Daily Archives: November 22, 2019

Pokemon Sword and Shield Dreepy: Where to catch Dreepy and evolve it into Drakloak and Dragapult – GamesRadar

Posted: November 22, 2019 at 8:44 am

Every game has a pseudo-legendary Dragon-type, and it's Pokemon Sword and Shield Dreepy you're after in Galar. Dreepy is a Dragon/Ghost-type hybrid in Pokemon Sword and Shield, and it evolves into Drakloak first, followed by Dragapult. As you'd expect, it's one of the strongest Pokemon in the game when you level it up and evolve it, so people are wondering how to get Dreepy in Pokemon Sword and Shield, and where its location is. Worry not, for we've got all the Pokemon Sword and Shield Dreepy information you need to fill your boxes with endless Dreepys. Dreepies?

If you want to catch Dreepy in Pokemon Sword and Shield, you need to head to one specific location. Go to the very north-west corner of the Pokemon Sword and Shield Wild Area and visit the Lake of Outrage. You'll need to have unlocked the surf modification for your Rotom Bike first though, so make sure you've completed Circhester Gym and explored Route 9.

Cross the body of water and you'll reach a small area of land which has a lot of rare Pokemon spawns. One of these can be Dreepy, but it's not going to be easy to get one. Dreepy has a 1% chance of spawning as a non-overworld encounter (so as an exclamation point in the tall grass) in Overcast weather, and a 2% chance in Heavy Fog and a Thunderstorm. Yeah, those aren't brilliant odds.

Thankfully, you can also encounter Drakloak, its first evolution in the wild. That one is a standard Overworld encounter so you'll see it appear before you engage with it, and it has a 1% chance in Overcast and Rain, and a 2% chance in Heavy Fog and a Thunderstorm. Not much better, but at least you can look for both Pokemon simultaneously. Of course, if you manage to catch a male and a female Drakloak, you can leave the pair at the Pokemon Nursery in order to breed a Dreepy.

If you catch a Dreepy, you thankfully don't need any special items to make it evolve. It will evolve into Drakloak at level 50, followed by Dragapult at level 60. When you do get Dragapult, it can learn some incredibly powerful moves like Phantom Force at level 48, Dragon Rush at level 63, and Last Resort at level 78.

In terms of the best Dragapult nature in Pokemon Sword and Shield, that has to go to Adamant. Since Dragapult is likely to have a higher speed than whichever Pokemon you're up against anyway, the attack bonus is vital for physical attacks. Keep breeding Dreepy with Ditto to search for a high IV Dreepy with the best abiliies and before long, you'll have one of the best attackers in the game.

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Pokemon Sword and Shield Dreepy: Where to catch Dreepy and evolve it into Drakloak and Dragapult - GamesRadar

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Pokemon Sword and Shield – How To Evolve Rolycoly Into Carkol – Attack of the Fanboy

Posted: at 8:44 am

Not every Pokemon in the game has two evolutions, so its always great to find ones that do in each new game. Pokemon Sword and Shield has introduced multiple new ones into the mix, with Rolycoly being one of those new Pokemon to have a full evolution chain. This Pokemons evolutions have very useful typing and this guide will detail how you can get that next form.

Rolycoly is not a Pokemon you should come across right away in Pokemon Sword and Shield, but it wont be too far into the game. Once you do have Rolycoly in your possession, go ahead and add it to your party and start raising it up. Depending on when you get Rolycoly, it should be able to slot right into your team based on its level.

Geting Rolycoly to evolve to its next form should be rather easy, as all you have to do is raise its level up to a certain level. Once Rolycoly hits level 18, it will turn into Carkol, which is not a Rock/Fire type instead of Rock type. Unless you have Scorbunny in your party, this is definitely a good Pokemon to have with you moving forward.

Upon evolution, Carkol also learns Flame Charge, which is definitely worth learning since it is now a Fire type as well.

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Pokemon Sword and Shield - How To Evolve Rolycoly Into Carkol - Attack of the Fanboy

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The Evolutionary Power of Cities and Light – The MIT Press Reader

Posted: at 8:44 am

Urbanization and the spread of artificial light are transforming life for all of earth's species, bringing about a host of unintended consequences.

By: Christopher Preston

In 1800, only two percent of the human population lived in cities. A century later, that portion grew to 15 percent. Then, sometime in 2007, a person was born in a city somewhere on the globe who tipped the proportion of Homo sapiens that lives in cities over the 50 percent mark. Despite the fact that cities cover only two to three percent of terrestrial surface area, more than half of humanity is now urban-dwelling. There is no going back.

For a species that spent close to 200,000 years living in grasslands and scrubby forests, hunting and foraging, and using skins, wood, and grasses for shelter, we are increasingly occupying an evolutionarily unfamiliar niche, where the sensory and physical dimensions of a life lived in daily contact with the natural world have been replaced by a whole set of alternate experiences: Cement and traffic, 90-degree corners, bars, sirens, glass, and streetlights increasingly dominate our senses. As far as our genes are concerned, we live in an alien world. Phobias about snakes slithering out of toilet bowls, coyotes snatching children out of strollers, and diseases infiltrating city water supplies reveal the location of our biological roots. The shadow of the wild continues to haunt the psyche of even the most entrenched urbanite.

