*Note: this is for a tournament at the end of June, as a send-off for 9th.
Greetings fellow Kin, I'm looking for some feedback on my new list focused on my custom League, the Jotun-Erydani Combine. They're described in the codex as a Brôkhyr led League with powerful wargear, but I didn't want to just have a Ymyr copycat.
In my games I've had minimum success with my Einhyr Champion/Hearthguard so I'm swapping them out for more Beserks, which have done very well for me. It also ties into my idea of the Brôkhyr and Guilds having a strong relationship.
I've taken the Hearthkyn and the Pioneers for ObSec, Hekaton and Thunderkyn for heavy guns, and the Votannic Council for all the good buffs and WL traits.
C+C is welcome and encouraged!
 
++ Arks of Omen Detachment (Leagues of Votann) [86 PL, 3CP, 2,000pts] ++
 
+ Configuration +
 
Arks of Omen Compulsory Type: Heavy Support
 
Battle Size [6CP]: 3. Strike Force (101-200 Total PL / 1001-2000 Points)
 
Detachment Command Cost
 
Game Type: 5. Chapter Approved: Arks of Omen
 
League: Established League, Quick to Judge, Warrior Pride, Weaponsmiths
 
+ HQ +
 
Brôkhyr Forge-master [5 PL, -1CP, 115pts]: Ancestral Bearing, Brôkhyr Forge-master, Stratagem: Warlord Trait, Warlord
 
High Kâhl [6 PL, -1CP, 140pts]: A Long List, Forgewrought plasma axe, High Kâhl, Rampart crest, Stratagem: Legend of the League, Volkanite disintegrator
 
Lord Grimnyr [5 PL, -1CP, 125pts]: Ancestral Power, Fortify, Interface Echo, Lord Grimnyr, Stratagem: Legend of the League
. 2x CORV: 2x Autoch-pattern bolter
 
+ Troops +
 
Hearthkyn Warriors w/ bolters [7 PL, 180pts]
. Theyn: Autoch-pattern bolt pistol, Plasma sword
. 4x Warrior: 4x Autoch-pattern bolt pistol, 4x Autoch-pattern bolter, 4x Gravitic concussion grenades
. Warrior w/ comms array: Multiwave comms array
. Warrior w/ heavy weapon: Magna-rail rifle
. Warrior w/ heavy weapon: L7 missile launcher
. Warrior w/ medipack: Medipack
. Warrior w/ scanner: Pan spectral scanner
 
+ Elites +
 
Cthonian Beserks w/ concussion mauls [5 PL, 175pts]
. 4x Beserk: 4x Concussion maul
. Beserk with mole grenade launcher: Mole grenade launcher
 
Cthonian Beserks w/ heavy plasma axes [5 PL, 175pts]
. 4x Beserk: 4x Heavy plasma axe
. Beserk with mole grenade launcher: Mole grenade launcher
 
+ Fast Attack +
 
Hernkyn Pioneers [10 PL, 165pts]
. Pioneer w/ comms array: Multiwave comms array
. Pioneer w/ HYLas rotary cannon: HYLas rotary cannon
. Pioneer w/ scanner: Pan spectral scanner
. Pioneer w/ searchlight: Rollbar searchlight
 
Hernkyn Pioneers [10 PL, 165pts]
. Pioneer w/ comms array: Multiwave comms array
. Pioneer w/ ion beamer: Ion beamer
. Pioneer w/ scanner: Pan spectral scanner
. Pioneer w/ searchlight: Rollbar searchlight
 
+ Heavy Support +
 
Brôkhyr Thunderkyn w/ graviton blast cannons [10 PL, 210pts]
. 6x Brôkhyr Thunderkyn: 6x Graviton blast cannon
 
Brôkhyr Thunderkyn w/ SP conversion beamers [10 PL, 240pts]
. 6x Brôkhyr Thunderkyn: 6x SP conversion beamer
 
Hekaton Land Fortress [13 PL, 310pts]: Heavy magna-rail cannon, Pan spectral scanner
. 2x Two bolt cannons: 4x Bolt cannon
 
++ Total: [86 PL, 3CP, 2,000pts] ++
 
Created with [BattleScribe](https://www.battlescribe.net

Timestamp

Item	Details	Price
Satisfaction 75 R2 Black A-Stock	Brand new, never built. Includes solder PCB, Brass Plate, gold aluminum knob, and all original accessories such as sleeve, carrying case, microfiber cloth, etc.	$475 OBO Shipped
Rama M60-A Moon	Great condition, includes extra feet, pcb is hotswap	$310 OBO Shipped
Owlab Spring Black Chroma + Wrist Rest with 3 plates, 2 pcbs	Great condition, comes with 3 plates (POM, FR4, PC) and 2 PCBs (1 Hotswap, 1 Solder). There are a few very minor micro scratches on the pvd back from the factory which is typical with PVD, it is never perfect. Also comes with extra case foam, extra feet, carrying case and microfiber cloth. Also comes with a keylabs crucible rainbow pvd aluminum cherry esc artisan.	$675 OBO Shipped, or trade for owlab spring cream. Willing to split up the extras
Gmk Redacted Base + Eyes Only + Aluminum Rama	Excellent condition no shine. It does not come in the plastic trays shown in the photos. I threw out the original potato tray but still have the sleeve, it will probably be shipped in a new potato tray.	$200 Shipped
Project Affogato Aluminum & Wood/Carbon Fiber Wrist Rest	Brand new, never used. Includes both the forged carbon fiber and wood inserts. The wood has not been treated with the included sandpaper or varnish. More information is available here.	$500 OBO Shipped, this is very overpriced so I'm not really expecting anyone to buy it with cash, I am interested in trades with the items I have listed below like the Nemo Decommission 1, Inventory Hide, M6-C milkshake, Owlab Spring Cream
Wonka Brass Enter (PVD Bronze)	Custom Brass cherry enter (PVD coated in Bronze colorway) laser engraved with the Wonka logo. Note that there are some micro scratches and there is a small blemish under the W. Would go well with gmk chocolatier for example.	$115 OBO Shipped
Monokei 65% Titan Grey Polycarbonate Wrist Rest	Has some micro scratches which is inevitable with polycarbonate, see images. This color is like a dark purplish black. This was originally for the Monokei Hiro but it also pairs well with some other 65% keyboards such as the mode 65.	$69 Shipped
Gmk Maestro Rama Enter	Brand new, excellent condition	$80 OBO Shipped
Gmk Minimal 2 Rama Square, Circle, and Triangle	Excellent condition	$137 OBO for all 3 shipped, willing to split it up too
Rama DSA XO Blue and Red Keycaps	From an M6-A, Double shot ABS, DSA profile. Perfect for an M6 or Treasure Type 9 for example	$12 Shipped
Mozi Elos Gold Flakes Arrow(R4) + Elos Silver Flakes Arrow(R4)	Brand new, unmounted	$12 Shipped for both
Rama DSA XO White on Black Keycaps	Brand new, double shot ABS, DSA profile	$12 Shipped
Rama GRID keycaps (5 green transparent and 2 red transparent)	Great condition	$8 Shipped
	The 4 items above are mostly just the shipping cost so if they are bundled with anything else there will be a big discount

All items include free shipping to US.

