/index.html

For more available modules and options, please see the filebeat.reference.yml sample

configuration file.

Module: cisco

Docs: https://www.elastic.co/guide/en/beats/filebeat/8.13/filebeat-module-cisco.html

enabled: true

Set which input to use between udp (default), tcp or file.

var.input: syslog

The interface to listen to udp or tcp syslog traffic. Defaults to

localhost. Set to 0.0.0.0 to bind to all available interfaces.

var.syslog_host: 0.0.0.0

The port to listen for udp or tcp syslog traffic. Defaults to 9001.

var.syslog_port: 9002

With tcp input, set the optional tls configuration:

var.ssl:

enabled: true

certificate: /path/to/cert.pem

key: /path/to/privatekey.pem

key_passphrase: 'password for my key'

Set the log level from 1 (alerts only) to 7 (include all messages).

Messages with a log level higher than the specified will be dropped.

See https://www.cisco.com/c/en/us/td/docs/security/asa/syslog/b\_syslog/syslogs-sev-level.html

var.log_level: 7

Set internal security zones. used to override parsed network.direction

based on zone egress and ingress

var.internal_zones: [ "Internal" ]

Set external security zones. used to override parsed network.direction

based on zone egress and ingress

var.external_zones: [ "External" ]

IANA time zone or time offset (e.g. `+0200`) to use when interpreting syslog

timestamps without a time zone.

var.timezone_offset: UTC

ftd:
enabled: false

Set which input to use between udp (default), tcp or file.

var.input: udp

The interface to listen to tcp or udp syslog traffic. Defaults to

localhost. Set to 0.0.0.0 to bind to all available interfaces.

var.syslog_host: localhost

The UDP port to listen for tcp or udp syslog traffic. Defaults to 9003.

var.syslog_port: 9003

With tcp input, set the optional tls configuration:

var.ssl:

enabled: true

certificate: /path/to/cert.pem

key: /path/to/privatekey.pem

key_passphrase: 'password for my key'

Set the log level from 1 (alerts only) to 7 (include all messages).

Messages with a log level higher than the specified will be dropped.

See https://www.cisco.com/c/en/us/td/docs/security/firepoweSyslogs/b\_fptd\_syslog\_guide/syslogs-sev-level.html

var.log_level: 7

Set internal security zones. used to override parsed network.direction

based on zone egress and ingress

var.internal_zones: [ "Internal" ]

Set external security zones. used to override parsed network.direction

based on zone egress and ingress

var.external_zones: [ "External" ]

IANA time zone or time offset (e.g. `+0200`) to use when interpreting syslog

timestamps without a time zone.

var.timezone_offset: UTC

ios:
enabled: false

Set which input to use between syslog (default) or file.

var.input: syslog

The interface to listen to syslog traffic. Defaults to

localhost. Set to 0.0.0.0 to bind to all available interfaces.

var.syslog_host: localhost

The port to listen on for syslog traffic. Defaults to 9002.

var.syslog_port: 9002

Set which protocol to use between udp (default) or tcp.

var.syslog_protocol: udp

Set custom paths for the log files when using file input. If left empty,

Filebeat will choose the paths depending on your OS.

var.paths:

nexus:
enabled: false

Set which input to use between udp (default), tcp or file.

var.input: udp

var.syslog_host: localhost

var.syslog_port: 9506

Set paths for the log files when file input is used.

var.paths:

Toggle output of non-ECS fields (default true).

var.rsa_fields: true

Set custom timezone offset.

"local" (default) for system timezone.

"+02:00" for GMT+02:00

var.tz_offset: local

meraki:
enabled: false

Set which input to use between udp (default), tcp or file.

var.input: udp

var.syslog_host: localhost

var.syslog_port: 9525

Set paths for the log files when file input is used.

var.paths:

Toggle output of non-ECS fields (default true).

var.rsa_fields: true

Set custom timezone offset.

"local" (default) for system timezone.

"+02:00" for GMT+02:00

var.tz_offset: local

umbrella:
enabled: false

var.input: aws-s3

AWS SQS queue url

var.queue_url: https://sqs.us-east-1.amazonaws.com/ID/CiscoQueue

Access ID to authenticate with the S3 input

var.access_key_id: 123456

Access key to authenticate with the S3 input

var.secret_access_key: PASSWORD

The duration that the received messages are hidden from ReceiveMessage request

var.visibility_timeout: 300s

Maximum duration before AWS API request will be interrupted

var.api_timeout: 120s

amp:
enabled: false

Set which input to use between httpjson (default) or file.

var.input: httpjson

The API URL

var.url: https://api.amp.cisco.com/v1/events

The client ID used as a username for the API requests.

var.client_id:

The API key related to the client ID.

var.api_key:

How far to look back the first time the module is started. Expects an amount of hours.

var.first_interval: 24h

Overriding the default request timeout.

var.http_request_timeout: 60s

Overriding the default scan interval.

var.scan_interval: 10s

name:

The tags of the shipper are included in their field with each

transaction published.

tags: ["service-X", "web-tier"]

Optional fields that you can specify to add additional information to the

output.

fields:

env: staging

================================= Dashboards =================================

These settings control loading the sample dashboards to the Kibana index. Loading

the dashboards is disabled by default and can be enabled either by setting the

options here or by using the `setup` command.

setup.dashboards.enabled: false

The URL from where to download the dashboard archive. By default, this URL

has a value that is computed based on the Beat name and version. For released

versions, this URL points to the dashboard archive on the artifacts.elastic.co

website.

setup.dashboards.url:

=================================== Kibana ===================================

Starting with Beats version 6.0.0, the dashboards are loaded via the Kibana API.

This requires a Kibana endpoint configuration.

setup.kibana:
host: "https://192.168.100.200:5601"
ssl:
enabled: true
verification_mode: "none"
certificate_authorities: ["/uslocal/share/certs/kibana-server_ca.crt"]
#END OF WHAT I ADDED
# Kibana Space ID
# ID of the Kibana Space into which the dashboards should be loaded. By default,
# the Default Space will be used.
#space.id:

=============================== Elastic Cloud ================================

These settings simplify using Filebeat with the Elastic Cloud (https://cloud.elastic.co/).

The cloud.id setting overwrites the `output.elasticsearch.hosts` and

`setup.kibana.host` options.

You can find the `cloud.id` in the Elastic Cloud web UI.

cloud.id:

The cloud.auth setting overwrites the `output.elasticsearch.username` and

`output.elasticsearch.password` settings. The format is `:`.

cloud.auth:

=============================== Lifecycle Management =========================

setup.ilm.overwrite: true

================================== Outputs ===================================

Configure what output to use when sending the data collected by the beat.

---------------------------- Elasticsearch Output ----------------------------

output.elasticsearch:
# Array of hosts to connect to.
hosts: ["192.168.100.200:9200"]
# Performance preset - one of "balanced", "throughput", "scale",
# "latency", or "custom".
preset: balanced
# Protocol - either `http` (default) or `https`.
protocol: "https"
# Authentication credentials - either API key or username/password.
# api_key: "1bBff48BxVUpsywKrQGA:PaN-4F_8RpKdfPxhaAYHiw"
username: "elastic"
password: "TgX-0Cw8Cx_5F6jQxaLw"

------------------------------ Logstash Output -------------------------------

output.logstash:

# The Logstash hosts
#hosts: ["localhost:5044"]
# Optional SSL. By default is off.
# List of root certificates for HTTPS server verifications
ssl.certificate_authorities: ["/uslocal/share/certs/http_ca.crt"]
# Certificate for SSL client authentication
#ssl.certificate: "/etc/pki/client/cert.pem"
# Client Certificate Key
#ssl.key: "/etc/pki/client/cert.key"

================================= Processors =================================

processors:
when.not.contains.tags: forwarded

================================== Logging ===================================

Sets log level. The default log level is info.

Available log levels are: error, warning, info, debug

logging.level: debug

At debug level, you can selectively enable logging only for some components.

To enable all selectors, use ["*"]. Examples of other selectors are "beat",

"publisher", "service".

logging.selectors: ["*"]

============================= X-Pack Monitoring ==============================

Filebeat can export internal metrics to a central Elasticsearch monitoring

cluster. This requires xpack monitoring to be enabled in Elasticsearch. The

reporting is disabled by default.

Set to true to enable the monitoring reporter.

monitoring.enabled: false

Sets the UUID of the Elasticsearch cluster under which monitoring data for this

Filebeat instance will appear in the Stack Monitoring UI. If output.elasticsearch

is enabled, the UUID is derived from the Elasticsearch cluster referenced by output.elasticsearch.

monitoring.cluster_uuid:

Uncomment to send the metrics to Elasticsearch. Most settings from the

Elasticsearch outputs are accepted here as well.

Note that the settings should point to your Elasticsearch *monitoring* cluster.

Any setting that is not set is automatically inherited from the Elasticsearch

output configuration, so if you have the Elasticsearch output configured such

that it is pointing to your Elasticsearch monitoring cluster, you can simply

uncomment the following line.

monitoring.elasticsearch:

============================== Instrumentation ===============================

Instrumentation support for the filebeat.

instrumentation:

# Set to true to enable instrumentation of filebeat.

enabled: false

# Environment in which filebeat is running on (eg: staging, production, etc.)

environment: ""

# APM Server hosts to report instrumentation results to.

#hosts:

# - http://localhost:8200

# API Key for the APM Server(s).

# If api_key is set then secret_token will be ignored.

#api_key:

# Secret token for the APM Server(s).

#secret_token:

================================= Migration ==================================

This allows to enable 6.7 migration aliases

migration.6_to_7.enabled: true

CISCO.yml

Module: cisco

Docs: https://www.elastic.co/guide/en/beats/filebeat/8.13/filebeat-module-cisco.html

enabled: true

Set which input to use between udp (default), tcp or file.

var.input: syslog

The interface to listen to udp or tcp syslog traffic. Defaults to

localhost. Set to 0.0.0.0 to bind to all available interfaces.

var.syslog_host: 0.0.0.0

The port to listen for udp or tcp syslog traffic. Defaults to 9001.

var.syslog_port: 9002

With tcp input, set the optional tls configuration:

var.ssl:

enabled: true

certificate: /path/to/cert.pem

key: /path/to/privatekey.pem

key_passphrase: 'password for my key'

Set the log level from 1 (alerts only) to 7 (include all messages).

Messages with a log level higher than the specified will be dropped.

See https://www.cisco.com/c/en/us/td/docs/security/asa/syslog/b\_syslog/syslogs-sev-level.html

var.log_level: 7

Set internal security zones. used to override parsed network.direction

based on zone egress and ingress

var.internal_zones: [ "Internal" ]

Set external security zones. used to override parsed network.direction

based on zone egress and ingress

var.external_zones: [ "External" ]

IANA time zone or time offset (e.g. `+0200`) to use when interpreting syslog

timestamps without a time zone.

var.timezone_offset: UTC

ftd:
enabled: false

Set which input to use between udp (default), tcp or file.

var.input: udp

The interface to listen to tcp or udp syslog traffic. Defaults to

localhost. Set to 0.0.0.0 to bind to all available interfaces.

var.syslog_host: localhost

The UDP port to listen for tcp or udp syslog traffic. Defaults to 9003.

var.syslog_port: 9003

With tcp input, set the optional tls configuration:

var.ssl:

enabled: true

certificate: /path/to/cert.pem

key: /path/to/privatekey.pem

key_passphrase: 'password for my key'

Set the log level from 1 (alerts only) to 7 (include all messages).

Messages with a log level higher than the specified will be dropped.

See https://www.cisco.com/c/en/us/td/docs/security/firepoweSyslogs/b\_fptd\_syslog\_guide/syslogs-sev-level.html

var.log_level: 7

Set internal security zones. used to override parsed network.direction

based on zone egress and ingress

var.internal_zones: [ "Internal" ]

Set external security zones. used to override parsed network.direction

based on zone egress and ingress

var.external_zones: [ "External" ]

IANA time zone or time offset (e.g. `+0200`) to use when interpreting syslog

timestamps without a time zone.

var.timezone_offset: UTC

ios:
enabled: false

Set which input to use between syslog (default) or file.

var.input: syslog

The interface to listen to syslog traffic. Defaults to

localhost. Set to 0.0.0.0 to bind to all available interfaces.

var.syslog_host: localhost

The port to listen on for syslog traffic. Defaults to 9002.

var.syslog_port: 9002

Set which protocol to use between udp (default) or tcp.

var.syslog_protocol: udp

Set custom paths for the log files when using file input. If left empty,

Filebeat will choose the paths depending on your OS.

var.paths:

nexus:
enabled: false

Set which input to use between udp (default), tcp or file.

var.input: udp

var.syslog_host: localhost

var.syslog_port: 9506

Set paths for the log files when file input is used.

var.paths:

Toggle output of non-ECS fields (default true).

var.rsa_fields: true

Set custom timezone offset.

"local" (default) for system timezone.

"+02:00" for GMT+02:00

var.tz_offset: local

meraki:
enabled: false

Set which input to use between udp (default), tcp or file.

var.input: udp

var.syslog_host: localhost

var.syslog_port: 9525

Set paths for the log files when file input is used.

var.paths:

Toggle output of non-ECS fields (default true).

var.rsa_fields: true

Set custom timezone offset.

"local" (default) for system timezone.

"+02:00" for GMT+02:00

var.tz_offset: local

umbrella:
enabled: false

var.input: aws-s3

AWS SQS queue url

var.queue_url: https://sqs.us-east-1.amazonaws.com/ID/CiscoQueue

Access ID to authenticate with the S3 input

var.access_key_id: 123456

Access key to authenticate with the S3 input

var.secret_access_key: PASSWORD

The duration that the received messages are hidden from ReceiveMessage request

var.visibility_timeout: 300s

Maximum duration before AWS API request will be interrupted

var.api_timeout: 120s

amp:
enabled: false

Set which input to use between httpjson (default) or file.

var.input: httpjson

The API URL

var.url: https://api.amp.cisco.com/v1/events

The client ID used as a username for the API requests.

var.client_id:

The API key related to the client ID.

var.api_key:

How far to look back the first time the module is started. Expects an amount of hours.

var.first_interval: 24h

Overriding the default req

submitted by Lonely_Caramel9707 to elasticsearch [link] [comments]


2024.05.21 15:26 NintendoSwitchMods Paper Mario: The Thousand-Year Door: Review MegaThread

General Information

Overview (from Nintendo eShop Page)

Join Mario and friends on an epic paper adventure
A classic story unfolds on the Nintendo Switch system.
Collect the Crystal Stars before the bad guys do
The X-Nauts are after the treasure behind the Thousand-Year Door! With a map from Princess Peach—and the help of a few locals—Mario must journey through a colorful world made of paper to find it first.
The stars of the show
Surprises abound in this deep and engaging tale, where everyone’s got something to say and it’s often not what you’d expect! Here are just a few of the colorful characters you’ll encounter along the way.
Know when to fold ‘em
Master your badges and timing-based attacks to impress the audience in a theatrical twist on turn-based RPG combat. Make use of all the abilities that come with being cursed—er, conveniently made of paper—like folding into a plane to cross big gaps or turning sideways to slip through narrow openings.
Leaf through a storybook world
Explore a colorful paper world with charming characters in every fold.
A classic turns the page
Twenty years after the original game on the Nintendo GameCube™ system, this version for the Nintendo Switch™ system has revamped graphics, an updated soundtrack, and gameplay additions like updated quick-travel pipes and a Partner Ring to swap characters in a jiffy.