Alongside us, fast-breeding and opportunistic species are changing their behaviors and their genomes so that they will fit better in the urban world. City-dwelling swallows are evolving shorter wings that allow them to avoid the traffic better, and sparrows and starlings have raised the pitch of their calls to compensate for the background urban noise. Moths are gaining different color patterns so that they have more suitable camouflage in their new concrete habitat. Evolutionary forces are turning city-bound mice into separate subspecies in different city parks, unable to exchange genes with cousins who live a few blocks away.

Evolutionary forces are turning city-bound mice into separate subspecies in different city parks, unable to exchange genes with cousins who live a few blocks away.

A second and related agent of evolutionary change is the progressive banishment of darkness from the world at the hands of electric light. Paul Bogard has written poignantly of his deep regret at the end of night. He points out that the spread of electricity across many parts of the globe has condemned real darkness to the planets history. This lack of night comes with sizable biological consequences. Excessive illumination is disrupting the natural rhythms created by millions of years of the earths steady axial rotation.

The first photos of the earth from space taken by lunar-bound astronauts revealed a spectacular blue marble poised in front of a star-speckled expanse. The individuals lucky enough to see the planet from this vantage point were all transformed. American astronaut Edgar Mitchell memorably described his impression of it as a small pearl in a thick sea of black mystery. The planets finitude, its swirling beauty, and its apparent fragility gave our species its first clear sense of our lack of astral significance. Norman Cousins later remarked that what was most significant about the lunar voyage was not that man set foot on the Moon but that they set eye on the Earth.

More recent photographs of the earth taken at night have revealed a pearl that is increasingly crossed by spider webs of yellow light projected from cities and the transportation corridors between them. The world is now comprehensively illuminated. Thanks to the ubiquity of electric light, less and less of the planet falls genuinely into darkness any more. Power shunted through incandescent filaments, the gases of fluorescent lights, and a billion light-emitting diodes means that darkness is being pushed off the landscape by this electric interloper. Synthetic light races through the air for miles beyond its intended destination, leading to a diffusion rate that far exceeds that attainable by the bulldozers and diggers that make its spread possible.

Prior to Thomas Edisons design of the first commercially viable light bulb, nighttime illumination came only from flames fueled by imperfect sources, such as wood, whale oil, paraffin, and natural gas. The light from these sources danced unpredictably and was always mottled by the smoke of imperfect combustion. The spread of the light was limited by available fuel, environmental conditions, and a basic lack of penetration. Many still feel attached to the light provided by a cavorting flame, seeking it out from wood and wax when wishing to disappear into memories or create venues for intimacy.

When the limited light cast by these flames was overtaken by that of incandescent bulbs, the nighttime started to change its color from a deep inky black to various shades of orange, yellow, and white. The carefree spreading of megawatts of unused light into the night sky has led to a pale dome of illumination above every population center. This glow refuses to leave the citys vault even when most of its residents are asleep. Bogard quotes an Iroquois writer who told him we have the night so the Earth can rest. As electrification has spread across the world, the amount of rest available to the earth has diminished. This loss to the planet also appears increasingly to be a loss of our own.

Human bodies have natural circadian rhythms. These rhythms are adjustments to the waxing and waning of light during the earths daily rotations. Evolution lodged such patterns deeply inside of us. The circadian rhythm has an influence on hormone production, body temperature regulation, blood pressure, and other key functions. Plants, animals, cyanobacteria, and fungi all have similar rhythms that are their own evolutionary adaptations to the rising and setting of the sun. Leaves turn to face the sun and drop in the fall, petals open and close daily, animals rest, and bacteria fix nitrogen at rates that are direct responses to periodic and predictable changes in light. When patterns of light and darkness change, organisms must rapidly adapt or pay the price.

When patterns of light and darkness change, organisms must rapidly adapt or pay the price.

Consider that more than a fifth of all mammal species are bats. In addition to these well-known lovers of a dark world, 60 percent of invertebrates and 30 percent of vertebrates are nocturnal. This means that a large number of the living forms that share the planet with us have evolved so that darkness is an essential factor in their well-being. Of those species that are not fully nocturnal, a large number are crepuscular, a word that has exactly the right sound to describe the creeping and partially hidden character of activity that takes place at twilight.

The swapping out of darkness for light across much of the planet affects all of these species. Sea turtles emerging from the surf and no longer able to navigate by the moon due to beachfront floodlights are perhaps the best-known victims of artificial illumination. But in addition to the turtles, countless other species are shifting their behavioral patterns to accommodate a planet that is increasingly lit up.