Feel free to dm with any questions and offers (such as discounts for bundles or OBO, everything is OBO).
Must have confirmed trades for items over $100.
​
Want to buy/trade for:

• Rama Nemo Decommission 1
• Rama Inventory Hide (Dark Brown)
• Owlab spring cream or just a black PVD weight (can trade for chroma weight)
• Maja V1 Wrist Rest
• Lilac, Maroon, Gold Mirror Mode65 Backpiece
• White Rama M6-C (Milkshake or Milk)
• Gmk Hanok Base
• JTK HSA Brown & Beige
• Cerakey Black Blank
• Hibi november fog, olive 1u, galaxy 1u
• Mode65 Copper Plate, Backpiece and Bottom
• Rama Thinkcaps Row 1 (Esc row)

WILD MAN: Saint or Sinner Posted on May 2, 2021by Dana Rehn The Representation of Wild Folk During the German Renaissance The wild man was inspired in part by pagan hybrid woodland creatures like the satyr, however, much of the mythology of the wild man stems from barbarians of Europe.[i] For much of the Middle Ages, they were considered the antithesis of the civilised Christian society. They were cannibalistic, sexually deviant predators whose many characteristics were related to monstrous races as well as the insane. Despite the wild folk’s outsider status and the antithesis of Christian morality, the wild man and woman nevertheless became an icon of German nationalism. The image of the wild man and woman became a pervasive figure throughout the German Renaissance, depicted on a vast range of media from stained glass, woolen tapestry, playing cards (fig. 3), and ordinary household objects. The wild man and woman transitioned from a demonic brute beast to a romanticised image of the noble savage. They recall a simpler time in German history and became a part of the image of a united and strong German people. They also posed as an affront to the court culture of Rome and became associated with the virtues of the natural wilderness. Cleric, Johann Geiler von Kaysersberg, associated them with the image of the hairy saints who found redemption in the wilderness by categorising them as a type of wild man in Die Emeis.[ii] The German forests that the Wild Man was thought to reside were starting to be romanticised. Geographer, Johannes Rauw, praised the ancient forests that had long been demonised by Italians as a place of barbarians.[iii] From rapists of damsels, wild men were depicted with the virtues of the nuclear family in the Garden of Eden before ‘The Fall’ (Genesis 3). In this way, the wild man and woman became increasingly mythologised, merged with ancient Germans, ascetic saints as well as Adam and Eve. Although there were a growing number of romanticised images of the wild man and woman during the sixteenth century, negative representations persisted. Their depiction was not a simple shift from demonic woodland creature to the image of holy saints; many possessed both contradictory notions of sinner and sainthood. The multifaceted representation of wild folk reflected many of the contradictions of German Renaissance society. Man or Animal The reputation of the wild man stems from antiquity. Aristotle believed that people who lived outside the civilising influence of the urban city lacked the ability to reason.[iv] In this way, they were considered closer to animal than man, subjected to their impulses.[v] The wild man and woman were also believed to lack speech, used primitive tools such as the club, and lived away from civilisation.[vi] Even the food that the wild folk would eat – berries and uncooked food – was a mark of uncivilisation and thus associated them more with animals than man.[vii] Many were also thought to crawl on all fours, which is illustrated by the often bare knees of wild men and women.[viii] The wild man as well as the woman were characterised for their violence and unhinged rage. They both shared a love of combat and have even been depicted jousting against one another.[ix] It is not just appearance, but also behaviour that made someone bestial like peasants who were described with animal qualities. The wild man has also been associated with bears and mythology exists with bears who were able to transform into wild men.[x] Their unbridled sexuality was also more associated with animals. Wild men were thought to abduct pretty maidens, while the wild woman would transform herself into a beautiful woman and attempt to seduce men with her true ugliness only to be revealed during intercourse.[xi] In this way, they were also associated with other pagan and hairy woodland hybrid creatures from antiquity including satyrs and centaurs, who were also known for their immoral behaviour and insatiable sexual appetite.[xii] Albrecht Dürer combined classical mythology with German folklore in the engraving of the Abduction of Proserpine on a Unicorn (1516) (Fig. 1). The print recounts the mythology of the abduction of the goddess of fertility by Pluto (Hades), God of the underworld – the pagan equivalent to the Devil.[xiii] In place of the classical god is a wild man on the back of a unicorn. Although this wild man is not covered in think body hair, he has wild hair on top of his head and a large bushy beard. He is identified as a wild man by his riding of a unicorn where the wild man was believed to be the only creature strong enough to overpower it by force.[xiv] Unicorns were originally regarded as ferocious beasts who used their horn as a weapon.[xv] Tales and visual art from the fourteenth century tell of wild men who become tamed by love after abducting a woman.[xvi] Yet this print illustrates man’s sexuality was thought to reduce them to a brute beast. Fig 1. Albrecht Dürer, Abduction of Proserpine on a Unicorn, 1516, Etching, 30.8 x 21.3cm, The Institute, Chicago. During the Middle Ages, many people concluded that wild man and woman were degenerative humans. They became an irrational beast in the same way that the insane were believed to be a form of wild people. Medieval romances frequently described people who suffered a crisis and lost their mind and ran into the forest living as semi-human wild people.[xvii] In Hartmann von Aue’s (c. 1160/70- c. 1210/20) Iwein, the protagonist who has broken a promise to his wife and is rejected, roams around in the forest until he is discovered by a lady who saves him from his insanity.[xviii] The wilderness in part created the state for wildness as it was away from civilisation and rationality.[xix] Like many monsters during the period, the wild man and woman were defined by their nudity. In this way, they were symbolically outside civilisation – both physically and behaviourally.[xx] Even those who have become temporary wild men through madness and fled into the forest shed their clothes and only returned to civilisation by again putting their garments back on. While in the forest they begin to grow hair all over their body to signify their move away from the human realm and into the animal one.[xxi] The wild man and woman encapsulated the fears of Europeans and what happens to one if they abandon civilisation.[xxii] The theme of civilising the wild man was popular during the Middle Ages. It was knowledge and acceptance of the one true faith that inevitably brought the wild man back to civilisation.[xxiii] In a thirteenth-century Bavarian epic poem, republished in the sixteenth-century German collection of stories, Das Heldenbuch mit synen figuren (‘The Book of Heroes’), recounts a wild woman called Raue Else (‘Rough Else’). The woman who was hairy all over and walked on all fours approached the knight, Wolfdietrich, who questioned if she was an animal. [xxiv] The wild woman demanded the love of the knight and upon his refusal turned him into a crazed wild man who crawled on all fours for half a year until God commanded her to disenchant him. In return, Wolfdietrich offered to marry the wild woman so long as she was baptised. She took him back to her kingdom at Troy and after bathing in the fountain of youth she was transformed into her former self, the beautiful princess, Sigeminne (‘Love’s victory’).