Reviews

Aggregators

Articles

This list was last updated via exported from OpenCritic at 9:57 AM ET
Cheers,
The /NintendoSwitch mod team
submitted by NintendoSwitchMods to NintendoSwitch [link] [comments]


2024.05.21 15:01 FelicitySmoak_ Tuesday, May 21, 2013 - Jackson v. AEG Live Day 15

Tuesday, May 21, 2013 - Jackson v. AEG Live Day 15
Trial Day 15
Katherine, Rebbie and Trent Jackson are at court.
LA Times reported that the Jacksons offered a settlement.
Kevin Boyle , a lawyer for Katherine Jackson and Michael's kids , said they offered to settle the lawsuit against AEG, but that they never got an answer. Kevin Boyle said the family made the offers in January & March. Boyle would not provide details but said AEG's insurance would have paid, which means they could have settled the case without them paying a dime of their money. He said AEG has never offered to settle & they haven't apologized.
Marvin Putnam, an attorney for AEG, said it was inappropriate to discuss settlement discussions:
"We don't settle matters that are utterly baseless. We believe that is the case in this matter. I can't see why we would consider a settlement as anything other than a shakedown"
CNN Reports there was a snack controversy during trial: AEG lawyers gave a bag of peppermint candy to the bailiff to hand out to the jury this week. Even Katherine Jackson enjoyed the treat but Jackson's lawyer raised an objection, suggesting jurors might be influenced if they realized the source of the sweets. A compromise was reached. Each side can provide snacks for jurors, but they'll be placed at the bailiff's desk before jurors enter court so they have no clue who brought it.
Shawn Trell Testimony
Jackson direct
AEG Live General Counsel, Shawn Trell, told jurors that he had forgotten that Kenny Ortega was working under a signed contract.
Trell said he met with his attorneys last night and reviewed one doc -- Kenny Ortega's contract.
"He had a written contract," Trell said. "I remember the email dynamic. I'm not too proud to admit that I didn't recall the cover contract," Trell said he was changing his previous testimony to add that Ortega had a written contract, not only emails between him and AEG
Next topic was Insurance: Cancellation/Non-Appearance/Sickness. Trell said he started working on insurance for the tour in November of 2008. Panish showed several chains of emails where the parties talked about the insurance for the tour
Email from Bob Taylor insurance broker to Trell on 1/7/09:
"Prior to speaking with carriers we ask the artist to attend medical with a doctor...A full medical with both blood/urine tests. The doctor also wants to review the medical records over the last 5 years to ensure full disclosure. Insurers require further medical examination to be carried out by their nominated doctor. They may restrict illness coverage or death from illness coverage until this examination has taken place"
Email from 4/30/09 - Wooley to Trell :
"We have no coverage against Michael sickness unless and until he submits to another medical in London
Email from 5/28/09 - Trell to Taylor:
"We really need to get that medical done"
Email from 6/23/09 - Trell to Taylor :
"Any update on the availability of Term insurance?" (life insurance)
Trell said if they secured life insurance, they would get money if Michael died.
"We would get the money owed to us, yes," Trell testified.
Trell also said he continued discussions with an insurance broker about additional coverage to recoup AEG Live's investment if the tour had to be canceled.
Email from 6/24/09 -Taylor to Trell :
"Insurers have refused to move on this. Huge amount of speculation in the media regarding artist's health. They feel if they're to consider providing illness to cover this particular artist, they must have very through medical report"
Email from 6/25/09 - Gongaware to Taylor :
"If we don't get sickness coverage, we are dropping this policy"
Email from 6/25/09 - Taylor to Gongaware :
"The consultation in London is critical. The doctor is holding the afternoon of the 6th July open at Harley St. But keep in mind the visit could take 2 hours plus"
Next topic: Budget/Costs. Panish showed an email from AEG's Rick Webking to Michael's estate with 1st report of artist advances/expenses. This was a letter sent to the estate containing the expenses incurred, Trell said.
"It seems to me we submitted this report for their review, I don't see any request for payment," Trell said.
Trell said he spoke with Randy Phillips and Paul Gongaware about Michael's physical condition prior to coming to testify.
"I had heard about rehearsals in which Mr. Jackson was fantastic," Trell said
Trell said he's aware of email from Ortega saying doctor was not allowing Michael to attend rehearsal on June 14, 2009.
"I was aware of the doctor not allowing him to attend rehearsal," Trell said
Email from 6/17/09 from Phillips:
"...Ortega, Gongaware, Dileo, and his doctor Conrad from Vegas and I have an intervention with him to get him to focus and come to rehearsal"
Email from 6/17/09 from Gongaware to Phillip's assistant:
"We need a physical therapist and a nutritionist"
Email from Production Manager - Gongaware/Phillips on 6/19/09 :
"Paul/Randy I'm not bring a drama queen here. Kenny asked me to notify you both Michael was sent home without stepping foot on stage. He was a basket case and Kenny was concerned he would embarrass himself on stage, or worse yet, be hurt. The company is rehearsing right now, but the DOUBT is pervasive"
Email from Randy Phillips to Tim Leiweke on 6/19/09 :
"We have a huge problem here."
"I think he recognized there was a problem on the 19th," Trell said. "I would take it seriously, as I believe Mr. Phillips did."
Trell agreed with a statement by plaintiff's attorney, Brian Panish, that company executives knew by then there was a "deep issue" with Jackson
Does Trell consider that exchange a "red flag" that AEG Live should have noticed, Panish asked.
"I would take it seriously, as I believe Mr. Phillips did," Trell answered. "I don't know I would use the word 'red flag'
One of the emails shown to the jury was from Jackson estate co-executor John Branca, sent 5 days before Jackson's death & marked 'confidential':
"I have the right therapist/spiritual advisosubstance abuse counselor who could help (recently helped Mike Tyson get sober and paroled) Do we know whether there is a substance issue involved (perhaps better discussed on the phone)
The email was sent the same day that a meeting was held at Jackson's home with Murray. No further info given to jury.
Trell said Mr. Phillips never told him about this email
Email from Ortega to Randy Phillips on 6/20/09: (chain of emails)
"I honestly don't think he is ready for this based on his continued physical weakening and deepening emotional state"
Trell said he didn't see these emails. He said he spoke with Randy Phillips about Phillips' perception of Michael, in order to prepare for testifying, but not about specific emails. Trell has been designated as the most qualified person to speak on behalf of AEG
Email from Phillips to Gongaware on 6/20/09 at 1:52 am :
"Tim and I are going to see him tomorrow, however, I'm not sure what the problem is Chemical or Physiological?"
From Gongaware to Phillips, on 6/20/09 at 5:59 am :
"Take the doctor with you. Why wasn't he there last night?"
From Phillips to Gongaware, on 6/20/09 at 2:01 pm :
"He is not a psychiatrist so I'm not sure how effective he can be at this point obviously, getting him there is not the issue. It is much deeper"
Trell said Randy Phillips went to a handful of rehearsals, three at the Forum and two at Staples Center. The head of the marketing department attended rehearsal on June 23, 2009.
"She was blown away by it," Trell testified.
He said he was unaware of issues with Jackson at rehearsals.
"I knew of no problems with Michael Jackson at all",Trell testified.
Trell said he never saw the emails from Phillips directing people to exclude images from This Is It of Michael looking "skeletal" while rehearsing.
"What were his observations of Michael's physical condition during rehearsal," Trell said. "I asked for his (Phillips) personal opinion."
Next line of questioning is about human resources and background checks. Trell said they can be valuable and useful tools when hiring. Background check costs around $40 to $125. Trell said AEG Live could afford this fee. "We don't do background checks on independent contractors," Trell said. Trell said he was involved in the hiring by AEG Live for the This Is It tour. His department was responsible for retaining independent contractors. Trell said he is not familiar with background check process for hiring.
"I am not familiar with the process of doing background checks," Trell said. "No training."

Panish: "There was no hiring criteria for the This Is It tour, correct?"
Trell: "Not to my knowledge"
Trell testified that when it comes to independent contractors, they have either worked with the artists, AEG or known in the industry. Trell agreed that no background check was done on anyone working on the This Is It tour. AEG Live General Counsel Shawn Trell told jurors that no legal or financial checks were done involving Conrad Murray or anyone else who worked as an independent contractor on the This Is It shows.
Depending on the nature of the position, a background could be done, Trell said, like for potential employees in the financial area. Trell said he thought a background check would be appropriate for people working in financial roles, but not tour personnel who weren't employees of AEG
As to independent contractors, Trell said there's no supervision and monitoring like there's for employees
Panish: "You don't do anything to check into background, supervise or protect the artist?"
Trell: "No, safety is a concern"
Trell said that AEG did not hire Murray, that the doctor was like many independent contractors,
"When they leave the environment, what they do on their own time is their own business"
Trell testified he doesn't believe the artist is more at risk because AEG Live doesn't do background checks
"We did nothing to monitor Dr. Murray," Trell said. "We did not monitor whatever it was that he was doing, no."
"It called for Michael Jackson being able to terminate Dr. Murray at will," Trell said about the contract. "If the concerts didn't go forward, and he was terminated under this provision, Dr. Murray would not be paid going forward," Trell explained
As to Dr Murray being under dire financial straits, Trell said that he doesn't know if he agrees with it, everyone's perception is different
Trell: "I certainly wasn't aware of it at the time"
Panish: "Because you didn't check, right?"
Trell: "That's right"
"I don't think conflict of interests are a good thing, and we would want to prevent it," Trell said
Email from Kathy Jorie to Shawn Trell on 6/24/09 at 12:54 am:
Subject: Revised agreement with GCA Holdings/Dr. MurrayIt had two attachments Attachments: Revised Michael Jackson -AEG GCA Holdings Murray Agreement 6-18-09 Final MJ -- AEG GCA Holdings Agreement (Dr. Murray) 6-23-09
Email chain from 6/23/09, 5:39pm from Jorrie to Wooley, Murray
Subject: RE: Michael Jackson - Revised Agreement with GCA Holdings/Dr. Murray Email:
"I have redlined the Word version so that you can see all of the revisions. In addition, I've attached clean PDF version for execution" (The email says that if Dr. Murray approved it, he was to print it, sign and send it back to Jorrie)

Panish: "Did Ms. Jorrie call this contract a draft?"
Trell: "She called it a Final Version"
"Every document is a draft until it is executed," Trell said.
Panish showed emails exchanged among AEG executives that contained drafts of Murray's contract. Although Murray had signed a contract with the company, neither Jackson nor anyone from AEG had added their signatures. Trell testified that a copy of the contract had never been sent to Jackson
With Trell on the stand, Panish played part of an interview that AEG Live President Randy Phillips gave to Sky News television soon after Michael's death.
"This guy was willing to leave his practice for a very large sum of money, so we hired him," Phillips said.
Panish also showed jurors an e-mail between AEG lawyers suggesting that Phillips told other interviewers AEG Live "hired" Murray.
Panish: "Isn't it true that Randy Phillips made numerous comments that AEG Live hired Dr. Murray?"
Trell: "I know he has made that statement"
Panish said AEG higher-ups became concerned after Phillips made such admission. Trell said he didn't know if that was true. Bruce Black is the General Counsel for parent company of AEG and AEG Live. Michael Roth is AEG's media relations
Email from Kathy Jorrie to Bruce Black and Michael Roth on 8/25/09:
Subject: AEG Live president says AEG Live hired Dr. Conrad Murray
Panish shows Trell a deposition, under oath, given by insurance broker Bob Taylor on another case. Trell said he has never seen or read it. Trell denied having a telephone conversation with Mr. Taylor where Trell asked him if a doctor's compensation was covered in the insurance.
Panish: "Does that refresh your recollection that AEG was employing Dr. Murray?"
Trell: "Mr. Taylor has this completely wrong"
After lunch break, Brian Panish asked if Shawn Trell wanted to change anything else in his testimony, to which he said "No"
Bruce Black, attorney for Anschutz, was present in the meeting with LAPD. Trell met with the police on 1/12/10. Trell told the police that day that Dr. Murray would receive $150,000 compensation per month. Trell also said that Dr. Murray requested and AEG would provide necessary medical equipment and a nurse. More than five months after Jackson's death, Trell said, he informed LAPD detectives that Murray initially requested $5 million to join the tour but eventually agreed to a salary of $150,000 a month for 10 months.
Panish: "As far as you know, all the agreements written for TII tour was done under AEG Live Productions, right?"
Trell: "Yes"
Panish: "Was Dr. Murray trying to help AEG get insurance?"
Trell: "The policy was in both names, so he was helping both parties"
Trell said Dennis Hawk, who represented Michael, was in touch with Taylor regarding the insurance
Panish: "As of June 2009, you don't even know whether Mr. Jackson had a personal manager
working for him, right?"
Trell: "Well, my understanding at the time there were a couple of people acting in that capacity"
Email on 6/2/09 from Randy Phillips to Jeff Wald:
"Jeff, remember getting Michael to focus is not the easiest thing in the world and we still have no lawyer, business manager, or, even real manager in place. It is a nightmare!"
Trell said the only time he saw an artist's signature required to retain an independent contractor was for Dr. Murray. Trell said his understanding was that Dr. Murray worked for Michael for 3 years; didn't know how many times MJ saw Dr. Murray.
"I've never spoken with Dr. Murray ever. And I met/spoke with Mr. Jackson once," Trell said.