Peregrine falcons, for example, are adapting to the new frontier of urban living by figuring out how to hunt pigeons, ducks, and bats in the city at night. The nocturnal hunt no longer involves the 200-mile-per-hour stoop from above that has made peregrines famous as the fastest birds on earth. Illumination provided by the glowing city means that the nighttime ambushes involve a new type of stalk. Peregrines fly upward toward the illuminated bellies of their unsuspecting prey, rotating at the last second to pierce the hapless victims feathered breast with their deadly talons. Like Homo sapiens adapting to the city, peregrines are figuring out ways to live, feed, and rest in a world that no longer resembles the one their genes prepared them to find.

Meanwhile, in developed countries, up to 20 percent of the workforce is employed in service industries that require employees to be awake for large portions of the night. Night-shift workers such as janitors, health care attendants, and those who labor in 24-hour manufacturing facilities are some of the people who bear this burden. Those who work the graveyard shift seldom replace the number of hours of sleep they missed at night with the same number of hours of sleep during the day.

In a striking indication that the end of night has consequences, the World Health Organizations International Agency for Research on Cancer concluded in 2007 that shift-work that involves circadian disruption is probably carcinogenic to humans. It is thought that this may have something to do with disruption to the production of the hormone melatonin, but at the moment, this is little more than a guess. It should come as no surprise that the human body has a deep biological connection to the earths diurnal rhythm.

The World Health Organizations International Agency for Research on Cancer concluded that shift-work that involves circadian disruption is probably carcinogenic to humans.

One of a growing number of local and national organizations concerned about the loss of darkness in America is the National Park Service. This agency has created a night sky team to raise awareness of the importance of darkness as a new type of resource, pointing out with impeccable logic and federally approved rhythm that half the park happens after dark. In 2006, the Park Service committed itself to preserve the natural lightscapes of parks, which it described in ethical language as resources and values that exist in the absence of human-caused light. Artificial light is now deemed an intrusion into the park ecosystem, suggesting that the distinction between what is artificial and what is natural is not yet completely moot.

Astronomers too are obviously miffed. Light pollution from cities is making optimal conditions for star gazing harder and harder to find. This is not only the concern of a few professionals with big budgets. Astronomy may be one of the most widely enjoyed arts on the face of the planet, ranging in its practitioners from Ph.D. scientists with multi-million-dollar telescopes to five-year-old children trying not to topple to the ground while craning their necks upward to wonder at the night sky. Seeing the moon and the stars above is one of the most orienting of human experiences, yet it was recently determined that more than a third of the worlds population can no longer see the Milky Way due to the presence of light pollution.

There may be no reason to lament the urban path we have taken given its many positive contributions to our humanity. But there is no doubt it is a path causing an unstoppable shift in who we, as well as the species that like to live alongside us, essentially are. After all, If we never see the Milky Way, asks Bogard (quoting science writer and poet William Fox), how will we know our place in the universe?

Christopher Preston is professor of philosophy at the University of Montana in Missoula, and the author of, among other books, The Synthetic Age, from which this article is adapted.

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The evolution of The Beatles, as performed by a TikTok user and many wigs – The A.V. Club

Posted: at 8:44 am

Photo: Evening Standard / Stringer (Getty Images)

You know in a bookstore there are always gift books of glossy photos with titles like Barack Obama Through The Years and Kate Middleton: From Diapers To Duchess or things like that? Well, this is kind of like that, but funnier, more endearing, and instead of photos, its a TikTok whiz doing impressions in wigs.

TikTok user Maris Jones, a director and photographer, has filled her feed with, among other things, evolution videos: the evolution of the telephone, the TV, sharing media, jeans, sunglasses, you get the idea. But as a Beatles fan on Twitter pointed out, shes also done the Fab Four, and they are pretty great, honestly! Heres Paul:

The Hey Jude bit is especially good there. John:

Dont Let Me Down, indeed. George:

That cardboard sitar is very charming. And of course, Ringo:

Also very good. Overall, a very good effort! The head wiggles! The wigs! The also-evolving instruments! The mustaches, my god, the mustaches! Way to go, Maris Jones. And way to go, @BEATLESOUTSOLD, the Twitter account that pointed us Maris way, and which is also responsible for this piece of eternal wisdom:

Send Great Job, Internet tips to gji@theonion.com

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The evolution of The Beatles, as performed by a TikTok user and many wigs - The A.V. Club

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HVAC’s evolution and why it needs to look to the next generation – The Fifth Estate

Posted: at 8:44 am

In the past three decades, Australias HVAC industry has seen a quantum evolution, but according to University of Wollongong professor Paul Cooper, theres a real risk of a talent deficit looming in the near future.

Cooper was awarded the James Harrison Medal for Lifetime Achievement at this years AIRAH Awards, for his industry-leading research in the HVAC space and contribution to advancing sustainable building practice as one of the founders of the UoW Sustainable Buildings Research centre.

He told The Fifth Estate that when he first came to Australia 30 years ago from the UK, the whole idea of energy-efficiency and emissions reduction wasnt on the radar.