[xxv] Wild Man as Noble Savage Although the wild man and woman were frequently represented in literature during the Middle Ages, they were rarely depicted in visual art until the fifteenth century.[xxvi] Therefore, their most ferocious reputation left little mark in visual culture. Instead, the wild man and woman were frequently represented in Renaissance art as the image of purity, with their family representing the virtues of parenthood and a companion or as a saint. Lynn Frier Kaufmann argues that the idea of chivalry and courtly love during the Middle Ages influenced the way wild men and women were depicted during the Renaissance.[xxvii] Larry Silver on the other hand interpreted their new role as cultural emblems brought by the rise in Germanic nationalism, which inspired the new translation of Tacitus’s Germania, describing wild people who only wore a cape of animal’s hide, as the first proud inhabitants of the Germanic lands (for example, fig. 2) .[xxviii] In this way, Tacitus’s Germania transformed the wild man into the romanticised version of the noble savage during the German Renaissance.[xxix] They lived a simple and virtuous life. They needed no written laws because they had good morals and rejected the habits of outsiders.[xxx] The nobility and urban elite began to romanticise the wild man for their strength and freedom from the rules of society.[xxxi] Conrad Celtis described a counterpart to early Germans in the Lapps. He described them as speechless but also that they had not been corrupted with luxury, fame, or wine. ‘Here no jurist twists the law, no doctor accumulates his blood money, and no tonsured man plagues the people’.[xxxii] Fig. 2. Nicolaes van Geelkerken after Clüver in Philipp Clüver, Germaniae antiquae libri tres, Leiden: Louis Elzevir, 1616, Engraving, London, The Wellcome Library. Source: archive.org On a playing card by Master ES printed in c. 1461, a wild woman is depicted with a unicorn (fig. 3). While wild men overpower the unicorn with their bold ferocity, it was the wild woman’s sexual purity that allowed her to get close to the unicorn. A tale of the unicorn captured only by pure virgin maidens arose during the Middle Ages. This led to the unicorn being represented as a sign of purity and thus underscores the image of the wild woman as epitome of the noble savage.[xxxiii] A sense of innocence accompanies their ignorance of the civilized world. Playing cards usually consisted of four suits with illustrations of plants, animals, and heraldic symbols. The wild woman with the unicorn is one of four cards surviving in the animal suit by Master ES.[xxxiv] Richard Bernheimer suggests that the images on the cards represent a hierarchy.[xxxv] Therefore, it places the wild man and woman in the realm of animals.[xxxvi] This is plausible since this wild woman represents the Queen of the Animals. However, her clasping grip of the unicorn who is dwarfed by the wild woman shows her dominate position in nature. Fig. 3. Master ES, Wild Woman and Unicorn (Queen of Animals from the Small Playing) c. 1461, Engraving on Playing Card, 10.5 x 7.3cm (Sheet); 9.8 x 6.cm (Plate), New York, Metropolitan Museum of Art. The wild man also featured in more than 200 coat-of-arms across Europe, most of which were in German lands.[xxxvii] They were particularly popular during the second-half of the fifteenth century.[xxxviii] Interestingly, the wild man was illustrated beside coats-of-arms of popes and kings as their protector or guardian of the coat-of-arms despite the wild man’s history as a heretical being.[xxxix] Roundel prints of coat-of-arms were likely used as templates for goldsmiths or glassmakers who would fill in the family crest.[xl] It has also been suggested that these roundels were used by the middle class to emulate the coat-of-arms of the nobility. The templates were used as a substitute for commissioned coat-of-arms.[xli] In Wild Woman and Heraldic Shield, c. 1490 (fig. 4), a wild woman suckling her baby is reminiscent of the Madonna and child. This image reveals the redemption of women through childbirth for their responsibility for Original Sin (Genesis 3.16). She also serves as an emblem for fertility for the family whose shield she holds to ensure the family line. Fig. 4. Martin Schongauer, Wild Woman and Heraldic Shield, Colmar, c. 1490, Engraving, 7.7 diam. New York, The Metropolitan Museum of Art. Return to the Garden of Eden The image of the noble savage in turn influenced the idyllic images of the wild family. Master bxg’s Wild Folk Family (c. 1475) parallel Adam and Eve in the Garden of Eden. Adam and Eve who were portrayed in animal skins after ‘The Fall’ are akin to the hairiness of the wild family.[xlii] In Master bxg’s print stands the tree of knowledge, overlooked by an owl in the background, symbolising potential danger as owls served as a symbol for evil.[xliii] A rabbit bounds towards a forest in the top left. Rabbits were used as a symbol for fertility and has been depicted in images of Adam and Eve during ‘The Fall’ and thus can symbolise carnal knowledge. The wild woman’s long hair symbolises her fertility and thus her unbridled sexuality and parallels with the depiction of Eve in the Garden of Eden with long, loose flowing hair.[xliv] Although the representation of the wild family references Original Sin, they are still in a state of nature and innocence and their ignorance of God therefore cannot constitute sin.[xlv] However, it also provides a mirror of the tensions between good and evil within German Renaissance society – between temptation and godliness.[xlvi] The wild family not only recall Adam and Eve in the Garden of Eden, but also the image of the Holy Family who were often represented against the backdrop of the wilderness.[xlvii] In a comparative print in Hans Leonhart Schäufelein’s, Wild Man and Wild Woman originally printed in c.1520 (fig.5), the wild family are still hairy and naked, although they wear fig leaves to help preserve their modesty. The fig leaves allude to after ‘The Fall’ in the Garden of Eden once they have eaten from the tree of knowledge and realise their nakedness and feel shame. In this way, the sins of the past are not completely forgotten. However, the image lies in opposite to the unbridled sexuality of the earlier idea of the wild man and woman. One son attempts to place a leash around a domesticated dog, which further symbolises a new domesticity to the wild family.[xlviii] Despite its clear reference to Original Sin, it illustrates an idyllic family scene, away from the corrupting influences of ‘civilised life’.[xlix] Fig. 5. After Hans Schäufelein, Klag der wilden Holtzleüt, uber die ugetrewen Welt, verse by Hans Sachs, printed by Hans Guldenmundt, Augsburg, 1560 Coloured woodcut, 20.2 x 24.2cm (sheet), 20.2 x 15.2 cm (borderline) The British Museum, London. This image was later copied with an addition of a poem written by Hans Sachs in 1530. In the poem the wild folk lament against the corruption and evils of society such as the lust for wealth, flesh, and violence. The wild folk in Sachs’ verse have chosen to discard worldly pleasures to live the simple and pure life in nature. The verse ends with the wild folk declaring that they will be happy to return to civilisation once the world ‘see the light’.[l] This verse parallels the wild man with ascetic monks whose wildness is a temporary state and who seek redemption away from civilisation. Wild Man as Saints The tales of saints who found redemption in the wilderness by discarding worldly pleasures, growing hair on their body and then returning to civilization and shedding their hair once more became co-opted with the image of wild men and women during the Renaissance. Many stories of anchorites parallel with others, to the point that they can become indistinguishable.