Ryan reportedly seems to be dipping his toe back into the football pool

In October‚ GNN reported on the first winner of the Vesuvius Challenge‚ which sought to inspire young people to use AI technology to decode burnt scrolls found in a Pompeii library. Now‚ the grand prize has been collected by Youssef Nader‚ Luke Farritor‚ and Julian Schilliger‚ who will split an amazing $700‚000 bounty for their […] The post 2‚000-Year-old Scroll Burnt in Pompeii Decoded and Read for First Time by Three Genius Students appeared first on Good News Network.

Column Weird Fiction The Things We Do For Life Lists: Liz Williams’ “The Hide” A story set where the natural and unnatural worlds collide. By Ruthanna Emrys‚ Anne M. Pillsworth | Published on February 7‚ 2024 icon-comment 0 Share New Share Twitter Facebook Pinterest RSS Feed Welcome back to Reading the Weird‚ in which we get girl cooties all over weird fiction‚ cosmic horror‚ and Lovecraftiana—from its historical roots through its most recent branches. This week‚ we cover Liz Williams’ “The Hide‚” first published in Strange Horizons in 2007. You can also find it in The Weird. Spoilers ahead! “…I knew that come September the fog would start drifting in from the Bristol Channel‚ smelling of salt mud and sea‚ hiding first the whale-humps of islands‚ then the arch of Brent Knoll‚ then the flat lands all the way to the Tor with its tower.” Jude has come to the Somerset Levels of southwest England to do research at Moors Centre. The surrounding wetlands were once called the Summer Country‚ because it was only when the winter floods retreated that the place was dry enough to negotiate. The rest of the year its marshes and groves were “the haunt only of ducks and herons‚ and the small people who lived along the causeways and in the lake villages.” Jude’s studies center on the Sweet Track‚ an ancient causeway dated to 3807 BC. Jude opens on a cold October night. She’s searching the marshes for her sister Clare‚ accompanied by Clare’s boyfriend Richard. The story starts the summer before‚ when the three were exploring a bird reserve on the Sweet Track. Clare met Richard through a university bird-watching society‚ but Jude suspects her enthusiasm centers more on picnics and Richard than birds. Jude wonders what might have happened if Richard had met her before he met Clare. Experience with Clare makes her think that wouldn’t have made a difference. Clare spots a modern wooden causeway over the reedy marsh. It leads to a bird-watcher’s hide. Clare and Richard duck inside. Near the door Jude finds the wing of a small black bird‚ recently torn from its owner. Impulsively she sets it on the causeway railing. The hide smells of bird droppings‚ though Jude sees no sign of rafter nests. Clare lifts an observation hatch‚ and they spot a heron. Then their focus shifts to three birds gliding over the reedbeds. They appear white‚ but as they pass the hide‚ Jude sees that they’re black‚ long-necked and long-beaked. Probably cormorants? Back at the car park‚ they meet a man with a “hippie” van‚ dreadlocks‚ and a joint. He asks about their birding luck. They mention the cormorants; oddly‚ the man’s expression shifts to half-amusement‚ half—something else. Were these birds black or white? Black‚ Jude says‚ adding that you don’t get white ones. Sometimes you do‚ the man says. And how many were there? Three? Well‚ he hopes they don’t see them again. Before Jude can question this cryptic remark‚ he leaves. Clare and Richard return north. Jude immerses herself in research. Months later‚ she stops at Clare’s on the way back from a conference. Clare’s out‚ Richard’s worried. Clare’s been moody since Somerset. Without telling him‚ she’s taken sick leave from work and spends her days staring into a dirty urban canal. He asks if Clare could visit Jude. Jude feels the brush of feathers against her hands; instead of crying off‚ she says yes. Clare arrives in Somerset showing no sign of depression. Over tea‚ she confides she’s been dreaming about color-shifting cormorants. She seems disappointed when Jude shrugs the dreams