There were no building code energy efficiency provisions for Australian housing until the early 2000s, for a start.

But in the past decade these ideas have become mainstream. Weve seen advances in technologies such as advanced building management systems that decrease energy consumption, and government policies such as mandatory disclosure and tools such as NABERS have led the commercial property sector to lift its game.

HVAC has become a very innovative field, and this has been attracting increasing numbers of the best and brightest graduates. Technologies in the areas of controls and automation are proving exciting for PhD and post-graduate students and researchers, and also creating alignments with other sectors such as advanced manufacturing.

However, Cooper says that without the right encouragement for the current primary school and high school cohorts, in five to 10 years that flow of talent could slow to a trickle.

TAFE is also an important part of the picture. The SBRC has been collaborating with TAFE since the outset, and creating partnerships with industry, students and institutions that are mutually beneficial.

Students get to see the products and practices experienced industry tradespeople bring to projects such as the award-winning Desert Rose and Illawarra Flame homes. Industry gets to leverage the latest research.

The two homes and the SBRC have also been a vehicle for sharing ideas about improving energy efficiency with the general public.

We have [also] trained a lot of very capable young people.

There is increasing integration between HVAC and other elements of the built environment, he explains.

One of the really heartening changes in recent years has been a more holistic approach to design, delivery, commissioning, operation and maintenance of buildings.

Cross-disciplinary research work is also extending into areas such as the impact of indoor environment quality on older people and people with dementia.

More great leaps lie ahead, he says..

The advent of cheaper renewable energy systems has really driven the start of a revolution of thinking about power use and engineering for optimisation of the grid.

A building is no longer an isolated block with HVAC keeping the temperature comfortable.

The SBRC has also contributed to significant industry shifts, such as undertaking the modelling for ASBECs net zero trajectory and future changes to the National Construction Code to align with the net zero ambition.

Its been a short trajectory and steep curve for the sector in terms of impact, Cooper says.

He says the single most important challenge for the industry is recruiting capable people.

Without significant numbers of the best and brightest undertaking the right learning during primary and high school, there could be a shortage of new entrants into the appropriate tertiary study pathways.

The key according to Cooper is to help young people see the exciting possibilities of the sector, and how worthwhile it is. Older workers also have immense value, as they hold an immense store of knowledge.

They have such an important role to play in mentoring, Cooper says.

The net zero transition and the new technologies such as advanced BMS systems are all going to need people to design, research, install and operate the HVAC of the future.

The future is bright so long as we engage the best and brightest young people.

Tags: AIRAH, energy efficiency, HVAC, Paul Cooper, sustainable buildings, university of wollongong

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HVAC's evolution and why it needs to look to the next generation - The Fifth Estate

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The Man in the High Castle Recap: Guess Whos Coming to Dinner? – Vulture

Posted: at 8:43 am

Photo: Liane Hentscher/Liane Hentscher/Amazon Studios

After a wonderful intro that sees the return of Stephen Root as Hawthorne Abendsen, aka The Man in the High Castle, now forced into a role as a Rod Serling for the Nazi propaganda machine, Happy Trails becomes another chapter heavy on wheel-spinning but with a solid final 15 minutes. Theres a disturbing pattern this season in which it really feels like one could skip the first half of each episode and still get the good stuff, and pretty much be able to follow whats happening. Lets hope that changes.

Much like Helen Smith returned to New York last episode, Juliana Crain decides shes not going to wait around anymore for the Nazis to come and get her. She travels back to her original timeline, allowing for some nice production design regarding the state of Washington DC, including the decimated rubble of the Lincoln Memorial. Juliana is quickly picked up by inept authorities, whom she even more quickly escapes from, finding her way back to a Resistance. Heres the key question that the show hasnt really answered, though: How did Julianas time in the good reality change her? If she just returns to the Resistance to topple the Reich, will it feel like a narrative waste of time?

Meanwhile, John and Helen Smith are preparing for an important dinner with Fuhrer Heinrich Himmler. Theyre both not-so-subtly threatened by people allied with Himmler, including a new rising star in the party for John and Himmlers horrendous better half for Helen. The former meets with Smith about moving to New York, clearly threatening his position. The latter throws a bunch of passive-aggressive strudel at the feet of Helen Smith about her being away and how to be a good Nazi wife.

Theres some junk about Kido investigating corruption and how the Resistance hurt their cause, but the next major moment comes when John learns from his Nazi Terminator that, well, hes been murdered. Sewells pause is glorious on You killedme? You can tell he understands that John almost enjoys the insanity of it all, and that he knows now that he can just Marty McFly the whole thing and step right into the shoes of the Salesman of the Year. But what about Helen? Could he leave her in this reality with his daughters and just go live with his son and the other Helen in ours?