"He was a significant expense," Trell testified about Dr. Murray.
Trell said AEG Live didn't do anything to check Dr. Murray's competency as doctor, other than checking his physician license. Trell said AEG didn't do anything to determine Dr. Murray's financial conditions in 2009.
Jury was shown an email that Phillips sent to Kenny Ortega on night of June 20, 2009. It was email urging Ortega to stand down.
Email on 6/20/09 Phillips to Ortega :
"Kenny it's critical that neither you, me, anyone around this show become amateur psychiatrist/physicians. I had a lengthy conversation with Dr. Murray, who I am gaining immense respect for as I get to deal with him more. He said that Michael is not only physically equipped to perform & discouraging him to will hasten his decline instead of stopping it. Dr. Murray also reiterated that he is mentally able to and was speaking to me from the house where he had spent the morning with Michael. This doctor is extremely successful (we check everyone out) and does not need this gig so he is totally unbiased and ethical"
Panish asked Trell whether Phillips "characterization to Ortega, given no background check was done, was a lie". Trell responded that he didn't know what Phillips knew or was thinking when he wrote that email to Ortega. Trell also said he expected Randy Phillips to testify at some point during the trial, so he could address the email himself
Panish then asked Trell, "Sir, you never checked out one single thing about Dr. Murray -- you've already told me that, correct?"
"As of the date of the email, that would've been correct",Trell said.
When pressed by Panish, Trell said that Phillips' statement that Murray had been checked out, along with the executive's claim that the doctor 'does not need this gig' were inaccurate.
"I don't know where Randy's understanding or impression comes from", Trell said.
Trell testified that Phillips might have been "misinformed" or simply was stating his impression of the Las Vegas cardiologist
Panish: "But no one at AEG checked Dr. Murray to see if he was successful or not, isn't that true?"
Trell: "Yes"
Panish then asked several pointed questions about whether Shawn Trell agreed with Phillips telling Ortega they'd checked Murray out. One of Panish's questions was whether Trell thought Phillips' email was 'acceptable conduct'
Panish called Phillips' statement "a flat out lie" and asked Trell whether he agreed with it or if it signified how AEG did business. Trell said he didn't know what Phillips thought he knew when he wrote the message.
"I know this statement is not accurate, but you'd have to speak with Mr. Phillips about what he thought or meant in saying it," Trell said.

Panish: "That's a flat out lie, isn't it sir?"
Trell: "I don't know what Mr. Phillips intended to say, this should be a question to him"
Panish: "You don't know if he was successful or facing bankruptcy, did you?"
Trell: "No"
Trell: "I know the statement is not accurate. You have to speak with Mr. Phillips about what he meant to say"
Panish: "Do you agree with the CEO of your company making untrue statements?"
Trell: "I don't know that he didn't know it wasn't true when he said it"
Trell said Phillips never told him that he checked Dr. Murray out. As to reference in Phillips' email about Dr. Murray being unbiased, ethical, not needing this gig, Trell said it was Phillips' impressions. He said AEG typically only runs background checks on candidates applying for full-time jobs with AEG, not independent contractors.
Panish: "Isn't it true AEG Live does not do background check on independent contractors?"
Trell: "That's true"
Trell said that no one from AEG interviewed Dr. Murray because he was an independent contractor.
"Did anyone from AEG ever at any time interview Dr. Murray", asked Brian Panish
"No", Trell replied.
Panish showed a document used by AEG entitled "Disclosure and Authorization to Conduct Background Check". Doc is used for employment, promotion, retention, contingent or the rate staffing, consulting, sub-contract work, or volunteer work. Panish asked if there was any reason why Dr. Murray was not given a background check.
"He wasn't an employee, he wasn't applying for a full time position with the company," Trell explained.
Trell said theoretically they could've asked to check Dr. Murray's background and credit.
AEG Cross
Jessica Bina began her examination by showing the letter submitted by AEG's CFO to the Estate of Michael Jackson for their review. She asked Shawn Trell about the estimate presented to Jackson's estate that included Murray's $300k fees. She asked why it was prepared. Shawn Trell said it was done at the request of the estate. He said Jackson's estate wanted to know state of tour finances when Jackson died. Trell said the report was requested by the Estate after a series of meetings after Michael's death.
"The purpose of the meeting was to wind up the business affairs of the tour due to Michael's death", Trell said. "It was my understating in June Tohme was back in the picture in some capacity. I'm not sure which, Mr. DiLeo was in it too," Trell said
Bina: "Is there any request for payment?"
Trell: "No, there's no demand for payment, it's for review"
Stebbins Bina asked about the inclusion of Murray's fee in the document. Bina showed the report that was attached to the letter. Murray's fee on the document had a footnote. Trell read what that footnote said, and explained why estate wasn't asked for Murray's fee. Next to "Management Medical" there's a reference to footnote 3.
Note 3: 'Contract is not signed by Michael Jackson and such signature was condition precedent to any payment obligation' - Footnote on Murray fee.
Trell testified Webking, the CFO for AEG, did not ask Michael's Estate for payment of Dr. Murray's salary
"You testified you were somewhat confused (by the inclusion of the $300,000)?", Bina asked Trell as she projected the list, dated July 17, 2009, on a screen for jurors.
"Do you see there's something in parentheses?', Stebbins Bina asked, zooming in to blow up a footnote from AEG CFO Frederick Webking that stated Michael Jackson never signed Murray's contract, so its terms were not enforceable.
"Is Mr. Webking asking the estate to pay?", Stebbins Bina asked Trell. "No", he replied, explaining that upon reflection he believed Mr. Webking was just being 'thorough' by including the $300,000 as a budgeted cost.
"Did Mr. Webking make a mistake as you thought yesterday?",she asked.
"No, he did not", Trell answered
Second report made to the Estate on 9/18/09, there was no amount next to management medical. Stebbins Bina then showed a Sept. 2009 report of This Is It's finances to Michael Jackson's estate. Murray's fee is not listed in that document
Trell went through his job description with AEG. He said he has five lawyers in his department and has worked on thousands of agreements. Trell explained what PMK is -- Person Most Knowledgeable, identified by the company to testify on its behalf. Trell said he didn't know about all the topics he was designated, so he had to do some studying and interviews with people
As to Ortega's contract, Trell said he was aware of a string of emails being at least a part of the original agreement with Kenny.
"When we were done here yesterday, I looked at Kenny Ortega's original agreement," Trell said.
Trell noted he hadn't looked at Ortega's agreement since it was entered into in 2009. Before the afternoon break, Trell and jury were shown Kenny Ortega's tour agreement. It was signed in April 2009. The agreement was three pages of legalese, with several pages of emails attached that confirmed the terms. The first three pages included some paragraphs that described who owned the rights to This Is It content. A large number of emails are part of the agreement as exhibits. Trell said he recalled the emails exchange and admitted again not being proud of forgetting the cover contract portion. Bina showed Ortega's executed contract with everyone's signature on it. Trell said Kenny Ortega was paid after his contract was signed.
Trell, Phillips and Kathy Jorrie were involved in drafting and negotiating the contract with Michael Jackson. For MJ, Trell said Dr. Tohme Tohme and attorneys Dennis Hawk and Peter Lopez represented him. He said there were multiple drafts.
"It's my understanding they were talking to, or at least receiving offers from, a competitive of ours, Live Nation," Trell said.
Trell also said that before signing an agreement with AEG, Jackson had been considering a tour offer from its main competitor, Live Nation.
Bina showed the jury the final tour agreement. Trell said he went to MJ's home at Carolwood to sign it. Upon arrival, Trell said Mr. Jackson got up from where he was seated, and said 'Hi, welcome, I'm Michael." Trell said it was pretty funny, since he was a very distinct person. Trell said they shook hands, he had a good firm handshake and his voice was not what people think
"He popped up, came over, introduced himself, was very cordial, there was a real positive energy, good vibe in the room," Trell said. "He seemed genuinely enthused," Trell added. "He had the contract in front of him, said he read every page, seemed very enthused." Trell said they all signed it and Mr. Jackson was really keen on the 3-D stuff, that he was already down the road in his mind. "I was probably there just a little less than an hour. And that was the only time I met him," Trell recalled.
Bina discussed the contract for the tour agreement:
A first class performance by Artist at each show on each of the approved itineraries. Contract:
Artist shall perform no less than 80 minutes at each show, and the maximum show length for each show shall be 3.5 hours. Artist shall approve a sufficient number of shows on itineraries proposed by promoter or producer as to recoup the advances made.
Trell said compensation was agreed on 90-10 split. Artist received 90% of what's defined contingent compensation.
Trell explained to jury how concerts get paid for. One scenario is artist pays for production up front. A second scenario is that the promoter gives artist an advance, and then they use the money to put together the show. The third option, Trell said, is the artist pays someone like AEG Live to produce and promote the show, with costs to come out of their pay. Trell called the second and third option like an interest-free loan. In Jackson's case, AEG agreed to a 90/10 split of show's proceeds. Jackson would have received the 90% portion, Trell said. Jackson was also on the hook for a 5% production fee
AEG Live was promoter & producer.
"We advanced the money necessary to mount the tour," Trell explained. "It's interest free money".
Trell testified that Jackson's advance, which covered his $100,000-a-month rent on his mansion and a $3-million payment to settle a lawsuit that would free up his performance rights, was considered a loan to be paid back to AEG.
Part of the advance was to pay off the settlement agreement of $3 million in London court. The underlying dispute was that a company owned the rights for Jackson's live performance.
"The rights needed to be freed up," Trell said.
The advances were to be paid back to AEG Live before the split of revenue. Production Advances were capped to $7.5 million. Contract:
Artist was responsible for all the production costs in excess of the cap and had to reimburse promoter.
"Michael Jackson was known to have very elaborate productions," Trell said. "Production values can get significant, for lack of a better word, it really depends on how many bells and whistles they want," Trell said.
Trell said AEG would not advance money without the artist requesting it.
Trell said it's not only typical and customary, but standard and artist needs to secure either non-appearance or cancellation insurance. Their interest in the policy, Trell said, was to cover the advances and production costs incurred with the production of the show.
"If the were no obligations to AEG, the payout would go back to the artist", Trell explained, "It just recoups our loan made to the artist."
Trell was also asked about elements of tour insurance policies and an agreement with former manager Tohme Tohme. Jackson's contract called for him to represent to AEG that he didn't have any health conditions that would keep him from performing.
Contract:
Artistco hereby represents and warrants that artist does not possess any known health conditions, injuries or ailments that would reasonable be expected to interfere with Artist's first class performance at each of the shows during the term
Oh Tohme's $100k per month agreement, Trell was shown a January contract that Jackson signed to pay that amount. However, Trell said Tohme's agreement was predicated on Jackson getting tour cancellation insurance by a certain date. Deadline passed and by that point Tohme was no longer Jackson's manager, so he wasn't entitled to be paid his monthly fee.
January 24, 2009 -- agreement entered with Dr. Tohme Tohme. Trell said Michael was involved and signed this agreement. "This agreement was entered into January 26, Trell testified.
"There are conditions that needed to be met before any payment could be made."
One of the the conditions was placement of non-appearance insurance, Trell said. That placement was done in late April, early May. In May, AEG received letter from MJ saying Tohme didn't rep him anymore.
"No payments were ever made under this agreement," Trell explained.
Court Transcript
Rebbie Jackson attending court
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2024.05.21 14:11 TearRepresentative56 I'm a full time trader and this is everything I'm watching and analysing in premarket including full earnings summaries from PANW and more.

ANALYSIS section will be posted separately on my sub Tradingedge
DATA LEDE:
MARKETS:
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2024.05.21 14:10 TearRepresentative56 I'm a full time trader and this is everything I'm watching and analysing in premarket, including full earnings summary and all the news driving the market today

DATA LEDE:
MARKETS:
FX:
EARNINGS:
XPEV
NEXT QUARTER GUDIANCE:
MACYS:
LOWES:
MAG 7:
OTHER COMPANIES:
OThER NEWS:
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2024.05.21 14:07 TearRepresentative56 I'm a full time trader and this is everything I'm watching and analysing in premarket 21/05 including all the news driving the market.

ANALYSIS section will be posted separately on my sub Tradingedge
DATA LEDE:
MARKETS:
FX:
EARNINGS:
XPEV
NEXT QUARTER GUDIANCE:
MACYS:
LOWES:
MAG 7:
OTHER COMPANIES:
OThER NEWS:
For more of my content, please join Tradingedge
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2024.05.21 14:06 TearRepresentative56 Everything I'm watching and analysing in premarket 21/05, including detailed earnings breakdown and all the news driving the market.

ANALYSIS section will be posted separately on my sub Tradingedge
DATA LEDE:
MARKETS:
FX:
EARNINGS:
XPEV
NEXT QUARTER GUDIANCE:
MACYS:
LOWES:
MAG 7:
OTHER COMPANIES:
OThER NEWS:
For more of my content, please join Tradingedge
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2024.05.21 13:49 Cerebral_Kortix Fujimaru Ritsuka is Completely Insane - A Full Analysis

**Fujimaru Ritsuka, the Last Master of Humanity, Enemy of the Crypters, Ammo of the Black Barrel, Feller of Goetia... is batshit insane.
Let me explain.
...

Lack of Basic Understanding of Causality

Fujimaru's bizzare tendencies show up from the very beginning of FGO. According to the game, he joins Chaldea after seeing a poster and deciding to take the job on a whim.
However, Chaldea is in Antartica. The implication is thus that Fujimaru abandoned his family, abandoned his life, abandoned everything he'd ever known and loved, to go to Antartica for a job that he had no idea what was, with zero guarantee of getting the job, with no certainty of a return trip-
On a whim.
Immediately after this, while getting lectured by his potential boss, being told everything he needs to know to pass the entry test, he decides now would be a perfect time to take a nap. Understandably, his boss is miffed by the new intern with zero experience taking a nap right in front of her while she's explaining the most important part of their job, and she decides to fire him.
Fujimaru reacts to this with... nothing. He's a little concerned and stressed per his dialogues, but you'd think he'd be significantly more horrified about needing to walk back home through the Antarticas or join an oil mine at the bottom of Chaldea. Instead, he just... chills with the doctor?
When he finds out Chaldea is on fire and even all the skilled, significantly better Masters than him are dead, his reaction isn't terror or fear. Instead, he remembers a girl he talked to ONCE, and immediately rushes over to the literal origin site of the fire to check if she's alright. Then he sees that she's buried under a building. As a regular guy, he has no prospects of saving her. And the longer he stays, the lower his chances of survival get. His response?
Ignore everything to hold her hand and stay there till no hope of getting out remains.
Presumably CHALDEAS itself is impressed by what is either the tremendous love of Ciel-lookalikes or the complete lack of basic understanding of consequence in this man, and it sends him to Fuyuki presumably in hopes to unite him with fellow madman Shirou so that their collective insanity can open a path to the Root or something.
...

What's Self-Preservation? Can I eat it?