off. The next day Clare doesn’t return from a walk. Jude can’t reach Richard but leaves messages. Instead of calling back‚ Richard arrives in person. He didn’t get Jude’s messages but dreamt about Clare wandering in a storm. In the dream he knows that if she can reach that hide they visited‚ they can “pull her back.” He dreams of white-then-black birds flying toward Clare: black snow starts falling and covers her. When Richard reaches her‚ he realizes she’s turned to crumbling peat. Following the intuition from Richard’s dream‚ he and Jude go to the hide. In the January-cold October night‚ mist cloaks the reeds‚ and Richard moves like one possessed‚ staring straight ahead. June finds the black wing in her pocket. She’s revolted‚ but repockets it at Richard’s call. Strange joy suffuses his face. It’s okay‚ he says: Clare’s here. Collapsed in the hide? No. Richard points through the open shutters‚ to a sky dawn-gray in the east‚ but with a red horizon and storm clouds in the west. Twenty cormorants fly across it‚ white when east of the hide‚ black when west of it. A hut on stilts rises opposite the hide‚ surrounded by black reeds with crimson tips “like ragged bulbs of flesh.” Clare stands on the hut balustrade. A shutter opens behind her‚ and in the black window Jude sees her own face‚ but aged and bitter. Hut-Jude waves a bloody bird wing at Hide-Jude. Then the face is no longer hers‚ no longer human. Richard wades through the marsh toward the hut. As the last cormorant turns black above‚ Clare pulls Richard onto the balustrade. In the water‚ the bird’s white reflection bursts into dazzling splinters‚ and the hut vanishes‚ Clare and Richard vanish‚ leaving Jude alone in the night. Jude goes home to find Richard and Clare’s things‚ proof she hasn’t been dreaming. The police search for the couple; the media take notice of the mystery and then drop it. Left alone again‚ Jude imagines an “ancient conjured hell” whose spirits she could only perceive as birds. Gradually she decides on a simpler explanation. As they went into the hide to “spy” on birds‚ so “something somewhere else had also set up a hide‚ to watch us‚ and when the time was right‚ to take.” What’s Cyclopean: The Summer Country is rich with natural details: “gleaming wet marshes‚ dense beds of dull golden reeds‚ and groves of alder and unpollarded willow”‚ the better to contrast with the later‚ unnatural details. Libronomicon: Both Clare and Jude had their noses in books as kids‚ but not the same books: Jude is all about the facts; Clare is about the myths. Jude treats this as a clear distinction‚ never mind kids who cheerfully alternate between Daulaire’s and National Geographic. Anne’s Commentary Why do people make watching birds anything from a casual hobby to a passionate vocation? I mean‚ why birds in particular? Amphibian and reptile watchers have a special name‚ but the cultural currency of herpers is so much less than birders that my spell-check always corrects it to herpes. People looking for milk-producing furry things aren’t called mammalers‚ nor people looking for invertebrates buggers. Here’s what separates birds from other animals: Generally speaking‚ they’re easier to spot and thus to photograph and add to one’s life list. Birds can be outright  attention hogs—look at the garish dressers like flamingos and parrots and painted-damn-buntings! Listen to the beaks on them‚ chirping and squawking all day‚ then hooting all night. The neediest even insist on calling their own names—I’m looking at you‚ chickadees and whippoorwills. Another advantage birds have in amassing followers is that they’re the only vertebrates that can fly. I’m not counting the semi-aeronautic gliders or the bats‚ who are unabashed bird-wannabes. Not that I discount birds who don’t fly: Penguins substitute adorable waddling and mad swimming skills‚ while ostriches and cassowaries can kick your ass‚ literally. But flight provides an escape mode the flightless can’t match if birds get any decent head-start. Granted‚ humans can shoot arrows or bullets‚ but we’re discussing only benign stalkers. Birds