Again, were distracted by Juliana forced to convince people of her worth again by teaching them about the New Deal and Kido doing some espionage stuff that doesnt matter until we zip back to the real draw of this episode: Himmler Dinner! The Himmlers brought toys, chocolates, and their new Aryan favorite son for the dinner. While showing off her German, young Amy Smith betrays her mothers story about being away to take care of a sick brother, and one could cut the tension with a sausage knife. Helen is worried that theyre building a case against her for leaving New York and possibly even her husband for letting it happen. During dinner, Himmler yells about germ warfare and clearly has one of those coughs thats bad enough in episode four that you know hell be dead of tuberculosis or something by episode eight. Himmler also speaks of smiling faces all around him but absolutely no one he can trust. He doesnt want Johns loyalty; he wants his devotion. The former is easy to fake; the latter could get you killed.

It turns out that the awesome cameo by Emmy nominee Stephen Root (isnt that fun to say?) in the opening wasnt it for Hawthorne Abendsen this episode. Joining up with him again, we learn that hes not only a reticent part of the propaganda machine but that hes doing so in order to keep his wife alive. Again, the theme of having something to fight for returns, although it can sometimes be double-edged. Hes doing what hes doing just to keep her breathing and so he can see her, but hes harming the cause. She wants him to stop. We also get a wonderful scene between Root and Sewell they should really be in a buddy comedy in the creepy room with the multiverse map. They discuss how what happens in one universe can impact another. What impact will the death of John Smith in one timeline have on this John Smith?

Well, its gonna turn him into a Nazi Stargate jumper, thats what! Hes going in. The Nazi leader gets his wedding ring from the real timeline that the man who killed, well, him retrieved, and dons an ordinary beige suit. No one will even notice. Well, as long as he can keep the Seig Heils to a minimum.

The very existence of a show like Tales from the High Castle is one of the cleverest touches so far. Of course the Nazis would make a politically blatant sci-fi show. After all, thats the cover theyre using to explain the Man in the High Castles films in the first place that theyre just sci-fi. And the entire premise of the show is something straight out of an episode of the clear inspiration here, The Twilight Zone.

Smith discusses the theory with Abendsen that just observing something changes it, which Hawthorne informs him is the Heisenberg Theory. No, not Walter Whites nickname, the actual Uncertainty Principle, which you can read more about here. In this context, its a bit odd. Is Smith wondering if just going to our timeline will alter it? Or are the writers just showing off their big brains?

Anyone else think Alexa Davalos is a bit weak this year? Shes always been best with a strong partner, and shes been left on her own a lot so far this season, failing to really convey the fear and confusion that Juliana Crain would be feeling although thats partially the fault of the writers too, who seem to be unsure of what to do with her without her male counterparts.

It could have been tempting to completely invent brands, celebrities, etc. in this universe, but the writers have stayed incredibly loyal to reality. Even the chocolates that Herr Himmler gives the Smith family are from a real shop in Vienna: Demel Caf.

While Ive been a little hard on this season for a lack of final year tension, much love to the producers who decided to make a few episodes closer to 45 minutes than 60, like these last two. Most TV is too long. Keep up the good fight.

Keep up with all the drama of your favorite shows!

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Depression Quest: Bad Brains, Good Friends and Night in the Woods – HeadStuff.org

Posted: at 8:43 am

My brain and I have often been at war with each other. At times in the past it was a blitzkrieg of bad decisions. At others it was like constantly shifting alliances mediated by therapists, friends and family. At the moment things are good, better than good but theres a tension there; as if the bullets might start flying again. When I play Night in the Woods I relive all those battles and ceasefires. Mental health and, by extension, mental illness is something that has to be fought and negotiated with. Its a constant push and pull that in a lot of cases never has a definitive victory or defeat, only the constant promise or threat of either. Thats what makes Night in the Woods such a cathartic, warm and often heartbreaking journey.

Mae is a recent college dropout, also a cat but thats not hugely important, who has made her way back to her hometown of Possum Springs. A former mining town Possum Springs is starting its descent towards economic ruin. Mae suffers from some kind of disassociative disorder a symptom of which seems to be depression. The signs are all there from the start: poor diet, heavy drinking, nightmares, a lot of sleeping and fragmenting personal relationships. Maes old friends Bea, Gregg and Angus are in the middle of going about their lives when Mae lands back in Possum Springs. All is not right however as disappearances and shadowy figures haunt the edges of both the town and Maes psyche.

I have a lot of respect for Mae. It takes a lot more strength than a lot of people know to up and quit when things get hard. The phrase When the going gets tough, the tough get going gets thrown around a lot and its true that sometimes the best thing to do in a difficult situation is to persevere. On the other hand it takes a great deal of courage to admit that perseverance can hurt more than giving up. Mae, through previous experience realises this but shes afraid that her loving parents and supportive friends wont see things the same way.

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Locking yourself away behind emotional or even physical barriers is pretty common when the fog descends. Being depressed, whether chronically or only occasionally, can feel like wandering through thick fog or looking at the world through a heavy pane of glass. Being close to people whether physically or emotionally doesnt help. Its a chemical imbalance in the brain. Even though youre in control of your body and all its functions the emotional centers of the brain are misfiring, flooded as they are with the wrong kind of emotional chemical. And so we close ourselves off not content to wallow in misery but incapable of doing anything else.