Fujimaru is teleported to a hotter fire surrounded by skeleton upon skeleton. Fortunately, the girl he held hands with turned into super servant Galahad. She can protect hi-
Ritsuka why the hell are you throwing yourself into danger when you have a LITERAL SHIELD at your side?
No Fujimaru do not sacrifice yourself trying to protect someone WHO LITERALLY WEARS ARMOUR AND HAS A SHIELD!
Fujimaru taking a page from the book of Shirou Emiya has a violent martyr complex and nearly dies dooming all humanity in the first twenty minutes of the game. Very fortunately, Cu Chulainn notices this and not wanting to be outdone by someone else dying before him, saves the day.
Ritsuka later proceeds to instantly grasp the concept of Shadow Summoning and turn it into his technique which further raises the question of if brain damage in the Nasuverse just lends you power somehow when we consider the strongest techniques in the series:
Ritsuka then acts normal for some time till we reach the end of Singularity-F. He finds out about the END OF HUMANITY.
He is somehow barely fazed by this and determines to save it all himself. This random chump with no mage skills, no Master experience, nothing at all, is entirely confident. This is presumably the true reason why Servants keep being summoned - not by Mash's roundtable shield - but because Fujimaru's balls are just so big they've developed their own gravitational fields and draw in Servants from the Throne like a blackhole.
...

Psychopathy in the Singularities

Fujimaru Ritsuka, Humanity's Last Asylum Escape, then goes to Orleans, sees several thousand dragons, ignores the terror of that sight, murders a fanfiction OC, murders his way through Septem without going insane in the process despite interacting with Nero, and finally we reach the madness that is Fujimaru in Okeanos.
Fujimaru in Okeanos:
We continue on to London. Fujimaru sees a Goddess, the human equivalent of a God, a fragment of Amaterasu, one of the Heavenly Kings, all back to back and is completely uninterested.
He trusts Mordred, literally known as the Knight of Treachery and Jekyll whose best known myth is him pretending to be another person to get out of the consequences of his desire to be evil and betray all his friends.
From this we conclude Fujimaru Ritsuka has no understanding of basic human minds and operates on some greater level of humanity known only to him and Soujuuro.

Train him wrong as a joke? Wait, we were supposed to train him?

Fujimaru walks across the entirety of America on foot in less than a month. In Lord of the Rings, this took over a year. Now, this wouldn't be surprising for a mage. They can boost their physical capabilities so-
What do you mean Fujimaru doesn't know how to enhance his body?
Yeah, as it turns out, contrary to a number of doujins and... basic expectations, not a single person taught Fujimaru Ritsuka, Last Master of Humanity, the guy on whom the entire world depends, basic f***ing magecraft. You know, Da Vinci, maybe some things are more important than making fun of Romani for liking Vtubers? Maybe you could have taught the kid literally the most important fundamental to keeping up with Servants?
This is shown in Lostbelt 1 where Kadoc is surprised that Fujimaru can't enhance his eyes before Fujimaru reveals that he doesn't know anything about enhancement at all, which is... C'mon, Paracelsus, Avicebron, Circe, Medea, they're all literally part of the team. Did not one of them consider "huh, I wonder if I should teach the Last Master of Humanity, the guy on whom ALL HUMANITY DEPENDS, magecraft?"
Shirou was trained wrong. Ritsuka? Somehow Chaldean staff are even more negligent than Kiritsugu. He wasn't trained at all!
...

Fujimaru tells God to eat Shit

Fujimaru goes to Camelot. He's almost normal for most of it besides a tad too deep sense of social justice shared by Mash.
Then he confronts the Lion King. The Lion King who could smite him with a single thought. The Lion King who wields the Pillar of the World. He looks at her, this terrifying force of nature, an actual divinity, God to mortal.
...And he tells her she's a dumbass.
"Humans aren't butterflies you can put on a board!" says Fujimaru Ritsuka, having for unknown reason decided to try to refute a GOD. And flabbergastingly, this works as Lion King takes brain damage presumably from the sheer bafflement that a child with no special abilities is talking down to her, causing her to go berserk and lose when Bedivere activates his Bitch-Slap Airgetlam.
...
Then he goes to Ancient Uruk/Babylonia/I still have no clue where this is. He meets Gilgamesh, King of Heroes, several tiers beyond what Fujimaru will ever be.
"I'm going to skip the line to talk shit to you and ask you to join me," decides Ritsuka. Gilgamesh, unimpressed tries to make him do housework. Fujimaru reveals that in addition to being Humanity's Last Master, he's Humanity's Last Housewife and perfectly does everything till Gil is forced to respect his impressive janitorial skills and they go off to Literal Hell together.
Fujimaru's insanity then makes him befriend several people he shouldn't including:
Somehow, he gets all of these to work together including mortal enemies Gilgamesh and Ishtar, and inspires King Hassan to give up his Grand title to become a different Grand- a Grandfather.
Fujimaru Ritsuka fights with Lucha Wrestler God trying to kill him by attempting to... suicide tackle her by being air dropped for some reason instead of just breaking the damn magic stone powering her because Fujimaru has offscreen developed telepathy and knows exactly what Lucha Goddess wants.
Having befriended a fourth god trying to kill them, they go to befriend Mom by beating her to death. The gang cheers as they succeed and Waifu Grim Reaper is outed as a tsundere.
...

Coughing Baby vs Omnipotent King of Seventy Two Demon Gods (the baby wins)

Fujimaru goes to outer space. He meets unsurmountable odds. Seventy-two immortal Demon Gods. His reaction?
"Nah, I'd Summon."
Fujimaru transforms the game into a Kingdom Hearts story as the bonds he formed along the way act as a catalyst to summon EVERY SINGLE SERVANT IN THE THRONE to fight for his ass. Goetia screams like a baby as Fujimaru performs the ultimate JJK beatdown by calling in every damn person to ever do anything of note to kick Goetia in the balls through the sheer overwhelming power of friendship.
Goetia reveals himself to be a fraud and pulls "with this treasure I summon Ars Almadel Salmonis: The Time of Birth Has Come, He Is the One Who Masters All!"
Fujimaru calls in additional support from Archetype Eggplants to block an attack that destroyed seven humanities. Following this, he calls in Goetia's dad to put his omnipotence on timeout.
Then, Fujimaru Ritsuka, this untrained regular human with zero enhancement skills, solos Goetia with a Shield he's never used, beating him in a straight boxing match.
Combined with the Francis Drake thing, it makes me wonder if he's secretly the FGO version of Soujuuro.

Conclusion

You liars told me he was a regular ordinary human and the most boring Type-Moon protagonist with no mental problems like the rest.
What the hell did you mean? I have never met a man more on the spectrum, insane, off the walls, unhinged, bonkers and genuinely weird than this guy.
How did I let myself be fooled? He's a Type Moon protagonist! It should have been obvious from the get go!

Fujimaru Ritsuka is Completely Insane.

FIN.

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2024.05.21 13:42 Alaskan-DJ Season 8 pre episode 22 rant/vent. Don't take seriously.

Oaky I have read this is the best AU season outside of season 2 which I loved (sorry Brooke). But I'm having a hard time choking down the end of this season. Now that Simon is gone everyone outside of Nina I don't want to win. I despise liz, I think Jerry is blind and Matt is a wimp. I don't want George to win because he is a quitter. I know some of the best survivor players haven't been physical But fucking George doesn't try or care in half the challenges.
Side rant I think Survivor (all versions) need to fix throwing challenges. If they know someone actively threw a challenge the other side should get an epic reward. Something so unbalanced people stop throwing. It happens every season now and it's often people who didn't throw that pay the price. I think one of these seasons (if it hasn't happened already and they just didn't show us) 2 tribes are both going to refuse to win.
Back to season 8. How can these idiots not see George is going to win no matter what? Simon was a goat. He wins against maybe Jerry. I just don't get how you let George sit there and vote out a goat. Are these people that bad at survivor. When Jerry said George was like a coach to him I wish Simon would of said "it's every players dream to beat their coach" Or something like that. I don't like Simon much. Actually I don't like anyone left except Nina. I would of rather seen Hailey win twice then anyone left. How do people think "this is such a great season" There has been 1 actual blindside and that was just because Hailey got so full of herself.
It's like watching Boston Rob on season 21 just walk through everyone. At least there were models for eye candy. Even if George doesn't win I don't get why this season is rated so high. One alliance has dominated it. The rest of these people are just bad. I mean how do you let George stay in that long. How do you again and again pass up free shots? How is this a good season when it's dominated by one person so lopsided.
I'm ranting. And wild guess is he doesn't win and that is why it's rated so high. But man these people are bad, bad bad bad bad bad bad bad at the game of survivor and that makes me not like it. They figure out he is lying and they still keep him. How dumb is that. Survivor has had people voted out for taking a banana extra. How does a guy lie to you all game and you keep him.
Guess it speaks to how Godly he is and how bad they are. But again how is this fun to watch? I've guessed one vote wrong and I was half drunk watching it. BAD. Rant over. I'll finish the season and probably delete this. But holy fuck are these people bad.
submitted by Alaskan-DJ to survivorau [link] [comments]


2024.05.21 13:12 Truly_Organic Seeking advice and opinion about my idea for a Gold playthrough.

Lately I wanted to finaly play Pokemon Gold emulator on my phone, but to spice it up a little I wanted to make it a bit more difficult and interesting for myself, so I'm gonna try to make it into a modified Hardcore Randomizer Nuzlocke! Sadly, since I don't know how to actually randomize a game, I'm gonna try to achieve a similar outcome with cheats and a random number generator site.
I would like to ask for opinion and advice regarding stuff like if my rules are resonable for Pokemon Gold and won't go against the way progression, mechanics and locations are structured in this game, or if the way I want to handle item and trade evolutions sounds balanced.
So far the rules of the playthrough include:
  1. Basic nuzlocke rules.
  2. No use of items in trainer battles, but allowed in pokemon encounters.
  3. Level caps set to next gym leader's ace or the third elite four member's ace.
  4. The number of pokemon you can have in the gym is restricted to the number of pokemon the gym leader uses. The levels of your pokemon as you enter the gym should mirror the gym leader (e.g. you can only take 2 pokemon to Violet City gym, one at level 7, one at level 9). Pokemon are allowed to level up past the level cap in the gym itself.
  5. Pokemon encounters are chosen via numbers generated from 1 to 117, which correspond to a base form of every pokemon line excluding legendaries. The number is generated as soon as you have your first normal wild encounter in the location. Then you must encounter the randomized pokemon of the same level as the wild encounter. The pokemon encountered might be evolved if the level of the encounter allows for it. That includes trade evos, but not stone evos (but I'm not sure about that rule).
  6. When facing a static Legendary, generate 3 numbers and choose one of them, then proceed with the encounter against the randomized pokemon in place of the legendary.
  7. No fishing encounters in places, where no other way of encounter is possible.
  8. You can't leave a location until you finish it, after which you unlock it and can explore freely. To finish a location, you have to either:
  9. get to another entrance to the location that leads to a town or a place with a pokecenter (e.g. if you enter route 30 from Cherrygrove City, you would have to cross route 31 and get to Violet City to finish the location. After that you can enter and exit the routes to heal or buy items and reenter the routes 30 and 31).
Also, since trade evolutions are normally impossible and evolution stones are very hard to get in Johto, I thought about making these pokemon evolve at certain levels instead. It would go like this: - Jigglypuff and Sunkern evolve at lv20 - Pokemon with one stage that evolve via evolution stones evolve at lv28 - Pokemon with two stages that evolve via evolution stones evolve at lv34 - Pokemon that evolve via trade with a hold item evolve at lv34 while holding the needed item - Pokemon that evolve via trade without an item do so at lv42
I'm not sure if these levels are too high or too low, since the entire Johto region operates on low levels and I want to make use of these evolutions, but I don't want them to be broken :P
What do you all think about this set of rules? Does it sound reasonably hard but fun? Do you have any ideas for improvement? Would love some feedback!
Thank you for reading, have a good day!
submitted by Truly_Organic to pokemon [link] [comments]


2024.05.21 12:59 DevoteeOfCittaDharma An ALS patient will stand up by practicing Buddhism hard (渐冻症)