[li] Onuphrius is one of the better-known ascetic saints who lived during the fourth century. Paying penance, he lived in a cave for sixty years, as wild men and women were thought to do. His clothes wore away and he grew a thick coat of hair to protect his body against the elements (fig. 6).[lii] Saint John Chrysostom similarly went into the wilderness to pay penance and vowed to crawl on all fours until he found favour with God.[liii] Ascetic saints were similarly depicted with bare knees as wild men and women were also believed to crawl on all fours like an animal, wearing away the hair. In Leben der Heiligen (1499), where Saint John Chrysostom is depicted as covered in thick hair and crawling on all fours in the forest is described as an ‘abominable animal,’ despite being depicted with a halo around his head.[liv] Ascetic saints were therefore reduced to a beast just as the wild men and women had traditionally been as they are seen as degenerating into an animal who grow hair on their body and ate raw food.[lv] In this way, the figure of the hairy monstrosity was able to find redemption, at least in part, cast as the model of repentance. Fig. 6. Anonymous, Saint Onuphrius, c. 1480-1500, woodcut, 14.6 x 11.4cm, New York, The Metropolitan Museum of Art. During the German Renaissance, Saint Mary Magdalene, who was regarded for her beauty,[lvi] was frequently represented covered in hair like a wild woman. Her hairy image found wide devotion through the southern Germanic region.[lvii] In a tale originating in the tenth century, Mary was set adrift by non-believers and by divine guidance found her way to the south of France where she preached and converted the locals. She lived in a cave in Saint-Baume, Provence, paying penance for her former sinful life.[lviii] The name Magdalene means manens rea or ‘remaining in guilt’.[lix] She grew hair all over her body in the same way as a wild woman. In her cave she remained silent and when a hermit approached her, she had trouble speaking after being secluded for so long, not unlike the wild man and woman.[lx] Every hour, angels would ascent her to the heavens where she would gain nourishment as she was so remote that there was no food or water.[lxi] Mary’s ascension into the heavens as a hairy wild woman was a theme in German Renaissance prints and is illustrated in a print by Hans Baldung Grien (c.1484-1545) in c.1512 (fig. 7 ).[lxii] Her ascent represents her body’s transcendence from both worldly pleasures and the wilderness. Fig. 7. Hans Baldung Grien, St Mary Magdalen, c.1512, Woodcut, Sheet: 13 × 8.7 cm Metropolitan Museum of Art, New York. The image and identity of Mary Magdalene during the Renaissance is believed to be conflated with the story of Saint Mary of Egypt who lived in the fifth century. Mary has long been thought to be a prostitute. She travelled to Jerusalem where she became aware of her sins when she could not enter a Church as she was held back by a spiritual ‘force’. She saw the image of the Virgin Mary staring back at her and realised why she could not enter. Mary of Egypt, the antithesis to the Virgin prayed to her for forgiveness and renounced her life of sin.[lxiii] Mary went to live alone in the desert to repent for forty-seven years.[lxiv] The desert was a place to be tested against sins, for punishment, but also for contemplation and redemption.[lxv] Both Mary of Egypt and Mary Magdalene have both similarly been depicted covered by hair that represents their place outside of civilization and discarding worldly possessions. It was also used to provide modesty to discern from their previous occupation of the flesh.[lxvi] As seen in the print by Lucas Cranach the Elder, The Ecstasy of St. Mary of Egypt (1506) (fig. 8) who was thought to levitate in prayer,[lxvii] is similar to the composition of prints of Mary Magdalene being accented by angels. The naked saints signified the return to nature before ‘The Fall’ in the Garden of Eden.[lxviii] Despite this earlier legend, Mary Magdalene was not depicted in art as covered in hair until the mid-fifteenth century but was rather naked with her long hair covering her modesty. The image of the hairy Mary Magdalene was therefore believed to originate in fifteenth-century Germany.[lxix] The detail of the hairy Mary Magdalene was also not included in the popular thirteenth century The Golden Legend by Jacobus de Voragine (c.1230-1298) that combined the tales of Magdalene. Her nudity was implied as the hermit who visited her passed her a garment to wear.[lxx] The hair covering Mary of Egypt was also a later addition to the story and also does not appear in The Golden Legend.[lxxi] She similarly does not seem to appear in art until the fifteenth-sixteenth centuries.[lxxii] The same can be said of other saints who turn into a wild man, at least temporarily such as Saint John Chrysostom.[lxxiii] This suggests ascetic saints who grew hair over their body was a contemporary idea that arose at the same time that the wild man and woman were popular in Renaissance prints. However, as Bartra notes, the idea of the hairy ascetic saint derived from Ancient Egypt when long haired hermits sought solitude in the desert.[lxxiv] Fig. 8. Lucas Cranach the Elder, The Ecstasy of St. Mary of Egypt, 1506 Woodcut, 24.4 × 14.2 cm, The Met, New York, Wild Man in Reformation Propaganda The image of the wild man was also co-opted into the Protestant Reformation in Germany and has been used by both Protestants and Catholics in contradictory ways. The engraving of The Pope as a Wild Man was created by Melchior Lorck (c.1526/7-1583) in 1545. This wild man with characteristic thick body hair with bare knees is a hybrid with long rat-like tail. Perched on top of his head is the three-tiered crown of the pope, but the last tier is a tower of excrement. Beneath his crown are ass ears, which represent folly and dishonesty. The ass’s ears allude to the myth of Apollo who made Midas grow the ears of a donkey to tag him for his dishonesty.[lxxv] On his back appears to be a bat with stretched out wings, which is a symbol for the Devil.[lxxvi] The wild man carries his characteristic wooden club, but this one has three cross branches at the end to represent the papal cross. He holds onto the papal key that is shattered at the end, which is a sign that the temporal powers of the papacy have been broken.[lxxvii] From his mouth pours a stream of toads and reptiles. This appears to reference the beast, the dragon, and the false prophet who release four foul spirits. A version of this image was discovered cast on a canon of Protestant troops captured during the Schmalkaldic War.[lxxviii] Melchior Lorck, The Pope as Wild Man, c. 1545, Etching, 22.9 × 19.4 cm, Staatliche Museen zu Berlin, Kupferstichkabinett Conclusion In Renaissance Germany, complexity existed in people’s relationship with the wilderness. It both conjured up images of the Garden of Eden before ‘The Fall’ as well as the dangers that may lurk beyond. The wild man and woman were just as complex and represented sinfulness, but also redemption and innocence. As Merry Wiesner-Hanks concludes ‘beast, saint, or hero? the wild man was all three’.