It all paints a dark, grim picture of life for the people in small town America but Night in the Woods isnt all doom and gloom.

These things are easy to do. To lock the bedroom door, to not talk when someones willing to listen, to stop seeking professional help. Whats hard is opening up. Mae doesnt make it easy on herself though. Shes a headstrong, difficult young woman with severe emotional issues but shes also a loyal friend and a loving daughter with a mischievous fun streak. Night in the Woods is a game after all and although games arent necessarily meant to be fun it really helps when they are.

For as many razor sharp reveals and moments of heartbreaking darkness that Night in the Woods has it also has a great deal of levity. Mae and her fellow Gen Z-ers view the world with the sort of ironic detachment and humour common to those raised on message boards and MySpace. But life in small town America tends to fuck you more often than life in the Big City does.

Bea, Maes chain-smoking childhood crocodile friend, has recently lost her mother and is now in charge of the family hardware store. Gregg, the manic anarchist fox Mae has known since adolescence, can also feel the clouds moving in darkening his view of himself, his relationship with his bear boyfriend bearfriend? Angus and life in general. And thats without mentioning Maes parents financial troubles brought about by recession and bad luck. It all paints a dark, grim picture of life for the people in small town America but Night in the Woods isnt all doom and gloom. It wouldnt be much fun to play otherwise.

Gameplay-wise beyond some short mini-games Night in the Woods pretty much boils down to walking, jumping and talking. Your time in Possum Springs will be spent traversing the town from its bustling but slowly shuttering Main Street to its starkly gorgeous church to the oppressive woods of the title. In Possum Springs youll while away the mornings and afternoons talking to the townsfolk like Pastor Kate, the bad-good poet Selmers and the homeless drifter Bruce.

The evenings is when Night in the Woods truly comes alive as Mae embarks on adventures with either Mae, Gregg or her bird friend Jeremy Warton aka Germ Warfare. This can involve a trip to the mall with Bea, a friendly knife fight with Gregg and several ghost-hunting trips with the gang. Its in these moments as well as those that Mae spends at home in the kitchen talking to her mom Candy, watching TV with her dad Stan or reminiscing on her role model: her Granddad.

As much as Night in the Woods is about finding the light through the fog as provided by friends and family its also about the things we leave behind as life goes on. Whether it be the place we grew up, the friends we left there or the people that passed on along the way Night in the Woods has a great reverence for memory. I relate to Mae in a lot of ways both in her struggles and successes. She and I have fought our bad brains to a standstill time and again. Weve both surrounded ourselves with good friends willing to support us ad be supported by us. And perhaps most important of all to me: we both really miss our granddads.

Losing an older relative hurts. Ive lost both grandfathers in the last dozen years. Losing a grandparent or any older family member, especially when youre close to them, feels like a very special kind of loss. A door to a specific view on and interpretation of history has closed forever. The past is no longer as accessible as it once was but that makes memories shine all the brighter.

I wasnt as close to my granddad as Mae was. He read to her in bed. He left her his old collection of horror stories. He visited her as a ghost in a dream. As people pass on their image grows in our mind. My granddad might not have been much of a talker but what he said may as well have been gold. He always knew what to say and when to say it, a talent that seems to have skipped a generation or two in my family. The images that myself and Mae have are idealised but theyre all we have now and that has to be enough, even when its not.

Despite its distinct focus on mental health and the debilitating effects grief and mental illness can have on it Night in the Woods never feels like a game exclusively about either of these issues like, say Depression Quest or Hellblade: Senuas Sacrifice. Instead Night in the Woods with its get-up-and-go attitude to depression and distinct, ironic sense of humour feels like a game about coping as best we can with life and all the things it can throw at us. Even when it descends into an occult nightmare inspired by Algernon Blackwood stories Night in the Woods is quick to return to the themes powering it. Night in the Woods is a game about life in all its fragile beauty and how despite all its hardships and losses it is ultimately worth both living and enjoying.

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nihilism | Definition & History | Britannica

Posted: at 8:41 am

Nihilism, (from Latin nihil, nothing), originally a philosophy of moral and epistemological skepticism that arose in 19th-century Russia during the early years of the reign of Tsar Alexander II. The term was famously used by Friedrich Nietzsche to describe the disintegration of traditional morality in Western society. In the 20th century, nihilism encompassed a variety of philosophical and aesthetic stances that, in one sense or another, denied the existence of genuine moral truths or values, rejected the possibility of knowledge or communication, and asserted the ultimate meaninglessness or purposelessness of life or of the universe.