Hong Kong Dharma Talk by Master Lu
2016-07-03
Editor’s note: Dharma Master Jun Hong Lu has a powerful Dharma eye. He can clearly diagnose karma sources by reading the patient’s totem. The participants ask questions at the Dharma Convention, and Master Lu answers them by reading their totems. For living individuals, please tell Master Lu their zodiac and birth year; for deceased individuals, please tell Master Lu their names and death year. Master Lu will acquire their totems through these messages. By reading their totems, Master Lu will find the causes of their illness, helping them treat their diseases.
Patient's wife: This is my husband. He was born in 1969, and his zodiac sign is a rooster. Since being diagnosed with ALS in 2013, he has lost all mobility in his limbs.
Master Lu: No strength in the waist, the whole spine looks like completely paralyzed.
Patient's wife: Yes.
Master Lu: Ouch! Two spirits are pulling him, two rope-like wires pulling his waist, just pulling it upward, so he often gets cramps.
Patient's wife: Yes, yes.
Master Lu: He can still live for one year and three months. You have to tell him to change himself and recite Buddhist scriptures well. I'm telling you, he's here to pay his debt. This is his mother, isn't it?
Patient's wife: His mother.
Master Lu: You tell his mother to recite Buddhist scriptures for him properly. He is here to pay off his karmic debt, and he will be passing away very soon, so you have to recite the Little House to him now. His mother was very strict with him since he was a child, scolding and beating him constantly. Your mother-in-law is very fierce. As soon as the debt is paid off, he will pass away. Thus, I told you (the audience in the convention hall) to take it easy on yourselves about everything. Even if you know that your wife owes you debt, you should not force her to desperately pay. Many wives say, "Ouch, my husband owes me." They abuse their husbands every day, and one day the husband runs away because it's paid off. Do you understand?
Patient's wife: Understand.
Master Lu: You tell his mother to recite the Little House for him every day, a total of 384 sheets, this is the first set so far.
Patient's wife: I have already burned 800 Little House for his karmic creditors, and released 7000 fish.
Master Lu: Well, he's getting a little better. You tell him to take calcium tablets, and eat lecithin. Also, he has poison in his body and is often constipated.
Patient's wife: Yes, yes.
Master Lu: His brain is often messed up.
Patient's wife: Yes, yes, yes.
Master Lu: He often has painful feelings. Keep his mother from bothering him. What do you know, granny? You cast spell over his head, as if you were really doing something. Do you want me to get rid of your soul ah?
Patient's wife: She didn't learn any spells.
Master Lu: You see she just scratched over her son's head like this. Don't scratch, do you understand? Really, alas! (He) owes her. Do you know who his mother's face looks like, do you know? Like an official of the underworld ah? I tell you, (the mother) is to ask for debts. When her son is about to pay off his debt, he will be taken away. (The mother is) very powerful. Alas, you just let fate take its course. In your family, mother has the highest status, and the second is your husband, you are the third.
Patient's wife: Yes yes.
Master Lu: If you have a dog in your family, you will become the fourth. Do you understand? Recite Buddhist scriptures properly!
Patient's wife: Master, how many more Little Houses do we need to recite for him? How many fish to liberate for him?
Master Lu: 18,000 fish.
Patient's wife: Okay.
Master Lu: Continue reciting Little Houses for him until you reach the target of about 890 sheets.
Patient's wife: Now we have finished 800 sheets.
Master Lu: Keep reciting until he recovers. He will be able to stand up later, but he is weak and needs crutches.
Patient's wife: Okay.
Master Lu: If reciting Buddhist scriptures well he can stand up. No big problem. He just has a severe atrophy.
Patient's wife: Yes, yes, yes.
Master Lu: His muscles are all atrophied. With time, all muscles will completely close up.
Patient's wife: He is now having difficulty swallowing, and eating is a problem.
Master Lu: There is a way to help him. Serve him great compassion water every morning, and then ask his mother to give him a throat massage by hand. When you do massage for your husband, you recite the Great Compassion Mantra. Every time he can not swallow, you do massage for him with your mouth reciting the Great Compassion Mantra. You try, each time you can help him to be able to swallow. This is a temporary solution.
Patient's wife: Okay, thank you, Master!
Statement by translator
The dialogue was translated from Chinese into English by meaning, not word by word. If there is anything that is not rational or in line with the true meaning of the Chinese version, I pray for forgiveness from the Greatly Merciful and Greatly Compassionate Guan Yin Bodhisattva, all Buddhas and Bodhisattvas, Dharma protectors and Master Jun Hong Lu.
Propagation
It would be greatly appreciated if you would forward this presentation to all sentient beings you know, sick or healthy. You will accumulate immeasurable merits and virtues. Saving a life is more meritorious than building a seven-floor pagoda!
Would you like to change your destiny?
We will show you how to do the Five Golden Buddhist Practices of Guan Yin Citta Dharma Door: (1) making vows, (2) reciting Buddhist scriptures (sutras and mantras), (3) performing life liberation, (4) reading Buddhism in Plain Terms, and (5) repenting. You will personally witness how you and your family can achieve physical and mental stability, relief from illness and grievances, wisdom growth, academic progress, career advancement, and family happiness through Dharma. It’s free of charge.
Contact
Buddhist practitioner: Lily
Email: [sunnypurplelily@gmail.com](mailto:sunnypurplelily@gmail.com)
WeChat: HanJing20210820
原文如下:
2016年7月3日 中国香港《玄艺综述》大型现场解答会看图腾
病人妻子:这是我的丈夫。他是1969年属鸡的,2013年医院检查出渐冻症,现在已经发展到四肢没有任何的活动能力。
台长师父:腰没有力量,整个脊背完全瘫掉一样。
病人妻子:对。
台长师父:哎哟!两个灵性拉他的,两根绳子一样的铁丝拉他的腰,就是往上牵,所以他经常会抽筋。
病人妻子:是的是的。
台长师父:他还能活一年零三个月。你要叫他变化,好好地念经。我告诉你,他是来还债的。这是他妈妈是吧?
病人妻子:他妈。
台长师父:你叫他妈好好帮他念经,这个孩子是来还债的,他很快就要走的,所以你现在要给他念小房子。妈妈从小对他很严格,骂啊、打啊什么都要做的。你这个婆婆很厉害的,还完了,这个孩子就走掉了。所以我叫你们自己什么事情要悠着点,就是知道这个老婆来还债的,你也不要怎么样,就是知道怎么样,你也不要拼命地去叫人家还。很多老婆说:“哎哟,我老公欠我的。”对他整天不好、整天不好,到最后有一天老公跑掉了,因为还完了。听得懂吗?
病人妻子:明白了。
台长师父:你叫他妈妈每天要念小房子,一共要念384张,这是目前第一拨。
病人妻子:我已经为他烧送了800张小房子了,放生7000条鱼。
台长师父:嗯,他好了一点点。你叫他要吃钙片,还要叫他吃卵磷脂。还有他身上有毒,经常便秘。
病人妻子:是的是的。
台长师父:脑子已经经常转不过弯来。
病人妻子:对对对。
台长师父:经常有痛苦感觉,叫他的妈妈不要再乱弄他了。你懂什么,老婆婆?还要搞这种法术呢,头上拉拉下来,像真的一样,你要不要我把你魂弄掉啊?
病人妻子:她没学什么法术。
台长师父:你看她刚才在她儿子头上这么抓。不要抓,听得懂吗?真的,唉!欠她的。你知道他妈妈……你看看他妈妈的脸像谁,你们知道吗?像不像地府的官啊?我告诉你,就是来要债,把她儿子弄弄弄,还债,还得差不多了,把他带走。很厉害的,弄到最后还是她。你就是……唉,你就随缘吧,你就这种孩子了,没办法。你们家里,老大是他妈,老二是你老公,你是老三。
病人妻子:是的是的。
台长师父:如果你们家再养条狗,你就变老四了。听得懂吗?好好念经了!
病人妻子:师父,我们再为他念多少小房子?放多少鱼?
台长师父:放18000条鱼。
病人妻子:好的。
台长师父:小房子要帮他不停地念,最后大概要念到890张。
病人妻子:现在已经达到800张了。
台长师父:还要念,念到他好。他以后能站起来,但是浑身无力,要拄拐棍的。
病人妻子:好的。
台长师父:他如果好好念经,能站起来的,没什么大问题,他只是萎缩症很厉害。
病人妻子:对对对。
台长师父:他的肌肉都在萎缩,萎缩到后来完全收起来了。
病人妻子:他现在的吞咽都很困难,吃饭都成问题了。
台长师父:有一个方法,每天早上给他喝大悲水,然后叫他妈妈给他做手部按摩。你给你老公做,手部按摩的时候给他念《大悲咒》,每一次吞不下去,你就手帮他这里按摩,嘴巴里念《大悲咒》。你试试看,每一次帮你叫他吞得下去,这是暂时的办法。
病人妻子:好的,感恩师父!
您想改变命运吗?
我们手把手传授您观世音菩萨的心灵法门五大法宝:“许愿”、“放生”、“念经”、“读《白话佛法》、大忏悔”。您将亲自见证如何通过佛法让自己及家人获得身心安定、病苦解除、冤结化解、智慧增长、学业进步、事业提升、家庭幸福。
欢迎联络Lily佛友:
电邮:sunnypurplelily@gmail.com
微信:HanJing20210820
Disclaimer of Liability:
The contents of the presentation and answers, including text, images, and other information obtained from Dharma practitioners, are provided strictly for reference purposes. Due to the unique nature of individual karma, results similar to those experienced by the authors may not be replicated. The experiences and advice shared should not be construed as medical advice or a diagnosis.
In the event of an emergency, it is crucial to promptly contact your doctor or emergency services by dialing 911. Relying on any information found in the answers is done solely at your own risk. The translator and answerer bear no responsibility for the consequences. By using or misusing the contents, you accept liability for any personal injury, including death. It is imperative to exercise caution and seek professional medical guidance for health-related concerns.

submitted by DevoteeOfCittaDharma to CittaPureLand [link] [comments]


2024.05.21 12:53 Truly_Organic Seeking advice and opinion about my idea for a Gold playthrough.

Lately I wanted to finaly play Pokemon Gold emulator on my phone, but to spice it up a little I wanted to make it a bit more difficult and interesting for myself, so I'm gonna try to make it into a modified Hardcore Randomizer Nuzlocke! Sadly, since I don't know how to actually randomize a game, I'm gonna try to achieve a similar outcome with cheats and a random number generator site.
I would like to ask for opinion and advice regarding stuff like if my rules are resonable for Pokemon Gold and won't go against the way progression, mechanics and locations are structured in this game, or if the way I want to handle item and trade evolutions sounds balanced.
So far the rules of the playthrough include:
  1. Basic nuzlocke rules.
  2. No use of items in trainer battles, but allowed in pokemon encounters.
  3. Level caps set to next gym leader's ace or the third elite four member's ace.
  4. The number of pokemon you can have in the gym is restricted to the number of pokemon the gym leader uses. The levels of your pokemon as you enter the gym should mirror the gym leader (e.g. you can only take 2 pokemon to Violet City gym, one at level 7, one at level 9). Pokemon are allowed to level up past the level cap in the gym itself.
  5. Pokemon encounters are chosen via numbers generated from 1 to 117, which correspond to a base form of every pokemon line excluding legendaries. The number is generated as soon as you have your first normal wild encounter in the location. Then you must encounter the randomized pokemon of the same level as the wild encounter. The pokemon encountered might be evolved if the level of the encounter allows for it. That includes trade evos, but not stone evos (but I'm not sure about that rule).
  6. When facing a static Legendary, generate 3 numbers and choose one of them, then proceed with the encounter against the randomized pokemon in place of the legendary.
  7. No fishing encounters in places, where no other way of encounter is possible.
  8. You can't leave a location until you finish it, after which you unlock it and can explore freely. To finish a location, you have to either:
  9. get to another entrance to the location that leads to a town or a place with a pokecenter (e.g. if you enter route 30 from Cherrygrove City, you would have to cross route 31 and get to Violet City to finish the location. After that you can enter and exit the routes to heal or buy items and reenter the routes 30 and 31).
Also, since trade evolutions are normally impossible and evolution stones are very hard to get in Johto, I thought about making these pokemon evolve at certain levels instead. It would go like this: - Jigglypuff and Sunkern evolve at lv20 - Pokemon with one stage that evolve via evolution stones evolve at lv28 - Pokemon with two stages that evolve via evolution stones evolve at lv34 - Pokemon that evolve via trade with a hold item evolve at lv34 while holding the needed item - Pokemon that evolve via trade without an item do so at lv42
I'm not sure if these levels are too high or too low, since the entire Johto region operates on low levels and I want to make use of these evolutions, but I don't want them to be broken :P
What do you all think about this set of rules? Does it sound reasonably hard but fun? Do you have any ideas for improvement? Would love some feedback!
Thank you for reading, have a good day!
submitted by Truly_Organic to nuzlocke [link] [comments]


2024.05.21 12:16 mattposts6789 A fun game variant: have secret and public objectives swap places!

This is a variant I've played three games with now, and its really superb. The full rules go like this:
1- During setup, set aside the following SOs: Destroy their Greatest Ship (Destroy another player's war sun or flagship. ), Make an Example of Their World (Use BOMBARDMENT to destroy the last of a player's ground forces on a planet. ), Turn Their Fleets to Dust (Use SPACE CANNON to destroy the last of a player's ships in a system.), and Form a Spy Network (Discard 5 Action Cards.).
2- Shuffle the rest of the SOs together, and pick 5. These are now the Stage I Public Objectives. They work just the same as in the real game- with the exception that if they come up, Spark a Rebellion (Win a combat against a player who has the most victory points) and Unveil Flagship (Win a space combat in a system that contains your flagship) are able to be scored in the Action Phase, as soon as you fulfil them. For the rest, you can only score 1 in the Status Phase (unless you have Imperial) just like the vanilla game.
3- Shuffle together the unused SOs, the set aside SOs, and the real Stage I POs. These now form a common Secret Objectives deck. Secret Objectives are unchanged from the base game.
NOTE: we're only using the base game here, friends and I are too broke to shell out for POK.
I don't think this will ever beat the base game; but as a refreshing novelty I can 100% recommend. The other 3 Action Phase secrets need to be kept out of contention for obvious reasons, and while you could leave Form a Spy Network in there, I just think that it would get boring if everyone was stockpiling Action Cards.
I once had the pleasure of playing this variant, and had Spark a Rebellion, Unveil Flagship, and Adapt New Strategies (Own your two faction techs) come up as Public Objectives. We hadn't sorted out all the kinks of this variant at that stage, so we had all 5 Action Phase SOs in the running to come up as public objectives, and Destroy Their Greatest Ship (Destroy another player's war sun or flagship) came up as the fifth Stage I Public Objective, when there were already 3 flagships on the board. I'll remember that night for the rest of my life.
LESS SPICY VARIANT: Another way to spice up objectives is to have the first two Stage I POs be base-game POs, and the other 3 Stage I POs be secrets. This is probably a far more robust system than what I am proposing above. Usually if we do this, we have the first two POs set as Expand Borders (Control 6 planets in non-home systems )and Intimidate Council (Have 1 or more ships in 2 systems that are adjacent to Mecatol Rex's System). That is because these two objectives encourage conflict, which leads to more exciting games. We always use these 2 as the 2 starting objectives if we have new players, because let's face it, games with 5 non-conflict Stage Is can get boring.
ONLY MILDLY SPICY VARIANT: Replace only the third Stage I PO with a secret. We have played this way once to add a touch of spice, and we plan to now do this in every game, unless we're playing my variant, or the Red Tape variant that is also very popular.
submitted by mattposts6789 to twilightimperium [link] [comments]


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submitted by AutoModerator to Pacific_Spins [link] [comments]