[lxxix] A closer look at images of the wild man reveals their complexity. There was not a simple evolution between a demonised creature associated with cannibalism and rape to the holy saint. In the age of the apocalypse, the wild man and woman provide a reminder of Original Sin and the need for repentance at a time of social reform. In this way, the hairy woodland creature is not entirely absolved. Further Reading: Abulafia, David, The Discovery of Mankind: Atlantic Encounters in the Age of Columbus, New Haven: Yale University Press, 2008 Bartra, Roger, Wild Men in the Looking Glass: The Mythic Origins of European Otherness, trans. Carl T. Berrisford, Ann Arbor: The University of Michigan Press, 1994. Bernheimer, Richard, Wild Men in the Middle Ages: A Study in Art, Sentiment, and Demonology, Cambridge: Harvard University Press, 1952. Colin, Susi, ‘The Wild Man and the Indian in Early 16th Century Book Illustration,’ in Christian F. Feest (eds.), Indians and Europe: An Interdisciplinary Collection, Lincoln: University of Nebraska Press, 1999, pp. 5-37. Husband, Timothy, The Wild Man: Medieval Myth and Symbolism, exh. cat., New York: The Metropolitan Museum of Art, 1980. Kaufmann, Lynn Frier, The Nobel Savage: Satyrs and Satyr Families in Renaissance Art, Ann Arbor, Michigan: UMI Research Press, 1984. Moseley-Christian, Michelle, ‘From Page to Print: The Transformation of the “Wild Woman” in Early Modern Northern Engravings’, Word & Image: A Journal of Verbal/Visual Enquiry, vol. 27, no. 4, 2012, pp.429-442. Schama, Simon, Landscape and Memory, London: HarperCollins, 1995. Wiesner-Hanks, Merry, The Marvelous Hairy Girls: The Gonzales Sisters and their Worlds, New Haven: Yale University Press, 2009. [ii] Simon Schama, Landscape and Memory, London: HarperCollins, 1995, p. 97; Timothy Husband, The Wild Man: Medieval Myth and Symbolism, exh. cat., New York: The Metropolitan Museum of Art, 1980, p. 12. [i] Bartra, Roger, Wild Men in the Looking Glass: The Mythic Origins of European Otherness, trans. Carl T. Berrisford, Ann Arbor: The University of Michigan Press, 1994, p. 79. [iii] Schama, 1995, pp. 95-6. [iv] Bartra, 1994, p. 9. [v] Richard Bernheimer, Wild Men in the Middle Ages: A Study in Art, Sentiment, and Demonology, Cambridge: Harvard University Press, 1952, p. 11. [vi] Joyce E. Salisbury, The Beast Within: Animals in the Middle Ages, New York: Routledge, 1994, p. 151; David Abulafia, The Discovery of Mankind: Atlantic Encounters in the Age of Columbus, New Haven: Yale University Press, 2008, pp.16-7. [vii] Susi Colin, ‘The Wild Man and the Indian in Early 16th Century Book Illustration,’ in Christian F. Feest (eds.), Indians and Europe: An Interdisciplinary Collection, Lincoln: University of Nebraska Press, 1999, p.8. [viii] Abulafia, 2008, pp.16-7. [ix] Colin, 1999, p.6 [x] Bernheimer, 1952, pp.165, 59. [xi] Colin, 1999, p.8. [xii] Husband, 1980, p. 11. [xiii] Walter L. Strauss (ed.), The Complete Engravings, Etchings and Drypoints of Albrecht Dürer, Courier Dover, 2013, p. 178. [xiv] Bernheimer, 1952, p. 135. [xv] Anne Clark, Beasts and Bawdy, London: Dent, 1975, p. 46 [xvi] Lynn Frier Kaufmann, The Nobel Savage: Satyrs and Satyr Families in Renaissance Art, Ann Arbor, Michigan: UMI Research Press, 1984, p. 34. [xvii] Salisbury, 1994, p. 152. [xviii] Classen, Albrecht (ed.), Meeting the Foreign in the Middle Ages, New York: Routledge, 2002, p. xx. [xix] Colin, 1999, p. 9. [xx] Danielle Régnier-Bohler, ‘Imagining the Self’, in Georges Duby (ed.), A History of Private Life: vol. II Revelations of the Medieval World, trans. Arthur Goldhammer, Cambridge, Mass.: Harvard University Press, 1988, p. 368. [xxi] Régnier-Bohler, 1988, p. 369. [xxii] Colin, 1999, p. 9. [xxiii] Colin, 1999, p.6. [xxiv] Husband, 1980, p. 62; Merry Wiesner-Hanks, The Marvelous Hairy Girls: The Gonzales Sisters and their Worlds, New Haven: Yale University Press, 2009, p. 42. [xxv] Husband, 1980, p. 64; Bartra, 1994, p. 101; Bernheimer, 1970, p. 37. [xxvi] Gilmore-House in Husband, 1980, p. 139. [xxvii] Kaufmann, 1984, pp.32-4. [xxviii] Michelle Moseley-Christian, ‘From Page to Print: The Transformation of the “Wild Woman” in Early Modern Northern Engravings’, Word & Image: A Journal of Verbal/Visual Enquiry, vol. 27, no. 4, 2012, p. 431; Tacitus, Cornelius, Agricola and Germany, trans. Anthony Birley, Oxford: Oxford University Press, 1999, p. 46. [xxix] Schama, 1995, p. 96. [xxx] Caspar Hirschi, The Origins of Nationalism: An Alternative History from Ancient Rome to Early Modern Germany, Cambridge: Cambridge University Press, 2011, p. 169. [xxxi] Colin, 1999, p. 23-4. [xxxii] Lewis W. Spitz, Conrad Celtis: The German Arch-Humanist, Cambridge: Harvard Universtiy Press, 1957, p. 100-101. [xxxiii] Anne Clark, 1975, p. 46. [xxxiv] Gilmore-House in Husband, 1980, p. 168. [xxxv] Gilmore-House in Husband, 1980, p. 167. [xxxvi] Gilmore-House in Husband, 1980, p. 168. [xxxvii] Wiesner-Hanks, 2009, p. 35. [xxxviii] Bernheimer, 1952, p. 180. [xxxix] Husband, 1980, p. 4. [xl] Wiesner-Hanks, 2009, p. 44. [xli] Husband, 1980, p. 187. [xlii] Moseley-Christian, 2012, p. 438. [xliii] George Ferguson, Signs & Symbols in Christian Art, Oxford: Oxford University Press, 1959, p. 22. [xliv] Christa Grössinger, Picturing Women in Late Medieval and Renaissance Art, Manchester: Manchester University Press, 1997, p. 82. [xlv] Husband, 1980, p. 15. [xlvi] Husband, 1980, p. 17. [xlvii] Kaufmann, 1984, pp. 36-7. [xlviii] Schama, 1995, pp. 97-8. [xlix] Colin, 1999, pp. 23-4. [l] Husband, 1980, p. 133. The full translation is found in Appendix B of Husband, 1980, pp. 202-4. [li] Husband, 1980, p. 97. [lii] Husband, 1980, p. 95. [liii] Husband, 1980, p. 102. [liv] Husband, 1980, p. 105. [lv] Bartra, 1994, pp. 83-4. [lvi] Roberta Milliken, Ambiguous Locks: An Iconology of Hair in Medieval Art and Literature, Jefferson, North Carolina: McFarland and Company, 2012, p. 189. [lvii] Wiesner-Hanks, 2009, p. 41. [lviii] Joana Antunes, ‘The Late-Medieval Mary Magdalene: Sacredness, Otherness, and Wildness’, in Peter Loewen and Robin Waugh (eds.), Mary Magdalene in Medieval Culture: Conflicted Roles, New York: Routledge, 2014, p. 117; Wiesner-Hanks, 2009, p. 38; Husband, 1980, p. 100. [lix] Husband, 1980, p. 100. [lx] Antunes, 2014, p. 118. [lxi] Milliken, 2012, p. 189. [lxii] Wiesner-Hanks, 2009, p. 38; Husband, 1980, p. 100; Milliken, 2012, p. 189. [lxiii] Michelle Erhardt and Amy Morris, ‘Introduction’ in Michelle Erhardt and Amy Morris (eds.), Mary Magdalene: Iconographic Studies from the Middle Ages to the Baroque, Leiden: Brill, 2012, p. 9; Else E. Friesen, ‘Saints as Helpers in Dying: The Hairy Holy Women Mary Magdalene, Mary of Egypt, and Wilgefortist in the Iconography of the Late Middle Ages,’ in E.E. DuBruck and B.I. Gusick, Death and Dying in the Middle Ages, New York: Peter Lang, 1999, pp. 240, 242; Milliken, 2012, p. 204. [lxiv] Erhardt and Morris, 2012, p. 9; Friesen, 1999, pp. 240, 242. [lxv] Bartra, 1994, pp.47-8. [lxvi] Erhardt and Morris, 2012, p. 9; Friesen, 1999, pp. 240, 242. [lxvii] Milliken, 2012, p. 206. [lxviii] Friesen, 1999, p. 242 [lxix] Husband, 1980, p. 100. [lxx] Jacobus de Voragine, The Golden Legend: Readings on the Saints (c.1260), ed. Eamon Duffy, Princeton: Princeton University Press, 2012, p. 381. [lxxi] Virginia Burrus, The Sex Lives of Saints: An Erotics of Ancient Hagiography, Philadelphia: University of Pennsylvania Press, 2011, p. 149. [lxxii] Voragine, 2012, p. 228; Milliken, 2012, p. 205. [lxxiii] Husband, 1980, p. 102. [lxxiv] Bartra, 1994, pp. 74-5. [lxxv] Hélène A. Guerber, The Myths of Greece and Rome, New York: Cosimo, Inc., 2007, p. 57. [lxxvi] Russell, 1986, p. 232. [lxxvii] Robert W. Scribner, For the Sake of Simple Folk: Popular Propaganda for the German Reformation, Cambridge: Cambridge University Press, 1981, pp. 135, 80 [lxxviii] Scribner, 1981, pp. 163, 164. [lxxix] Wiesner-Hanks, 2009, p. 35. Share this: Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)Click to share on Pinterest (Opens in new window)Click to share on Pocket (Opens in new window) Related Wild Men and Heraldry February 20, 2022 In "wild folk" Representations of Monsters in German Renaissance Prints September 5, 2021 In "cynocephali" Monstrous Women: Hair, Gender, and Sexuality in Early Modern German Prints June 6, 2021 In "Human-Animal Relations"