can safely flirt with birders‚ flaunting their stuff and then simply flitting away. Sure‚ some birds don’t like to bask in human adulation. They dress in cryptic colors and hide in the shrubbery‚ shunning the paparazzi. To observe shyer targets‚ people need to hide as well. Shrubbery’s not always available; besides‚ getting into it makes big noise when you’re a clumsy biped. Birders may need to borrow hunting strategy and construct blinds. As Jude puts it‚ she and her companions use the sanctuary hide to “spy upon the life of birds.” The word spy implies an intentional intrusion on the gazed-upon. It’s fair that the spies should be spied in return. In Williams’ story‚ something is using birds as bait for its own quarry and has constructed an opposing hide from which to study them. But—the Something will also take what it observes when the time’s right. When the season turns? When the stars align? When the portal opens between worlds? Clare may be the sister with the “New Age soul” and an undiscerning appetite for “faux-Arthuriana‚” but scientist Jude is not insensitive to the romance of the Levels. Her descriptions of the area are those of a seasoned naturalist and historian; she knows the names of things‚ which brings her subject landscape to life. Instead of “insects flying through flowers along the path‚” she speaks of “damselflies zooming through the kingcups that grew along the margins of the dug-out peat beds.” I was inspired to look up Somerset Levels and Sedgemoor‚ the Sweet Track and the Moors Centre. They’re actual places in southwest England‚ just across the Bristol Channel from Wales. Machen celebrated the otherworldliness of the Welsh countryside. Williams brings the weirdness into Somerset. As grounded in the mundane as Jude’s observations are‚ they hint at things beyond the immediately perceptible and register a subtle tremor of the strange. Williams opens with a scene that foreshadows the climax while omitting the story’s location or historical period. She then jumps backward in time to Jude’s description of the Levels. With‚ again‚ no specific period references‚ I was half-inclined to think her characters lived in a medieval setting on the cusp of Faery. Look at the place names: The Summer Country‚ the Sweet Track. Look at how she describes the Iron Age inhabitants: they are “the small people who lived along the causeways and in the lake villages.” “Small” as in fairies or imps? Williams sets aside this ambiguity midway through a paragraph. Jude‚ Clare‚ and Richard turn out to be college-educated moderns. The Moors Centre has a carpark. The local hermit-visionary lives in a motor-van. From the Sweet Track‚ you can hear distant automobile traffic. You can hear it‚ that is‚ until you venture onto the causeway and approach the antechamber between our sphere and Somewhere Else. The hide still provides National Trust information sheets and a common blue heron. But to Jude the heron seems “alien‚ predatory‚ as startling as a pterodactyl‚” and birds—cormorants?—first look gull-white‚ then crow-black‚ all in the space of a veer from light-effect to light-effect‚ or from reality to reality. Jude has already picked up a severed bird’s wing in ill-omen black. The carpark Merlin hopes they’ll never see those cormorants again. Back home Clare dreams about color-shifting cormorants and skips work to haunt a murky ship canal. Worried‚ Richard asks Jude to let Clare visit again. It’s a tough ask for Jude‚ given she’s attracted to Richard and envies Clare’s relationship. Agreeing‚ she senses feathers brushing her hands: another ill omen? If so‚ the third omen comes when Richard and Jude hunt for Clare along the Sweet Track and Jude finds a severed black wing in her pocket. It could be a key to the Otherside‚ but a reverse one that locks her out instead of admitting her. It’s Clare the Othersiders want‚ and Clare who is Richard’s ticket in. The face Jude sees in the Other Hide’s window is her own‚ aged and bitter. It’s the mirror-mask the Othersider wears to mock future Jude‚ bereft of both sister and love interest. The