2024.05.21 12:00 JohnPoopsTV My Madness Combat Episode Ranking

This is my Madness Combat ranking. This is entirely my personal opinion. I have watched this series since around 2004 on Newgrounds, and a huge supporter of Krinkels' work. So I must point out that I do not believe a single episode is bad. I believe all of the episodes are top tier, this is just my ranking of where I think they stand out in terms of quality, length, story, music/sfx etc.. So if you see your favourite episode low down, just remember it's not bad, I just feel that there may be an episode that's better! This is also just the mainline series, so no canon shorts such as An Experiment or Dissenter, Marshmallow Madness, and no Dedmos Adventures. Although if I had to rank Dedmos in this list, it'd probably come 4th place, or something. This was a hard ranking, given how amazing each episode is, so having the canon shorts/spin-offs would be more difficult, given how much Krinkels' artstyle and animation has improved since Madness 11. The earlier rankings are going to be the hardest, but I will put nostalgia aside and rank based on quality and other factors.
15. Madness Combat
In last place, kind of predictable, but the first episode. Obviously just because nostalgia aside, every episode that came after it has raised the bar in so many ways. However, we mustn't forget the classic soundtrack, the lack of blood, the first canon entry of Jeb and Hank, a literal cannon - this is where it all started. It knows what it is, it's a classic. It's where Madness began.
14. Madness Redeemer
Again like before, an absolute classic and it's where I believe that Madness Combat in its current form truly began. We've got introductions of the Sheriff, The Clown, Jeb was brought back. This is also where the Tricky Saga started to take shape. Again I do feel that everything that came after it was just better in quality, but there is loads to love about Redeemer.
13. Madness Combat 7.5
May be a bit controversial, but 7.5 ranks lower. I think it's universally agreed that 7.5 is the least interesting .5 episode. It doesn't feel like it contrasts well with the zaniness and horror of Madness 7. In some capacity, I feel that you need to pair the .5's with their mainline counterparts, and this episode, whilst good, is just the opposite of Consternation. The soundtrack is also one of my least favourites. This one just felt a bit like a filler episode. It's still a great entry, especially given the time it came out, but I'd say this is the most 'run of the mill' episode pre-modern Krinkels.
12. Madness Avenger
Avenger is very much a classic. This is where the Improbability Drive was introduced and the main story started to take shape. I think Redeemer is where the violence and John Wick style animation began, but I feel the story truly jumped after Avenger. This was the second episode I ever watched and I still hold it in very high regard. I think this is the episode people think of when someone says 'Madness Combat', if you were skulking around Newgrounds back in the early 00's.
11. Madness Depredation
Depredation was the 3rd episode I ever watched. I remember seeing the thumbnail plastered everyone on flash animation websites. This is where Hank got his iconic look - this episode is just batshit crazy. If someone mentions Madness Combat and you don't think of Avenger or Consternation, then you probably remember the Depredation and onward looks. There's just so much to love here. The hard pounding soundtrack from Cheshyre let's you know that this is hardcore. Removing the nostalgia I'd say it doesn't have a lot to offer in terms of story until the very end, but man when this came out it was one of my favourites and still is, I just believe that the other episodes have a lot more to say.
10. Madness Inundation
When this first came out, it was sort of controversial, if I remember correctly. With Hank dead at the end of Consternation, I saw tons of comments and forum posts, including some from myself... is Hank coming back? Is this the end? No one really predicted that Jeb would get his own episode, and looking back, I love this episode. I wasn't a huge fan back in 2008, and I would have ranked it near the bottom just out of spite for not getting Hank. But this episode, looking at it today, is brilliant. Jeb is such a cool protagonist, being able to fly, use his powers, catch bullets, the iconic sniper rifle opening, API's soundtrack. The Magnum. I could go on, honestly. I think this is one of the highlights of the series, because at the time, we genuinely thought this was the final episode, and Krinkels' posts, or lack thereof, around that time, sort of gave the impression that this would be the case. The episode feels very much centred around doom, and the end of things as we know it, especially during normality restoration. I think this is where subtle hints surrounding the Madness universe (or Nevadean universe... maybe?) started to take shape. Thankfully, it wasn't the end. It was unfortunately, so far, the end of Jeb, which is a damn shame. I hope Krinkels reconsiders down the line, but for now, he joins the Sheriff being the only two characters to die, seemingly forever, and go to "regular Hell".
9. Madness Apotheosis
Apotheosis is the very first episode I watched back in 2004, so naturally I do have some tiny amount of bias. This is where Krinkels found his footing - quite literally. Characters now have two feet, animation is a lot smoother, another iconic bandage look from Hank following Avenger... again, before getting Depredation, similar to Inundation as well, this truly looked like the end.
8. Madness Combat 5.5
This may also be controversial. But I firmly believe 5.5 is actually better than the episode it's structured around. Again, these earlier rankings are hard as I am trying to not see it through nostalgia, but rather quality. I think 5.5 just has so much to say, the iconic opening, mixed with the soundtrack. It fits perfectly with the lore, and actually makes Depredation a much better episode. Again, the issue with Depredation is that the intro is just run of the mill, up until the mid-point and ending, which only serves, at the time, a continuation in the form of Antipathy. 5.5 is where things tied together very nicely. This is also the introduction of Sanford and Deimos who would go on to become much loved characters in the Madness canon. Given how they just seem like random grunts in Depredation (which, at the time, they likely were), Krinkels managed to give them a whole side quest, which ties in very nicely with the main story. It's also the first time where two protagonists are on screen and are actually doing something, which I'll explain later. Other than that, great episode!
7. Madness Antipathy
The sixth Madness episode is also quite the anomaly. What I failed to realise as a kid is that each episode pretty much ends on a somewhat cliffhanger, but a cliffhanger where it could continue, and it also doesn't have to. 2006 was a huge year for animated sequels, with Madness 6, Killing Spree VI and Joe Zombie: Episode 6, ironically, all the 6's. There's a few others to mention, but we'd be here all day. I love Hanks look in this episode, with his exposed jaw after being pummelled to heck by Tricky in episode 5. The stab wound with the smiley face. Just do what comes natural. Have to mention while I love Cheshyre's Trainmadness soundtrack, we also have to give a shoutout to the creepy opening music MADNEWAT, and API's fast, twitchy techno music in the first half. I mention this because Hank seems very twitchy in this episode, and I love it. It's also carried over in 9.5 too, which is nice to see. The gore is great, especially with the axe and P90 at the end, the train, Jeb working a normal job post Depredation... I think this is where Madness truly reached the point of 'crazy' and set the stage for every episode that came after it.
6. Madness Aggregation
Aggregation is the 9th episode in the Madness canon, and was certainly a surprise to see. This is Krinkels' experimental phase, and you can see it throughout the episode. It was the first episode (if I remember correctly) to have two protagonists on screen at the same time (or three, if you count dead/carried Hank). This is where my problems begin, however. You can certainly tell it was the first time, a lot of my issues with this episode center around Sanford or Deimos sort of standing around doing nothing whilst the other is causing mayhem. Apart from that though, it was nice to see them again, especially after watching the .5's years later. On rewatch, I hold it in much higher regard now that we have context for the canon. This is also where Hank is revived and would set up another event in the form of 9.5 later down the line. It is weird to see Hank as a Mag, and it's doubly sad to see that Deimos did not make it, but this episode is baller. The soundtrack as well, definitely fits the opening with our heroes driving and evading enemies. I can't pinpoint it, but the soundtrack definitely feels like a dual protagonist sound. In terms of story, it sticks very well.
5. Madness Combat 6.5
There is so much to love about 6.5. I think it's honestly the best .5 episode pre-Madness 11 era. 2009-2011 was a very experimental phase, but it definitely paid off. I just love how seamlessly 5.5 and 6.5 come together when watched one after the other, or in one big video (props to the folks who put those 'In Real-time' videos together). The wounded Sanford, the train tracks, it certainly gives a lot of context for what is going on, wordlessly. This is where they started to get their iconic looks. Whilst 7.5 didn't really offer anything substantial, 5.5 and 6.5 are truly magnificent episodes that are held in high regard. The reason I ranked 5.5 lower is that it's just to give you an idea of what's happening around Depredation and Antipathy, whereas 6.5 feels like its own episode. The soundtrack is one of my favourites too. The animation was getting more and more fluid, and given that this came out before Madness 10, it's quite amazing how much of the animation style here is carried over into the later episodes.
4. Madness Consternation
Episode 7 is one of my all-time favourites, for sure, and I think this rings true for a lot of people in the community. Even though it's not ranked at number 1, I'd still say it's among my personal favourite episodes. The soundtrack and eerie vibe of the demonic Clown gives the episode a real horror angle that I always scared me in a way, as a kid. There's also things I never noticed back in 2007, that I notice today, such as 'DISSENTER BE DAMNED' written on the walls where the spiked agents are. This is cool nowadays since 9.5 expands on retention and dissenters, so even though it may not have been intended at the time (or if it was, Krinkels was certainly quiet about it), it tells a lot without any words and fits the story very nicely. Again, it's another pick for my "this is the Hank you think about when someone mentions Madness Combat" list. There are so many. But I love Hank's ninja wraps and red goggles. I feel this is when his image improved each episode. Cheshyre's Madness7 soundtrack is close to my all time favourite, and I still blast it in the car to this day. Also, chainsaw Hank is MVP.
3. Madness Expurgation
This might be a little controversial depending on who you ask, but I think Expurgation fits nicely in 3rd place within this ranking. It's one of my favourites and is probably one of the craziest episodes to date. I think the issue I have with this episode is the lack of blood. I think Madness has always been memorable for the amount of gore, blood and ways that the enemies are killed. I don't have an issue with the black blood from the clown minions, but the gore just feels a bit lessened here, in my opinion anyway. That, however, does not stop this from being an all time great. 7 years, 7 months and 7 days, and it was well worth the wait after being teased for so long. This is truly a highpoint in the Madness canon, where things looked vulnerable in-universe. I know things have always looked shaky given how each episode ends, but seeing the Auditor all messed up and trying to make a deal with Hank and Sanford to remove the Clown, it sets up Madness Combat 12 nicely. The audio and SFX is a major improvement and would become a standard in later animations. The soundtrack, 'Expurgation', from our saviour Cheshyre is again one of the best soundtracks. It gives a sense of hopelessness, this is even more apparent when Sanford yells out in frustration when he is cornered by Tricky, but then hope is restored when Hank returns with a new metal arm, and the soundtrack hits even harder. I do feel like the fight at the end could have been a bit more interesting, and a lot could have happened, but then again, Krinkels worked on this thing for 7 years, so I'll give him a pass on that. Also love the way the episode begins with Hank and Sanford climbing down the ladder from MC10, haha. All in all, one of my favourites.
2. Madness Abrogation
I think Madness Combat 10 is easily one of the best episodes. This thing came out in 2011, but it could have come out in 2016 or something and I'd have been none the wiser. The sheer rise in quality is undeniable. Like I said before, my issues with Aggregation stem from a quality perspective, where one or more characters sort of stand around doing nothing whilst another character is off doing something. When rewatching MC9, it becomes more and more apparent and I can't unsee it. MC5.5 and 6.5 was a period of time where Krinkels was able to hash this out and I think this all came together in MC10, for sure. The animation is very expressive and fluid, there's not a single point where the protags are just standing still or doing nothing (except for when Hank is pushed into the wall by the Mag and when he pulls the lever for Sanford, but I'll give this a pass). The episode feels very alive, due in part to the expressiveness, such as Hank and Sanford playing rock paper scissors to determine who dives into The Auditor's construct first. Naturally, it's our boy Hank. And that soundtrack? Come on, it's easily my personal favourite in the whole series. I think where MC9 toned it down to suit a more slow paced episode, MC10 ramps it up where it sounds like alarms are ringing, as if to say "we've go to go, quick!", and the part of the song where a portion of Madness7 is played, followed by a remix of Crazy Clown Song of Death from MC5, truly amazing. Cheshyre did a beastly job here, and as usual, breathed some serious life into this episode. It's by far the episode I come back to the most, there is just so much to love here. Again, you'd have no idea that MC10 and MC11 are 7 years apart. I wish I could say more, and to be honest I would I could say more on ALL the episodes, but we'd be here all day. MC10 is a classic, hands down.
1. Madness Combat 9.5
This might've been expected, or not expected, I don't know. But MC9.5 is easily the best episode to date. I'll also be ranking both parts as one whole episode. I can't actually tell you which part I prefer the most, as it takes two of my favourite looking Hanks and puts them into the same episode. Following Dedmos and the anticipated release of MC12, I would say that this is Krinkels' magnum opus. In terms of sheer quality, the amazing sound design, and again we cannot forget how much life is pumped into these animations by Cheshyre. I'd say I prefer Part 1's soundtrack over Part 2. I think given how fast MC6 Hank is, I would be inclined to say Part 1's fast paced soundtrack fits that version of Hank the most, but that's just a personal preference.
Anyway, the most noticeable thing off the bat is the sleek, crisp art design. It's rugged, detailed, and is by far Krinkels' best work. It truly feels like a massive overhaul to the design of the characters and world around them. Again, the expressiveness is huge, such as Hank making fun of the ATP Soldat gesturing with his hand, pointing towards the eyes, and this is even more interesting because it's the first time Hank meets them chronologically. It feels very fluid, and everything looks like it has real weight to it. This is also enhanced by the amazing sound design, for a mask that drops onto the floor, or the clicking of the guns. The horror feel from MC7 is truly back here, as well. Part 2 specifically where Tricky just goes into beast mode, it very much caught me off guard. MC9.5 also gives us an interesting look at how 'the other place' works, and how the Madness universe works as a whole. It's implied when you die, you end up in this sort of purgatory hellscape, and it does all of this story telling wordlessly. Ironically, I feel that Part 1 is actually more of a 7.5 than the original 7.5, for the obvious reason that 9.5 starts after Hank is killed in MC7. So many little details in 9.5 make it feel so authentic, such as the very end when Hank is revived, and you can faintly hear gunshots in the background, the moment where Deimos is killed. I have so much more to say but again, we'll be here all day. All in all, this is by far the best MC episode to date in terms of quality, audio, story and the new art style will be one of the driving forces moving forward.
So, that's my personal ranking of Madness Combat episodes. Again, I love every single episode, so if there's a ranking you disagree with, just remember it's my personal opinion and in my head, they are all number 1. Submit your rankings, and let me know your thoughts, and where you'd rank the episodes!
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2024.05.21 11:25 The_Way358 Essential Teachings: Understanding the Atonement, the Content of Paul's Gospel Message, and Justification

"Why Did Jesus Die on the Cross?"