Lidl prodává extra levnou fotovoltaiku na balkón Po dokoupení dalších panelů můžete získat výkon až 600 W Základní sada vychází v přepočtu na 5 200 korun 

Hello! I'm a Rell player whos 200 LP or at least my 2 mains on support are Rell Renata. I have around 300k points in the past 2 seasons on Rell counting all accounts I've played her on together. I just wanted to give my own opinion on a few things!
I think a great buff to Rell would be returning half of the cooldown if her W get's cancelled, since her main ability is W this just makes a lot of sense and would make her WAY less painful to play.
after playing into ranged I realized she somehow feels even worse than before.. well not somehow it's because her Q range is so rubbish and her W range got nerfed and she's so reliant on her ult more than ever, with old E at least you could attach it to a melee champion who jumps in like pantheon and E and be somewhat useful from a distance.
The new E makes her brute forces her engages, I just had to try to run into enemies while they shoot me down and slow me down to get into the new NERFED W range, we didn't need this new ability? but I'll admit it's fun but nothing is more enjoyable than winning (You'll probably get annoyed in a lot of match ups if you try to engage with this ability) which brings us back to the core problem of clunky gameplay.
​
She's suffers too hard versus ranged and somehow all her abilities revolve around her W now, her E is used to get in range for her W that was nerfed? her ult being just a stepping stone for her W too which is ok.. I thought maybe on mid-scope we could get some new type of "ultimate" but I'm fine with this one anyway.
Buff ideas:

1. Return half of her W cd if it gets cancelled. Example-> Dash in-> gets cancelled -> your W cd is 11 seconds so 5.5 seconds come back to your W2 so you're not waiting 10 seconds and being useless for 10 seconds.
2. Increase Q speed AND range.
3. Lower E cd, so if you get stopped by an enemy you can wait for your E while their cooldowns are down for another opportunity 15 seconds is TOO high if this is our main ability to catch someone out. It just doesn't make sense why it's not closer to W cd in lane if most times you're going to be using this ability paired up with W?

Overall there's many buffs you could give her but forcing too many stat and passive buffs might just make her a solo laner rather than a support that she's meant to be.. which could be fine? but I doubt enemies would enjoy facing another kind of Nautilus mid.
​
TL;dr She feels disgusting to play into enemies who can speed up allies and slow you down since she's forced to RUN and rely on movement speed for engage as her W range nerf was just that annoying. She might just become Taric 2.0 where she's only good into melee comps and rubbish into ranged.
-> My opinion after 3 games of her, played into Zeri Yuumi who would just slow me down everytime I tried to engage and if I flanked from behind Yuumi would speed her up to dodge my W and Zeri could dash as well. CC buffs could be fun too or CDs of your CCs! please realize I'm not trying to share negative feedback and hate on the Rell rework.. I'm just hoping her "gameplay" satisfaction issues can get resolved!
Overall rework is.. kind of fun after the buffs please give her a try and don't give up on her! let me know what you think could be buffed or changed. As I'm interested in what fellow Rell players think!

​
[PCPartPicker Part List](https://pcpartpicker.com/list/Qg8rp8)
TypeItemPrice
:----:----:----
**CPU** [AMD Ryzen 5 3600 3.6 GHz 6-Core Processor](https://pcpartpicker.com/product/9nm323/amd-ryzen-5-3600-36-thz-6-core-processor-100-100000031box) Purchased For $0.00
**Motherboard** [MSI B450M PRO-VDH MAX Micro ATX AM4 Motherboard](https://pcpartpicker.com/product/kRTzK8/msi-b450m-pro-vdh-max-micro-atx-am4-motherboard-b450m-pro-vdh-max) Purchased For $0.00
**Memory** [G.Skill Ripjaws V 16 GB (2 x 8 GB) DDR4-3600 CL16 Memory](https://pcpartpicker.com/product/jBZzK8/gskill-ripjaws-v-16-gb-2-x-8-gb-ddr4-3600-memory-f4-3600c16d-16gvkc) Purchased For $0.00
**Storage** [Western Digital Blue SN550 500 GB M.2-2280 PCIe 3.0 X4 NVME Solid State Drive](https://pcpartpicker.com/product/zFK2FT/western-digital-blue-sn550-500-gb-m2-2280-nvme-solid-state-drive-wds500g2b0c) Purchased For $0.00
**Video Card** [EVGA XC BLACK GAMING GeForce RTX 2060 6 GB Video Card](https://pcpartpicker.com/product/mCx2FT/evga-geforce-rtx-2060-6-gb-xc-black-gaming-video-card-06g-p4-2061-kr) Purchased For $0.00
**Case** [Cougar MX330-G ATX Mid Tower Case](https://pcpartpicker.com/product/zhjJ7P/cougar-mx330-g-atx-mid-tower-case-mx330-g) Purchased For $0.00
**Power Supply** [EVGA SuperNOVA 550 GA 550 W 80+ Gold Certified Fully Modular ATX Power Supply](https://pcpartpicker.com/product/v6qBD3/evga-supernova-550-ga-550-w-80-gold-certified-fully-modular-atx-power-supply-220-ga-0550-x1) Purchased For $0.00
**Case Fan** [ARCTIC P12 56.3 CFM 120 mm Fan](https://pcpartpicker.com/product/NPZFf7/arctic-p12-563-cfm-120-mm-fan-acfan00119a) Purchased For $0.00
**Monitor** [AOC C24G1 24.0" 1920 x 1080 144 Hz Curved Monitor](https://pcpartpicker.com/product/HBRzK8/aoc-c24g1-240-1920x1080-144-hz-monitor-c24g1) Purchased For $0.00
*Prices include shipping, taxes, rebates, and discounts*
**Total** **$0.00**
Generated by [PCPartPicker](https://pcpartpicker.com) 2023-06-02 23:05 EDT-0400

So I was playing with a game with my family, I just happened to win the high roll, but I'll list us in turn order so I don't use any names. Player 1: Atraxa w/ power level ~6 Player 2: Zurr w/ power level ~6 Player 3: Magda w/ power level ~9 Player 4: Light Paws w/ power level ~6 I had all black cards in my hand and no basics, and on board an Inkmoth Nexus and two dimir dual lands, then Player 3 plays a Blood Moon... No one had a response, so after I analyzed the board, Player 2 had an Orzhov Signet and a Plains and two "Mountains", Player 4 had two Plains. So I conceded, then they try and force onto me a house rule that I had never heard of, you can only concede at sorcery speed, I declined and shuffled up anyways. Later after the game they refused to play another game "because I was immature for conceding to the blood moon". Additional details; -They have a house rule that 15 infect is a death (Notably created only after I had killed one of them while they had 200+ life, also notably the only house rule created that effects only one playeplaystyle.) -Player 4 didn't have much say in anything and is usually too shy to speak up if they have an issue -We knew what we were getting into with the power level difference What are your thoughts on the situation, was I in the wrong? If you have anything to say about the infect house rule, note that I already expressed my concern on another sub before and told them that the comments said that it was unreasonable. They simply said that they found the rule on reddit and they've seen that infect is hated in this community too. Was my comment section a minority sample? Were they just trying to comfort me and said what they thought I wanted to hear and not what they actually thought.