The term is an old one, applied to certain heretics in the Middle Ages. In Russian literature, nihilism was probably first used by N.I. Nadezhdin, in an 1829 article in the Messenger of Europe, in which he applied it to Aleksandr Pushkin. Nadezhdin, as did V.V. Bervi in 1858, equated nihilism with skepticism. Mikhail Nikiforovich Katkov, a well-known conservative journalist who interpreted nihilism as synonymous with revolution, presented it as a social menace because of its negation of all moral principles.

It was Ivan Turgenev, in his celebrated novel Fathers and Sons (1862), who popularized the term through the figure of Bazarov the nihilist. Eventually, the nihilists of the 1860s and 70s came to be regarded as disheveled, untidy, unruly, ragged men who rebelled against tradition and social order. The philosophy of nihilism then began to be associated erroneously with the regicide of Alexander II (1881) and the political terror that was employed by those active at the time in clandestine organizations opposed to absolutism.

If to the conservative elements the nihilists were the curse of the time, to the liberals such as N.G. Chernyshevsky they represented a mere transitory factor in the development of national thoughta stage in the struggle for individual freedomand a true spirit of the rebellious young generation. In his novel What Is to Be Done? (1863), Chernyshevsky endeavoured to detect positive aspects in the nihilist philosophy. Similarly, in his Memoirs, Prince Peter Kropotkin, the leading Russian anarchist, defined nihilism as the symbol of struggle against all forms of tyranny, hypocrisy, and artificiality and for individual freedom.

Fundamentally, 19th-century nihilism represented a philosophy of negation of all forms of aestheticism; it advocated utilitarianism and scientific rationalism. Classical philosophical systems were rejected entirely. Nihilism represented a crude form of positivism and materialism, a revolt against the established social order; it negated all authority exercised by the state, by the church, or by the family. It based its belief on nothing but scientific truth; science would be the solution of all social problems. All evils, nihilists believed, derived from a single sourceignorancewhich science alone would overcome.

The thinking of 19th-century nihilists was profoundly influenced by philosophers, scientists, and historians such as Ludwig Feuerbach, Charles Darwin, Henry Buckle, and Herbert Spencer. Since nihilists denied the duality of human beings as a combination of body and soul, of spiritual and material substance, they came into violent conflict with ecclesiastical authorities. Since nihilists questioned the doctrine of the divine right of kings, they came into similar conflict with secular authorities. Since they scorned all social bonds and family authority, the conflict between parents and children became equally immanent, and it is this theme that is best reflected in Turgenevs novel.

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‘Joker’ and the Weak Nihilism of Todd Phillips – Pajiba

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Its official: Joker has now earned one billion dollars worldwide, making it not only the highest-grossing R-rated movie of all time but, according to several sources, the most profitable comic book movie ever made. After weeks of hot takes and fears over its content and all manner of online nonsense, film has done all that Warner Bros. wanted it to and more. Todd Phillips, the director, took to his Instagram account to thank fans for bringing the movie to this point. Joker is easily the highest-grossing film hes ever directed, having made a hefty $400 million more than 2011s The Hangover Part II. Its fitting that those two movies will stand as the ultimate testament to whatever legacy Phillips leaves behind as a director or, yes Im going there, auteur. That duo of movies exemplifies everything he has delivered to audiences, the messages he wants to convey, and the methods he uses to do so. Of course, when that message is one of pure undistilled nihilism, what else can one do but sigh?

Critics and fans have spent many weeks trying to dissect what the overall themes and morals of Joker are. The lions share of criticism the film has faced is rooted in that ideological muddle. Some feared the movie would incite incel violence while others saw it more as an Eat The Rich fable. Phillips and star Joaquin Phoenix have been happy to encourage multiple readings of the movie, which isnt a bad strategy, but it overlooks the truth of Joker: The message is nihilism itself, even as the script tries to quickly tack on a social message about isolation and the wealth gap. Nothing matters. You wouldnt get it.

Truthfully, I dont even think Joker is the bleakest of most nihilistic movie Phillips has ever made. For me, that dubious honor falls to The Hangover: Part II, film so unrelentingly dark and bitter that you walk away from it wondering if Phillips yearns for the annihilation of humanity. The first Hangover movie, released in 2009, was never my thing my parents love it but I understand its appeal. There are plenty of solid jokes, the characters are all well-defined and the entire affair reeks of morning-after regrets of a night out that you cant decide whether or not youre glad you forgot about. Its dark but not inescapably so and rises to the level of charm through sheer force of personality thanks to the combination of Bradley Cooper, Ed Helms, and Zach Galifianakis. Making a sequel to such a lightning-in-a-bottle movie, one with an inherently one-off gimmick premise, became inevitable once the box office numbers continued to grow and it won the freaking Golden Globe for Best Comedy/Musical.