The main reason Jesus died on the cross was to defeat Satan and set us free from his oppressive rule. Everything else that Jesus accomplished was to be understood as an aspect and consequence of this victory (e.g., Recapitulation, Moral Influence, etc.).
This understanding of why Jesus had to die is called the Christus Victor (Latin for “Christ is Victorious”) view of the atonement. But, what exactly was Christ victorious from, and why? To find out the answers to these questions, we have to turn to the Old Testament, as that's what the apostles would often allude to in order to properly teach their audience the message they were trying to convey (Rom. 15:4).
The OT is full of conflict between the Father (YHVH) and false gods, between YHVH and cosmic forces of chaos. The Psalms speak of this conflict between YHVH and water monsters of the deeps (an ancient image for chaos) (Psa. 29:3-4; 74:10-14; 77:16, 19; 89:9-10; 104:2-9, etc).
The liberation of Israel from Egypt wasn’t just a conflict between Pharaoh and Moses. It was really between YHVH and the false gods of Egypt.
Regardless of whether you think the aforementioned descriptions are literal or metaphorical, the reality that the Old Testament describes is that humanity lived in a “cosmic war zone.”
The Christus Victor motif is about Christ reigning victorious over wicked principalities and Satan's kingdom, and is strongly emphasized throughout the New Testament. Scripture declares that Jesus came to drive out "the prince of this world” (John 12:31), to “destroy the works of the devil” (1 John 3:8), to “destroy him that had the power of death, that is, the devil” (Heb. 2:14) and to “put all enemies under his feet” (1 Cor 15:25). Jesus came to overpower the “strong man” (Satan) who held the world in bondage and worked with his Church to plunder his "palace" (Luke 11:21-22). He came to end the reign of the cosmic “thief” who seized the world to “steal, and to kill, and to destroy” the life YHVH intended for us (John 10:10). Jesus came and died on the cross to disarm “the principalities and powers” and make a “shew of them openly [i.e., public spectacle]” by “triumphing over them in [the cross]” (Col. 2:15).
Beyond these explicit statements, there are many other passages that express the Christus Victor motif as well. For example, the first prophecy in the Bible foretells that a descendent of Eve (Jesus) would crush the head of the serpent (Gen. 3:15). The first Christian sermon ever preached proclaimed that Jesus in principle conquered all YHVH's enemies (Acts 2:32-36). And the single most frequently quoted Old Testament passage by New Testament authors is Psalm 110:1 which predicts that Christ would conquer all YHVH’s opponents. (Psalm 110 is quoted or alluded to in Matthew 22:41-45; 26:64, Mark 12:35-37; 14:62, Luke 20:41-44; 22:69, Acts 5:31; 7:55-56, Romans 8:34, 1st Corinthians 15:22-25, Ephesians 1:20, Hebrews 1:3; 1:13; 5:6, 10; 6:20; 7:11, 15, 17, 21; 8:1; 10:12-13, 1st Peter 3:22, and Revelation 3:21.) According to New Testament scholar Oscar Cullman, the frequency with which New Testament authors cite this Psalm is the greatest proof that Christ’s “victory over the angel powers stands at the very center of early Christian thought.”
Because of man's rebellion, the Messiah's coming involved a rescue mission that included a strategy for vanquishing the powers of darkness.
Since YHVH is a God of love who gives genuine “say-so” to both angels and humans, YHVH rarely accomplishes His providential plans through coercion. YHVH relies on His infinite wisdom to achieve His goals. Nowhere is YHVH's wisdom put more on display than in the manner in which He outsmarted Satan and the powers of evil, using their own evil to bring about their defeat.
Most readers probably know the famous story from ancient Greece about the Trojan Horse. To recap the story, Troy and Greece had been locked in a ten-year-long vicious war when, according to Homer and Virgil, the Greeks came up with a brilliant idea. They built an enormous wooden horse, hid soldiers inside and offered it to the Trojans as a gift, claiming they were conceding defeat and going home. The delighted Trojans accepted the gift and proceeded to celebrate by drinking themselves into a drunken stupor. When night came and the Trojan warriors were too wasted to fight, the Greeks exited the horse, unlocked the city gates to quietly let all their compatriots in, and easily conquered the city, thus winning the war.
Historians debate whether any of this actually happened. But either way, as military strategies go, it’s brilliant.
Now, there are five clues in the New Testament that suggest YHVH was using something like this Trojan Horse strategy against the powers when he sent Jesus into the world:
1) The Bible tells us that YHVH's victory over the powers of darkness was achieved by the employment of YHVH’s wisdom, and was centered on that wisdom having become reality in Jesus Christ (Rom. 16:25, 1 Cor. 2:7, Eph. 3:9-10, Col. 1:26). It also tells us that, for some reason, this Christ-centered wisdom was kept “secret and hidden” throughout the ages. It’s clear from this that YHVH's strategy was to outsmart and surprise the powers by sending Jesus.
2) While humans don’t generally know Jesus’ true identity during his ministry, demons do. They recognize Jesus as the Son of God, the Messiah, but, interestingly enough, they have no idea what he’s doing (Mark 1:24; 3:11; 5:7, Luke 8:21). Again, the wisdom of YHVH in sending Jesus was hidden from them.
3) We’re told that, while humans certainly share in the responsibility for the crucifixion, Satan and the powers were working behind the scenes to bring it about (John 13:27 cf. 1 Cor. 2:6-8). These forces of evil helped orchestrate the crucifixion.
4) We’re taught that if the “princes of this world [age]” had understood the secret wisdom of YHVH, “they would not have crucified the Lord of glory” (1 Cor 2:8 cf. vss 6-7). Apparently, Satan and the powers regretted orchestrating Christ’s crucifixion once they learned of the wisdom of YHVH that was behind it.
5) Finally, we can begin to understand why the powers came to regret crucifying “the Lord of glory” when we read that it was by means of the crucifixion that the “handwriting of ordinances that was against us, which was contrary to us [i.e., the charge of our legal indebtedness]” was “[taken] out of the way [i.e., canceled]” as the powers were disarmed. In this way Christ “triumph[ed] over” the powers by "his cross” and even “made a shew of them openly” (Col. 2:14-15). Through Christ’s death and resurrection YHVH's enemies were vanquished and placed under his Messiah's feet, and ultimately His own in the end (1 Cor. 15:23-28).
Putting these five clues together, we can discern YHVH's Trojan Horse strategy in sending Jesus.
The powers couldn’t discern why Jesus came because YHVH's wisdom was hidden from them. YHVH's wisdom was motivated by unfathomable love, and since Satan and the other powers were evil, they lacked the capacity to understand it. Their evil hearts prevented them from suspecting what YHVH was up to.
What the powers did understand was that Jesus was mortal. This meant he was killable. Lacking the capacity to understand that this was the means by which YHVH would ultimately bring about the defeat of death (and thus, pave the road for the resurrection itself), they never suspected that making Jesus vulnerable to their evil might actually be part of YHVH's infinitely wise plan.
And so they took the bait (or "ransom"; Matt. 20:28, Mark 10:45, 1 Tim. 2:5-6). Utilizing Judas and other willing human agents, the powers played right into YHVH’s secret plan and orchestrated the crucifixion of the Messiah (Acts 2:22-23; 4:28). YHVH thus brilliantly used the self-inflicted incapacity of evil to understand love against itself. And, like light dispelling darkness, the unfathomably beautiful act of YHVH's love in sending the willing Messiah as a "ransom" to these blood-thirsty powers defeated them. The whole creation was in principle freed and reconciled to YHVH, while everything written against us humans was nailed to the cross, thus robbing the powers of the only legal claim they had on us. They were “spoiled [i.e., disempowered]” (Col. 2:14-15).
As happened to the Trojans in accepting the gift from the Greeks, in seizing on Christ’s vulnerability and orchestrating his crucifixion, the powers unwittingly cooperated with YHVH to unleash the one power in the world that dispels all evil and sets captives free. It’s the power of self-sacrificial love.

Why Penal Substitution Is Unbiblical

For the sake of keeping this already lengthy post as short as possible I'm not going to spend too much time on why exactly PSA (Penal Substitutionary Atonement) is inconsistent with Scripture, but I'll go ahead and point out the main reasons why I believe this is so, and let the reader look further into this subject by themselves, being that there are many resources out there which have devoted much more time than I ever could here in supporting this premise.
"Purge out therefore the old leaven, that ye may be a new lump, as ye are unleavened. For even Christ our passover is sacrificed for us:"-1 Corinthians 5:7
The Passover is one of the two most prominent images in the New Testament given as a comparison to Christ's atonement and what it accomplished, (the other most common image being the Day of Atonement sacrifice).
In the Passover, the blood of the lamb on the door posts of the Hebrews in the book of Exodus was meant to mark out those who were YHVH's, not be a symbol of PSA, as the lamb itself was not being punished by God in place of the Hebrews, but rather the kingdom of Egypt (and thus, allegorically speaking, the kingdom of darkness which opposed YHVH) was what was being judged and punished, because those who were not "covered" by the blood of the lamb could be easily identified as not part of God's kingdom/covenant and liberated people.
Looking at the Day of Atonement sacrifice (which, again, Christ's death is repeatedly compared to throughout the New Testament), this ritual required a ram, a bull, and two goats (Lev. 16:3-5). The ram was for a burnt offering intended to please God (Lev. 16:3-4). The bull served as a sin offering for Aaron, the high priest, and his family. In this case, the sin offering restored the priest to ritual purity, allowing him to occupy sacred space and be near YHVH’s presence. Two goats taken from "the congregation” were needed for the single sin offering for the people (Lev. 16:5). So why two goats?
The high priest would cast lots over the two goats, with one chosen as a sacrifice “for the Lord” (Lev. 16:8). The blood of that goat would purify the people. The second goat was not sacrificed or designated “for the Lord.” On the contrary, this goat—the one that symbolically carried the sins away from the camp of Israel into the wilderness—was “for Azazel” (Lev. 16:8-10).
What—or who—is Azazel?
The Hebrew term azazel (עזאזל) occurs four times in Leviticus 16 but nowhere else in most people's canon of the Bible, (and I say "most people's canon," because some people do include 1 Enoch in their canon of Scripture, which of course goes into great detail about this "Azazel" figure). Many translations prefer to translate the term as a phrase, “the goat that goes away,” which is the same idea conveyed in the King James Version’s “scapegoat.” Other translations treat the word as a name: Azazel. The “scapegoat” option is possible, but since the phrase “for Azazel” parallels the phrase “for YHVH” (“for the Lord”), the wording suggests that two divine figures are being contrasted by the two goats.
A strong case can be made for translating the term as the name Azazel. Ancient Jewish texts show that Azazel was understood as a demonic figure associated with the wilderness. The Mishnah (ca. AD 200; Yoma 6:6) records that the goat for Azazel was led to a cliff and pushed over, ensuring it would not return with its death. This association of the wilderness with evil is also evident in the New Testament, as this was where Jesus met the devil (Matt. 4:1). Also, in Leviticus 17:1-7 we learn that some Israelites had been accustomed to sacrificing offerings to "devils" (alternatively translated as “goat demons”). The Day of Atonement replaced this illegitimate practice.
The second goat was not sent into the wilderness as a sacrifice to a foreign god or demon. The act of sending the live goat out into the wilderness, which was unholy ground, was to send the sins of the people where they belonged—to the demonic domain. With one goat sacrificed to bring purification and access to YHVH and one goat sent to carry the people’s sins to the demonic domain, this annual ritual reinforced the identity of the true God and His mercy and holiness.
When Jesus died on the cross for all of humanity’s sins, he was crucified outside the city, paralleling the sins of the people being cast to the wilderness via the goat to Azazel. Jesus died once for all sinners, negating the need for this ritual.
As previously stated, the goat which had all the sin put on it was sent alive off to the wilderness, while the blood of the goat which was blameless was used to purify the temple and the people. Penal substitution would necessitate the killing of the goat which had the sin put on it.
Mind you, this is the only sacrificial ritual of any kind in the Torah in which sins are placed on an animal. The only time it happens is this, and that animal is not sacrificed. Most PSA proponents unwittingly point to this ritual as evidence of their view, despite it actually serving as evidence to the contrary, because most people don't read their Old Testament and don't familiarize themselves with the "boring parts" like Leviticus (when it's actually rather important to do so, since that book explains how exactly animal offerings were to be carried out and why they were done in the first place).
In the New Testament, Christ's blood was not only meant to mark out those who were his, but also expel the presence of sin and ritual uncleanness so as to make the presence of YHVH manifest in the believer's life. Notice how God's wrath isn't poured out on Christ in our stead on this view, but rather His wrath was poured out on those who weren't covered, and the presence of sin and evil were merely removed by that which is pure and blameless (Christ's blood) for the believer.
All this is the difference between expiation and propitiation.

The Content of Paul's Gospel Message

When the New Testament writers talked about “the gospel,” they referred not to the Protestant doctrine of justification sola fide–the proposition that if we will stop trying to win God’s favor and only just believe that God has exchanged our sin for Christ’s perfect righteousness, then in God’s eyes we will have the perfect righteousness required both for salvation and for assuaging our guilty consciences–but rather they referred to the simple but explosive proposition Kyrios Christos, “Christ is Lord.” That is to say, the gospel was, properly speaking, the royal announcement that Jesus of Nazareth was the God of Israel’s promised Messiah, the King of kings and Lord of lords.
The New Testament writers were not writing in a cultural or linguistic vacuum and their language of euangelion (good news) and euangelizomai would have been understood by their audience in fairly specific ways. Namely, in the Greco-Roman world for which the New Testament authors wrote, euangelion/euangelizomai language typically had to do with either A) the announcement of the accession of a ruler, or B) the announcement of a victory in battle, and would probably have been understood along those lines.
Let’s take the announcements of a new ruler first. The classic example of such a language is the Priene Calendar Inscription, dating to circa 9 BC, which celebrates the rule (and birthday) of Caesar Augustus as follows:
"It was seeming to the Greeks in Asia, in the opinion of the high priest Apollonius of Menophilus Azanitus: Since Providence, which has ordered all things of our life and is very much interested in our life, has ordered things in sending Augustus, whom she filled with virtue for the benefit of men, sending him as a savior [soter] both for us and for those after us, him who would end war and order all things, and since Caesar by his appearance [epiphanein] surpassed the hopes of all those who received the good tidings [euangelia], not only those who were benefactors before him, but even the hope among those who will be left afterward, and the birthday of the god [he genethlios tou theou] was for the world the beginning of the good tidings [euangelion] through him; and Asia resolved it in Smyrna."
The association of the term euangelion with the announcement of Augustus’ rule is clear enough and is typical of how this language is used elsewhere. To give another example, Josephus records that at the news of the accession of the new emperor Vespasian (69 AD) “every city kept festival for the good news (euangelia) and offered sacrifices on his behalf.” (The Jewish War, IV.618). Finally, a papyrus dating to ca. 498 AD begins:
"Since I have become aware of the good news (euangeliou) about the proclamation as Caesar (of Gaius Julius Verus Maximus Augustus)…"
This usage occurs also in the Septuagint, the Greek translations of the Jewish Scriptures. For instance LXX Isaiah 52:7 reads, “How beautiful upon the mountains are the feet of him who brings good news (euangelizomenou), who publishes peace, who brings good news (euangelizomenos) of salvation, who says to Zion, ‘Your God reigns.'" Similarly, LXX Isaiah 40:9-10 reads:
"…Go up on a high mountain, you who bring good tidings (ho euangelizomenos) to Sion; lift up your voice with strength, you who bring good tidings (ho euangelizomenos); lift it up, do not fear; say to the cities of Ioudas, “See your God!” Behold, the Lord comes with strength, and his arm with authority (kyrieias)…."-NETS, Esaias 40:9-10
This consistent close connection between euangelion/euangelizomai language and announcements of rule strongly suggests that many of the initial hearers/readers of the early Christians’ evangelical language would likely have understood that language as the announcement of a new ruler (see, e.g., Acts 17:7), and, unless there is strong NT evidence to the contrary, we should presume that the NT writers probably intended their language to be so understood.
However, the other main way in which euangelion/euangelizomai language was used in the Greco-Roman world was with reference to battle reports, announcements of victory in war. A classic example of this sort of usage can be found in LXX 2 Samuel 18:19ff, where David receives word that his traitorous son, Absalom, has been defeated in battle. Euangelion/euangelizomai is used throughout the passage for the communications from the front.
As already shown throughout this post, the NT speaks of Jesus’s death and resurrection as a great victory over the powers that existed at that time and, most importantly, over death itself. Jesus’ conquest of the principalities and powers was the establishment of his rule and comprehensive authority over heaven and earth, that is, of his Lordship over all things (again, at that time).
This was the content of Paul's gospel message...