second face the Othersider shows is inhuman. I take this as a final hint the creature is Fey‚ because can any fairy resist getting a final jab in on us mere mortals by showing its true self? Not in my experience anyhow. Ruthanna’s Commentary My birding strategy is to follow actual birders around—mostly my wife—and look where they point. I appreciate birds‚ but lack the particular sort of attention that lets me track feather color and beak shape and tail length and wing movement and put them all together into recognition‚ for anything much more challenging than a cardinal. (I am not good at this with humans either.) Birders‚ though‚ are constantly scanning for the snatch of song or flash of color that tells them that‚ if they just look a little closer‚ they’ll find something remarkable. It seems like a useful skill for noticing that you’ve slipped out of our familiar reality into something stranger. Useful‚ and perhaps dangerous. After all‚ if you keep your head in the clouds or your phone‚ you might just walk right through violations of natural law none the wiser. The fewer the contents of your awareness‚ the lower your risk of correlating those contents‚ right? Alexandra Horowitz’s On Looking illustrates the way that our attention shapes our reality. She takes 11 walks around the same block of New York City: with her dog‚ her toddler‚ an entomologist‚ an expert in the relationship between gait and health‚ et cetera. Some walks are long and some brief‚ some draw meaning from passers-by or buildings and others from cracks in the sidewalk or bits of trash. Bits of world appear and vanish like magic. Or like the Summer Country‚ ostensibly revealed by seasonally retreating waters but named like a Brigadoon‚ a Faerie‚ that only touches our world on special occasions. Clare’s “New Age soul” seeks the numinous. Unfortunately for her‚ what’s out there to be revealed is no Camelot. Or so we assume. It doesn’t feel like a Camelot. But those of us who stay behind the Hide slats get only a glimpse. My first thought is some archetypal savage past‚ like the little house in Benson’s “Between the Lights”. But then there’s Jude’s face‚ older and bitter‚ peering from the house—so not exactly the past. Unless we’re in Charles Dexter Ward territory‚ made vulnerable by similarity to unpleasant ancestors. More likely‚ perhaps‚ some sort of mirror universe doppelgangers—or the extradimensional birdwatchers and birdhunters that Jude imagines‚ using mimicry as one of their less effective techniques. Or maybe that really is Avalon over there‚ apple-groved Isle of the Dead. That would certainly be the best option. One way or another‚ poor Jude is stuck in one of Clare’s books of myth‚ far from the realm of facts about peat bog archaeology. Even beyond the disappearance of her inconvenient crush object and her sister-rival‚ this is not a situation likely to submit to explanation. The color-shifting birds‚ the black wing still fresh with gore‚ the draw of the canal‚ Clare’s dreams and Richard’s‚ the Hide itself—the numinous is too close to avoid regardless of how carefully you keep your head down. Peat bogs are liminal spaces even when not cut off by water three seasons of the year. They preserve bodies and nurture new growth. Life and death‚ growth and decay‚ change and stasis. They’re natural‚ but they don’t necessarily feel that way. The initial description walks that line‚ making the area “the haunt” of ducks and herons and lake villagers. Birds are natural‚ right? Just ask Du Maurier. Or ask Blackwood how quickly the natural can blur into the super-natural. I haven’t asked my wife yet how to ID birds that shift color depending on viewing angle‚ or how to safely handle their feathers. Maybe I should. For now‚ I think‚ I’m going to stick to watching chickadees at our winter feeder‚ and go inside if they show a taste for anything other than birdseed. Next week‚ there are probably more disturbing revelations in chapters 27-28 of Max Gladstone’s Last Exit. [end-mark] The post The Things We Do For Life Lists: Liz Williams’ “The Hide” appeared first on Reactor.