Two years later came the sequel, moving the action to Thailand, a concept in and of itself that inspired unease over the potential for inevitably racist, transphobic, and xenophobic jokes. In that aspect, Phillips and company certainly didnt let anybody down. Plot and joke-wise, its more of the same, but with a hefty side-order of bigotry of nearly every flavor. The trans sex worker scene is played for hilarity and revulsion, playing into the dangerous trope of cis men being tricked into sex with trans women and encouraging true disgust at the prospect. Thailand itself is depicted as nothing but a toxic sex den where anything goes. Every character is either utterly useless, purely decorative, or depraved in ways that leave a nasty stain on the imagination. Everyone and everything is bad and the explicit aim of each moment is just baseless provocation. Oh, and Mike Tyson returns because turning a convicted rapist into a cuddly meme of a man is one of this franchises many crimes.

In his review of the movie, Roger Ebert said The Hangover: Part II plays like a challenge to the audiences capacity for raunchiness. He also draws attention to a moment in the credits where the characters recreate a very famous war photograph by Eddie Adams featuring the public execution of a Vietcong prisoner by police chief General Nguyn Ngc Loan. Thats Phillipss philosophy in a nutshell: poke and prod and goad people into offense for its own sake. The satisfaction comes from ensuring people are angry or shocked and Phillips seems to prize that more than long-term thought. Escape from the world by embracing the notion that it does nothing but confirm the worst thoughts we have about it.

There is something to be said about using nihilism as an artistic tool. It can be extremely effective in the right hands. It makes sense for a lot of Phillipss stories too. What is The Hangover if nothing but a reminder that the American comedy blockbuster is built on the backs of imbecilic frat bros who get away with the most disgusting behavior because they learn a vague lesson at the end, only here, the overgrown man-babies of Phillipss world learn nothing, to the point where they repeat all their worst mistakes twice over. Indeed, Joker is at its most effective when it has the nerve to commit to nihilism as Arthur/Jokers only salvation from a world that has used and abused him. Of course, the problem with Joker and Phillipss wider philosophy is that he so often chickens out from carrying it through to its logical storytelling conclusion. Joker has to pretend to be about something.

Hollywood is built on misanthropes. The history of directors working in the medium could easily be boiled down to a history of cranky old dudes getting their way, even as the world around them changes at a quicker pace than theyre ready for. Nowhere was this more evident with Phillips than when he went on his recent rant about how woke culture has ruined comedy and rendered him unable to make the films he wants to. Strong words coming from a man working in the traditional studio system whose last movie made a billion dollars. If nothing else, that quote certainly gave away why Phillipss work is the way it is. Its all very Ricky Gervais, isnt it? No depth, no concern for appropriate targets or wider ideas, just meanness because if he cant be bleak all the time then f*ck everything.

Nihilism is one thing, but the diluted attempt to wield it as a political and creative tool while lacking the guts required to truly commit is just sad. Phillips wants the provocation without the purpose. He wants to mean something while saying nothing. Its all a big fat joke but the punchline never made an appearance. Its okay, though: That just means we dont get it.

Kayleigh is a features writer for Pajiba. You can follow her on Twitter or listen to her podcast, The Hollywood Read.

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Iggy Pop review fearless punk rages against the dying of the light – The Guardian

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That hes appearing as part of the London jazz festival signals that, at least at first, this punk-pioneering former Stooge does not wanna be your dog tonight. Instead, Iggy Pop explores the subterranean corners of his darkly jazzy new album Free, much of which was written by trumpeter Leron Thomas, who lends sonorous squall to the groups Berlin-Bowie turbulence.

Tanned, sinewy and the only person who could convincingly pull off a Rachel haircut in 2019, Pop leans on his mic-stand, crooner-style, his rumbling vocal basso mucho profundo. Hes a static presence to begin with, conjuring the doomed lovers and the desperate loners wandering through his new songs. He introduces Page as concerning the damage and weirdness of a relationship ending, sounding like Kurt Wagner as he sings, all gravel and smoke and bittersweetness. The Dawn, he says, is about depression, and finds him musing I dont know where my spirit went, before growling like Lee Marvin: But thats all right.

Hardly Lust For Life, then. No, tonight Iggy sounds exactly like a man who has buried his best friends (Bowie, the Asheton brothers), whose inimitable swagger now betrays some arthritic stiffness. But abandoning the heady nihilism of yore to stare into uncertainty and darkness is its own act of punk fearlessness, the shadow of mortality lending his baritone ruminations a compelling resonance.

Iggys not ready for the grave yet, however. Announcing some music from the 70s and hurling his mic-stand to the wings, the cold funk of Sister Midnight sees him hurtling wildly across the stage, Lazarus-like, and leaping into the stalls for a commendably feral Death Trip, fans vaulting flights of stairs so they might touch the 72-year-olds legendarily punished flesh. A scabrously autobiographical rewrite of Sleaford Mods Chop Chop Chop, meanwhile, sees Pop listing various chemical/sexual misadventures, then howling but, somehow, I survived!, thumbing his nose at the reaper with profane panache.

After his band finally file off stage, Iggy hobbles along one last circuit of his audience, pressing flesh and sharing with us some poetry. Do not go gentle into that good night, he rasps, before giving the Dylan Thomas verse a spin thats gleefully his own: Fuck! Fuck! Fuck!

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