Justification, and the "New" Perspective on Paul

The following quotation is from The Gospel Coalition, and I believe it to be a decently accurate summary of the NPP (New Perspective on Paul), despite it being from a source which is in opposition to it:
The New Perspective on Paul, a major scholarly shift that began in the 1980s, argues that the Jewish context of the New Testament has been wrongly understood and that this misunderstand[ing] has led to errors in the traditional-Protestant understanding of justification. According to the New Perspective, the Jewish systems of salvation were not based on works-righteousness but rather on covenantal nomism, the belief that one enters the people of God by grace and stays in through obedience to the covenant. This means that Paul could not have been referring to works-righteousness by his phrase “works of the law”; instead, he was referring to Jewish boundary markers that made clear who was or was not within the people of God. For the New Perspective, this is the issue that Paul opposes in the NT. Thus, justification takes on two aspects for the New Perspective rather than one; initial justification is by faith (grace) and recognizes covenant status (ecclesiology), while final justification is partially by works, albeit works produced by the Spirit.
I believe what's called the "new perspective" is actually rather old, and that the Reformers' view of Paul is what is truly new, being that the Lutheran understanding of Paul is simply not Biblical.
The Reformation perspective understands Paul to be arguing against a legalistic Jewish culture that seeks to earn their salvation through works. However, supporters of the NPP argue that Paul has been misread. We contend he was actually combating Jews who were boasting because they were God's people, the "elect" or the "chosen ones." Their "works," so to speak, were done to show they were God's covenant people and not to earn their salvation.
The key questions involve Paul’s view(s) of the law and the meaning of the controversy in which Paul was engaged. Paul strongly argued that we are “justified by the faith of Christ, and not by the works of the law” (Gal. 2:16b). Since the time of Martin Luther, this has been understood as an indictment of legalistic efforts to merit favor before God. Judaism was cast in the role of the medieval "church," and so Paul’s protests became very Lutheran, with traditional-Protestant theology reinforced in all its particulars (along with its limitations) as a result. In hermeneutical terms, then, the historical context of Paul’s debate will answer the questions we have about what exactly the apostle meant by the phrase "works of the law," along with other phrases often used as support by the Reformers for their doctrine of Sola Fide (justification by faith alone), like when Paul mentions "the righteousness of God."
Obviously an in-depth analysis of the Pauline corpus and its place in the context of first-century Judaism would take us far beyond the scope of this brief post. We can, however, quickly survey the topography of Paul’s thought in context, particularly as it has emerged through the efforts of recent scholarship, and note some salient points which may be used as the basis of a refurbished soteriology.
[Note: The more popular scholars associated with the NPP are E.P. Sanders, James Dunn, and N.T. Wright. Dunn was the first to coin the term "The New Perspective" in a 1983 Manson Memorial Lecture, The New Perspective on Paul and the Law.]
Varying authors since the early 1900's have brought up the charge that Paul was misread by those in the tradition of Martin Luther and other Protestant Reformers. Yet, it wasn't until E.P. Sanders' 1977 book, Paul and Palestinian Judaism, that scholars began to pay much attention to the issue. In his book, Sanders argues that the Judaism of Paul's day has been wrongly criticized as a religion of "works-salvation" by those in the Protestant tradition.
A fundamental premise in the NPP is that Judaism was actually a religion of grace. Sander's puts it clearly:
"On the point at which many have found the decisive contrast between Paul and Judaism - grace and works - Paul is in agreement with Palestinian Judaism... Salvation is by grace but judgment is according to works'...God saves by grace, but... within the framework established by grace he rewards good deeds and punishes transgression." (Paul and Palestinian Judaism, p. 543)
N.T. Wright adds that, "we have misjudged early Judaism, especially Pharisaism, if we have thought of it as an early version of Pelagianism," (Wright, What Saint Paul Really Said, p. 32).
Sanders has coined a now well-known phrase to describe the character of first-century Palestinian Judaism: “covenantal nomism.” The meaning of “covenantal nomism” is that human obedience is not construed as the means of entering into God’s covenant. That cannot be earned; inclusion within the covenant body is by the grace of God. Rather, obedience is the means of maintaining one’s status within the covenant. And with its emphasis on divine grace and forgiveness, Judaism was never a religion of legalism.
If covenantal nomism was operating as the primary category under which Jews understood the Law, then when Jews spoke of obeying commandments, or when they required strict obedience of themselves and fellow Jews, it was because they were "keeping the covenant," rather than out of legalism.
More recently, N.T. Wright has made a significant contribution in his little book, What Saint Paul Really Said. Wright’s focus is the gospel and the doctrine of justification. With incisive clarity he demonstrates that the core of Paul’s gospel was not justification by faith, but the death and resurrection of Christ and his exaltation as Lord. The proclamation of the gospel was the proclamation of Jesus as Lord, the Messiah who fulfilled Israel’s expectations. Romans 1:3-4, not 1:16-17, is the gospel, contrary to traditional thinking. Justification is not the center of Paul’s thought, but an outworking of it:
"[T]he doctrine of justification by faith is not what Paul means by ‘the gospel’. It is implied by the gospel; when the gospel is proclaimed, people come to faith and so are regarded by God as members of his people. But ‘the gospel’ is not an account of how people get saved. It is, as we saw in an earlier chapter, the proclamation of the lordship of Jesus Christ….Let us be quite clear. ‘The gospel’ is the announcement of Jesus’ lordship, which works with power to bring people into the family of Abraham, now redefined around Jesus Christ and characterized solely by faith in him. ‘Justification’ is the doctrine which insists that all those who have this faith belong as full members of this family, on this basis and no other." (pp. 132, 133)
Wright brings us to this point by showing what “justification” would have meant in Paul’s Jewish context, bound up as it was in law-court terminology, eschatology, and God’s faithfulness to God’s covenant.
Specifically, Wright explodes the myth that the pre-Christian Saul was a pious, proto-Pelagian moralist seeking to earn his individual passage into heaven. Wright capitalizes on Paul’s autobiographical confessions to paint rather a picture of a zealous Jewish nationalist whose driving concern was to cleanse Israel of Gentiles as well as Jews who had lax attitudes toward the Torah. Running the risk of anachronism, Wright points to a contemporary version of the pre-Christian Saul: Yigal Amir, the zealous Torah-loyal Jew who assassinated Prime Minister Yitzhak Rabin for exchanging Israel’s land for peace. Wright writes:
"Jews like Saul of Tarsus were not interested in an abstract, ahistorical system of salvation... They were interested in the salvation which, they believed, the one true God had promised to his people Israel." (pp. 32, 33)
Wright maintains that as a Christian, Paul continued to challenge paganism by taking the moral high ground of the creational monotheist. The doctrine of justification was not what Paul preached to the Gentiles as the main thrust of his gospel message; it was rather “the thing his converts most needed to know in order to be assured that they really were part of God’s people” after they had responded to the gospel message.
Even while taking the gospel to the Gentiles, however, Paul continued to criticize Judaism “from within” even as he had as a zealous Pharisee. But whereas his mission before was to root out those with lax attitudes toward the Torah, now his mission was to demonstrate that God’s covenant faithfulness (righteousness) has already been revealed in Jesus Christ.
At this point Wright carefully documents Paul’s use of the controversial phrase “God’s righteousness” and draws out the implications of his meaning against the background of a Jewish concept of justification. The righteousness of God and the righteousness of the party who is “justified” cannot be confused because the term bears different connotations for the judge than for the plaintiff or defendant. The judge is “righteous” if his or her judgment is fair and impartial; the plaintiff or defendant is “righteous” if the judge rules in his or her favor. Hence:
"If we use the language of the law court, it makes no sense whatsoever to say that the judge imputes, imparts, bequeaths, conveys or otherwise transfers his righteousness to either the plaintiff or the defendant. Righteousness is not an object, a substance or a gas which can be passed across the courtroom. For the judge to be righteous does not mean that the court has found in his favor. For the plaintiff or defendant to be righteous does not mean that he or she has tried the case properly or impartially. To imagine the defendant somehow receiving the judge’s righteousness is simply a category mistake. That is not how the language works." (p. 98)
However, Wright makes the important observation that even with the forensic metaphor, Paul’s theology is not so much about the courtroom as it is about God’s love.
Righteousness is not an impersonal, abstract standard, a measuring-stick or a balancing scale. That was, and still is, a Greek view. Righteousness, Biblically speaking, grows out of covenant relationship. We forgive because we have been forgiven (Matt. 18:21-35); “we love" because God “first loved us” (1 John 4:19). Love is the fulfillment of the law (Rom. 13:8, 10, Gal 5:14, Jam. 2:8). Paul even looked forward to a day when “we must all appear before the judgment seat of Christ; that every one may receive the things done in his body, according to that he hath done, whether it be good or bad” (2 Cor. 5:10), and he acknowledged that his clear conscience did not necessarily ensure this verdict (1 Cor. 4:4), but he was confident nevertheless. Paul did in fact testify of his clear conscience: “For our rejoicing is this, the testimony of our conscience, that in simplicity and godly sincerity, not with fleshly wisdom, but by the grace of God, we have had our conversation [i.e., behavior] in the world, and more abundantly to you-ward” (2 Cor. 1:12). He was aware that he had not yet “attained” (Phil. 3:12-14), that he still struggled with the flesh, yet he was confident of the value of his performance (1 Cor. 9:27). These are hardly the convictions of someone who intends to rest entirely on the merits of an alien righteousness imputed to his or her account.
Wright went on to flesh out the doctrine of justification in Galatians, Philippians, and Romans. The “works of the law” are not proto-Pelagian efforts to earn salvation, but rather “sabbath [keeping], food-laws, circumcision” (p. 132). Considering the controversy in Galatia, Wright writes:
"Despite a long tradition to the contrary, the problem Paul addresses in Galatians is not the question of how precisely someone becomes a Christian, or attains to a relationship with God….The problem he addresses is: should his ex-pagan converts be circumcised or not? Now this question is by no means obviously to do with the questions faced by Augustine and Pelagius, or by Luther and Erasmus. On anyone’s reading, but especially within its first-century context, it has to do quite obviously with the question of how you define the people of God: are they to be defined by the badges of Jewish race, or in some other way? Circumcision is not a ‘moral’ issue; it does not have to do with moral effort, or earning salvation by good deeds. Nor can we simply treat it as a religious ritual, then designate all religious ritual as crypto-Pelagian good works, and so smuggle Pelagius into Galatia as the arch-opponent after all. First-century thought, both Jewish and Christian, simply doesn’t work like that…. [T]he polemic against the Torah in Galatians simply will not work if we ‘translate’ it into polemic either against straightforward self-help moralism or against the more subtle snare of ‘legalism’, as some have suggested. The passages about the law only work — and by ‘work’ I mean they will only make full sense in their contexts, which is what counts in the last analysis — when we take them as references to the Jewish law, the Torah, seen as the national charter of the Jewish race." (pp. 120-122)
The debate about justification, then, “wasn’t so much about soteriology as about ecclesiology; not so much about salvation as about the church.” (p. 119)
To summarize the theology of Paul in his epistles, the apostle mainly spent time arguing to those whom he were sending letters that salvation in Christ was available to all men without distinction. Jews and Gentiles alike may accept the free gift; it was not limited to any one group. Paul was vehement about this, especially in his letter to the Romans. As such, I will finish this post off by summarizing the letter itself, so as to provide Biblical support for the premises of the NPP and for what the scholars I referenced have thus far argued.
After his introduction in the epistle to an already believing and mostly Gentile audience (who would've already been familiar with the gospel proclaimed in verses 3-4), Paul makes a thematic statement in 1:16: “For I am not ashamed of the gospel of Christ: for it is the power of God unto salvation to every one that believeth; to the Jew first, and also to the Greek.” This statement is just one of many key statements littered throughout the book of Romans that give us proper understanding of the point Paul wished to make to the interlocutors of his day, namely, salvation is available to all, whether Jew or Gentile.
In 1:16 Paul sets out a basic theme of his message in the letter to the Romans. All who believed, whether they be Jew or Gentile, were saved by the power of the gospel. The universal nature of salvation was explicitly stated. The gospel saved all without distinction, whether Jew or Greek; salvation was through the gospel of Jesus Christ. Immediately after this thematic declaration, Paul undertakes to show the universal nature of sin and guilt. In 1:18-32 Paul shows how the Gentile is guilty before God. Despite evidence of God and his attributes, which is readily available to all, they have failed to honor YHVH as God and have exchanged His glory for idolatrous worship and self-promotion. As a consequence, God handed them over in judgment (1:18-32). Paul moves to denunciation of those who would judge others while themselves being guilty of the very same offenses (2:1-5) and argues that all will be judged according to their deeds (2:6). This judgment applies to all, namely, Jew and Greek (2:9-10). This section serves as somewhat of a transition in Paul’s argument. He has highlighted the guilt of the Gentiles (1:18ff) and will shortly outline the guilt of the Jew (2:17-24). The universal statement of 2:1-11 sets the stage for Paul’s rebuke of Jewish presumption. It was not possession of the Law which delivered; it was faithful obedience. It is better to have no Law and yet to obey the essence of the Law (2:12-16) than to have the Law and not obey (2:17-3:4). Paul then defends the justice of God’s judgment (3:5-8), which leads to the conclusion that all (Jew and Gentile) are guilty before God (3:9).
Paul argues that it was a mistaken notion to think that salvation was the prerogative of the Jew only. This presumption is wrong for two reasons. First, it leads to the mistaken assumption that only Jews were eligible for this vindication (Paul deals with this misunderstanding in chapter 4 where he demonstrates that Abraham was justified by faith independently of the Law and is therefore the father of all who believe, Jew and Gentile alike). Second, it leads to the equally mistaken conclusion that all who were Jews are guaranteed of vindication. Paul demonstrates how this perspective, which would call God’s integrity into question since Paul was assuming many Jews would not experience this vindication, was misguided. He did this by demonstrating that it was never the case that all physical descendants of Israel (Jacob) were likewise recipients of the promise. In the past (9:6-33) as in the present (at that time; 11:1-10), only a remnant was preserved and only a remnant would experience vindication. Paul also argued that the unbelief of national Israel (the non-remnant) had the purpose of extending the compass of salvation. The unbelief of one group made the universal scope of the gospel possible. This universalism was itself intended to bring about the vindication of the unbelieving group (11:11-16). As a result of faith, all (Jew and Gentile) could be branches of the olive tree (11:17-24). Since faith in Christ was necessary to remain grafted into the tree, no one could boast of his position. All, Jew and Gentile alike, were dependent upon the mercy and grace of God. As a result of God’s mysterious plan, He would bring about the vindication of His people (11:25-27). [Note: It is this author's belief that this vindication occurred around 66-70 AD, with the Parousia of Christ's Church; this author is Full-Preterist in their Eschatology.]
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