News Afterburn Dave Bautista and Samuel L. Jackson Will Star in the Comics Adaptation Afterburn If the world ended‚ would you try to steal the Mona Lisa? By Molly Templeton | Published on February 7‚ 2024 icon-comment 0 Share New Share Twitter Facebook Pinterest RSS Feed If the world as we know it ends‚ I am definitely not going to be thinking about the Mona Lisa. But according to Deadline‚ in the upcoming film Afterburn‚ “an unhinged warlord” is doing just that. Afterburn is based on the Red 5 comics by Scott Chitwood and Paul Ens. The summary for the first comic explains: A year ago‚ a massive solar flare destroyed the Earth’s eastern hemisphere with the power of a thousand nuclear bombs. But amid chaos‚ there’s profit. That’s where Jake comes in‚ retrieving valuable items from the remains – when he can outwit the competition and the mutated locals! In the movie adaptation‚ Deadline notes‚ the solar flare was 10 years ago. Dave Bautista (Guardians of the Galaxy‚ pictured above) will play Jake‚ an ex-soldier “who works as a treasure hunter recovering valuable objects from the old world for powerful clients.” He’ll be joined by Samuel L. Jackson‚ playing “freedom fighter Valentine.” This all sounds positively ridiculous‚ and like it could be a very good time if no one takes themselves too seriously. The movie has J.J. Perry as director; Perry just directed Bautista in The Killer’s Game‚ and has done a ton of work in stunts and as stunt coordinator on everything from The Fate of the Furious to Shadow and Bone. So at least the action should be very‚ very entertaining. Writer Matt Johnson was behind the poorly received 2005 Paul Walker film Into the Blue; Nimrod Antal (a director on Stranger Things) did revisions on the Afterburn screenplay. Afterburn will begin filming in April‚ so it’ll be a while before we get to see what this all adds up to. The post Dave Bautista and Samuel L. Jackson Will Star in the Comics Adaptation <;i>;Afterburn<;/i>; appeared first on Reactor.

Book Recommendations book review A Collection of Restless Hearts: GennaRose Nethercott’s Fifty Beasts to Break Your Heart Molly Templeton reviews a collection of “restless‚ playful‚ wise‚ heartbroken and rich” stories. By Molly Templeton | Published on February 7‚ 2024 icon-comment 0 Share New Share Twitter Facebook Pinterest RSS Feed If a collection of short stories can be like a road trip‚ that’s what Fifty Beasts to Break Your Heart is. GennaRose Nethercott’s characters are constantly in motion: traipsing up and down the Eternal Staircase; traveling to stay with a friend in Switzerland whose barn guest room holds a strange secret; even just moving from room to room in a house. Or becoming a house. Florists go in search of flowers that are also‚ or actually‚ animals. A girl who is always drowning goes outside to smoke. The restlessness is rich‚ palpable‚ and deeply appropriate alongside the kind of magic Nethercott conjures up. You could say she’s working with folktales‚ but how many of these do you recognize? It feels more appropriate to say that she takes the language of folktales and fairy tales—the way people are often named for what they are; the way magical things simply happen‚ no explanation necessary or even permitted—and mashes it into a sort of dusty-road Americana that lingers in the back of the throat. Roadside attractions‚ rambling sons‚ heartbroken artists: Nethercott is writing with old world style‚ but creating her own new world order. Her debut novel‚ Thistlefoot‚ had this same restlessness‚ dancing through different paces as its central characters traveled the country in their chicken-legged house. It borrowed from established tales (not least the story of Baba Yaga) but wove in women in leather jackets and siblings who put on puppet shows. History‚ but also statues that get up and walk. If you love the richly magical work of Kelly Link‚ the uncategorizable tales of Helen Oyeyemi‚ stories by Aimee Bender‚ Neil Gaiman‚ Karen Russell—you will likely find much to enjoy here. All the more so if you are the kind of person who sometimes just wants to pick up and leave your life behind‚ or hopes that under the next leaf you turn over there may be some creature you have never seen before. Nethercott’s stories start with the Eternal Staircase‚ a tourist attraction that claims the attention of the unwary; she writes in warning signs and directives to visitors right alongside the tale of two teens and their messy summer. Later‚ the title story is a bestiary‚ but woven through the entries of creatures that never were is the story of three florists with flowery names‚ their fraught relationships to each other and the creatures/flowers they write about. “Drowning Lessons” is teenage loneliness in a life jacket. Poor Sophie just drowns in everything (she has to drink her whiskey out of a sippy cup‚ lest it reach for her throat)‚ and her poor brother watches her suffer‚ takes her to a party‚ gets rejected. There is almost nowhere for her to go. Buy the Book Fifty Beasts to Break Your Heart GennaRose Nethercott Buy Book icon-close Fifty Beasts to Break Your Heart GennaRose Nethercott Buy this book from: AmazonBarnes and NobleiBooksIndieBoundTarget There are monsters here‚ sure‚ depending on your definition of monsters—which is kind of the point. Nethercott writes briskly but vividly‚ lingering over her creations but sometimes slipping by the horrors so quickly that they take a moment to register. (They always do catch up.) And sometimes the horrors are beautiful‚ inevitable‚ metaphorical in a way that makes perfect sense; you’re nodding along‚ thinking‚ yes‚ of course‚ a woman whose career is being smothered by her too-perfect partner would become a house‚ the thing he lives in‚ the thing that holds him up and keep him safe. Of course she would. Of course a town would turn a woman into death herself so she could go into the woods to fetch dinner. In “Thread Boy‚” an adventuring young man becomes weighed down by all his ties—lovers‚ friends‚ connections—but can’t possibly let them go. The characters of the incredible “Possessions” find a spellbook at Goodwill‚ which seems as likely a place as any to turn up something magical and spiral-bound. There’s a playfulness to Nethercott’s style‚ and especially in her wide use of forms: a venomous letter‚ a slippery transcribed memoir‚ a transformative bestiary‚ a calendar‚ a dictionary. The dictionary comes in “A Diviner’s Abecedarian‚” a story about powerful sixth-grade girls with a masterful understanding of divination. (Anything to get through middle school‚ right?) “A Lily Is a Lily” is a sweet little love story right up until it’s not—until it becomes a cautionary tale about the kind of young men who only want the idea‚ not the reality‚ of a woman. (The last lines of Nethercott’s acknowledgement have both bite and a smiley face: “Last‚ let’s give it up for my exes. If you think it’s about you‚ it probably is.”) The title‚ after all‚ includes the words “to break your heart‚” and there are a lot of hearts broken in the course of this collection. It isn’t heavy‚ necessarily‚ but it is true‚ full of heart and weight and feeling just as it’s full of cleverness and vivid imagery. “Drowning Lessons” is a story about teens at a party‚ but it is also about class rage‚ about want and need and yearning‚ and the ways in which our hearts and our bodies might lie to us about what we need: “The desire mounts and mounts until eventually‚ the desire is so irresistible that you willingly allow water down your airway and into your lungs. You choose this. Every cell in your body insists‚ This. This is what you need. There is wanting and there is yearning—and then‚ there is a lung filling with water.” Fifty Beast to Break Your Heart stars with a list of rules that are about a roadside attraction‚ but might well be for an unwary entrant to fairyland. (“Do not enter the Eternal Staircase after 8 p.m.”) It ends with forbidden plums. The pages and tales between are restless‚ playful‚ wise‚ heartbroken and rich. If you yourself are already restless‚ this book may make you more so. But perhaps‚ when you’re done‚ it might send you off in a new direction entirely.[end-mark] Fifty Beasts to Break Your Heart is published by Vintage.Read an excerpt. The post A Collection of Restless Hearts: GennaRose Nethercott’s <;i>;Fifty Beasts to Break Your Heart<;/i>; appeared first on Reactor.

With the TMNT! colab with Fortnite‚ a whole bunch of fun and interesting tasks have been added to the game. One of April ‘O’ Neil’s tasks is to find the three Pizza Boxes located around the Fortnite map. If you don’t know where they are‚ they could take a lifetime to find‚ dude. The TMNT! Pizza Box locations in Fortnite Drop into the Underground HQ area of the map located just to the left of Fencing Fields and to the bottom right of Pleasant Piazza. You can head straight into the tunnels from there. It’s in these tunnels that the Pizza Boxes are located for the Fortnite task. Image: PerfectScore Taking a look at the map‚ you can see the three locations marked for the Pizza Boxes. You can easily make your way through the underground HQ to find each of them. Just have your fingers crossed that there isn’t someone else in there looking for the same thing. Pizza Box 1 – Enter at the northern entrance of the Underground HQ‚ head thro...

Call of Duty knows how to keep their player base coming back season after season. Now‚ with MW3 Season 2‚ we can expect a whole swathe of new maps to be added. The all-new theaters of war spread over almost all aspects of the game‚ giving so much more to play with. Season 2 MW 3 6v6 Maps The first group of maps that will be featuring MW3 Season 2 are four all-new 6v6 multiplayer maps. They promise to bring fresh hell to the multiplayer scene and introduce some new and old elements. Departures Think Terminal but bigger for this new MW3 map. It’s based in an airport and features a range for all forms of combat. Short-range SMG gunplay or long-range Sniper fire are all looking to be worked into this medium-sized map for season 2. Stash House Absolute close-range mayhem is sure to ensue from this shoulder-to-shoulder death fest that makes Shipment look like a football field. Stash House is a very close-range‚ extra small map introduced for Season 2 of MW3. I expect ...

Many people have wondered how open the world of FF7 Rebirth will be. Will everything be accessible seamlessly? Will there be roadblocks? What about loading screens? Rest assured‚ we have the answer. How open is the world of FF7 Rebirth? FF7 Rebirth will consist of three major continents. But players have been wondering whether they’ll be able to seamlessly cross over between continents‚ and if every inch of the world will be explorable from the get-go. From interviews‚ it’s clear that FF7 Rebirth’s world will have no loading screens and everywhere will be explorable‚ however‚ there will be roadblocks to keep the players on track. Certain impasses will be in place that block off many areas so you can’t simply explore the entire world from the start of the game. Image: Square Enix Related: How to play the piano in FF7 Rebirth Demo The world will become bigger and grander as you progress through the story. So by the end of the game‚ you’ll h...

Crafting and upgrading weapons is a key part of the postgame in Granblue Fantasy Relink‚ and Ascension weapons are some of the strongest in the game. Each character has an Ascension weapon that can dramatically enhance their attack power‚ even more so than standard weapons. What Are Ascension Weapons in Granblue Fantasy Relink? Ascension weapons are a special class of weapon in Granblue Fantasy Relink. They appear alongside the standard weapons on the blacksmith’s crafting list so they might not seem particularly unique at first glance‚ but there’s more to these weapons than meets the eye. Underneath their names‚ each weapon has a description like “Stunner‚” “Defender‚” or “Stinger.” Some of them will say “Ascension Weapon‚” and that’s how you know you’ve found the right one. Screenshot: PC Invasion Ascension weapons can be upgraded to level 150 just like every other weapon in Granblue Fantasy Relink‚ b...

Many players are reporting that the Modern Warfare 3 Season 2 Battle Pass isn’t working. If you can’t buy the Battle Pass or are having issues interacting with it‚ you’re in the right place. Modern Warfare 3 (MW3): How to fix broken Battle Pass While some MW3 errors are fixable‚ others are not. Unfortunately‚ there’s nothing you can do to fix the Modern Warfare 3 Season 2 Battle Pass. There is a bug that keeps you from buying it and unlocking sections. Some people aren’t experiencing this bug while others are. It’s not clear what triggers the bug‚ but it’s an annoying one that can’t manually be fixed by the player. We need to wait for enough Reddit threads and Tweets to go out about the broken Battle Pass to get Activision’s attention. Once Call of Duty Updates on Twitter (or X) posts about the Battle Pass not working‚ then you can concretely know that they are working on fixing it. Since the Battle Pass is one of their ...