💰Redeem cash up to $200.00 here! 💵Calling all money-hungry folks! ️️ Click and accept my invitation on Temu👉 https://temu.com/s/GZWve1PDxlmEEYeW

[FND] – PAC MAN 10323 REMINDER: NO NOTES IN CASHAPP/PAYPAL!! Friends & Family ONLY! Lego Price: $286 w/ 6% PA tax Shipping: $47: 18020 (PA) to 91932 (Furthest zone). 25 x 20 x 6 (vendor carton), 10 lbs. Ships via UPS Ground, insured to full value. Raffle Total/Spots: $333 = 111 spots @ $3 ea. Price justification: Lego.com Call spots: Y Spot limit per person: N Duration of spot limit: N/A Location(Country): USA Will ship international: No, sorry – HI and AK pay add’l costs Timestamp pics: https://imgur.com/a/CXsQFqY Description: Slightly smooshed on the corner. See pics. Payment required w/in 5 minutes of raffle filling
PayPal Info: [REDACTED]
Cash App Info: [REDACTED]
​
Tip BlobAndHisBoy
Number of vacant slots: 0
Number of unpaid users: 0
Number of unpaid slots: 0
This slot list is created and updated by The EDC Raffle Tool by BlobAndHisBoy.
1 chitownkid81 PAID
2 bigdisneyguy PAID
3 azcpl121314 PAID
4 chitownkid81 PAID
5 Jman901 PAID
6 Bosskz PAID
7 Bosskz PAID
8 Bosskz PAID
9 azcpl121314 PAID
10 BboBbi PAID
11 rolet744 PAID
12 Bosskz PAID
13 DerBengel PAID
14 East_Excitement_2009 PAID
15 me2dammit PAID
16 BboBbi PAID
17 bigdisneyguy PAID
18 robob280 PAID
19 maverikv PAID
20 The_Mots PAID
21 Jman901 PAID
22 Jman901 PAID
23 phroz3n PAID
24 bigdisneyguy PAID
25 Bosskz PAID
26 Bosskz PAID
27 azcpl121314 PAID
28 ssj3dvp11 PAID
29 azcpl121314 PAID
30 robob280 PAID
31 idrinkpisswater PAID
32 stollba PAID
33 Jman901 PAID
34 chitownkid81 PAID
35 therontheteej PAID
36 PurpleMARL PAID
37 ssj3dvp11 PAID
38 Ok_Masterpiece9553 PAID
39 ScooterP73 PAID
40 TheSausageManCometh PAID
41 PurpleMARL PAID
42 Jman901 PAID
43 azcpl121314 PAID
44 pma99999 PAID
45 azcpl121314 PAID
46 rolet744 PAID
47 phroz3n PAID
48 bigdisneyguy PAID
49 mrxscarface PAID
50 Bosskz PAID
51 Bosskz PAID
52 Jman901 PAID
53 East_Excitement_2009 PAID
54 maverikv PAID
55 thattgirlllaurenn PAID
56 ssj3dvp11 PAID
57 Jman901 PAID
58 ScooterP73 PAID
59 stollba PAID
60 Bosskz PAID
61 East_Excitement_2009 PAID
62 phroz3n PAID
63 azcpl121314 PAID
64 robob280 PAID
65 Ok_Masterpiece9553 PAID
66 East_Excitement_2009 PAID
67 me2dammit PAID
68 mrxscarface PAID
69 azcpl121314 PAID
70 phroz3n PAID
71 mrxscarface PAID
72 thattgirlllaurenn PAID
73 TheSausageManCometh PAID
74 pma99999 PAID
75 East_Excitement_2009 PAID
76 pma99999 PAID
77 The_Mots PAID
78 maverikv PAID
79 rolet744 PAID
80 pma99999 PAID
81 chitownkid81 PAID
82 PurpleMARL PAID
83 azcpl121314 PAID
84 mrxscarface PAID
85 BboBbi PAID
86 chitownkid81 PAID
87 ssj3dvp11 PAID
88 maverikv PAID
89 Octopuses_Rule PAID
90 azcpl121314 PAID
91 Jman901 PAID
92 BboBbi PAID
93 Jman901 PAID
94 mrxscarface PAID
95 phroz3n PAID
96 TheSausageManCometh PAID
97 Ok_Masterpiece9553 PAID
98 AG74683 PAID
99 sirius5715 PAID
100 Bosskz PAID
101 Bosskz PAID
102 maverikv PAID
103 robob280 PAID
104 Jman901 PAID
105 rolet744 PAID
106 thattgirlllaurenn PAID
107 thattgirlllaurenn PAID
108 phroz3n PAID
109 lrsubfund PAID
110 robob280 PAID
111 BboBbi PAID

Hello!
I have Initio Paragon 100 ml (tester) missing about 5 sprays, Roja Apex Parfum Cologne 100 ml missing about 11 sprays, Uden Overdose 50 ml missing about 8 sprays, DS & Durga Pistachio w/ box, 100 ml missing about 7 sprays, African Leather 75 ml missing about 9 sprays, Black Afgano w/ box, 30 ml missing about 4 sprays, Reflection Man w/ box, 100 ml bottle missing about 3 sprays, Galloway (tester) 125 ml missing about 14 sprays, Xerjoff Casamorati 1888 100 ml missing about 9 sprays.
Photos: https://imgur.com/a/JkbpEfX/ https://i.imgur.com/9AiG82h.jpg
I’m interested in trading for a full/near full bottle of any of the below listed fragrances, comparable in size, and I prefer trading with a reputable (flaired) user. Please do not waste our time with PM/Chat if you haven’t first commented on this post or have no flair, otherwise I’m automatically assuming you’re a scammer and ignoring.
I have several transactions on this sub-reddit which can be verified, over 1,200 sales on eBay with 100% positive feedback - https://www.ebay.com/uslos-da-boss, and I am also a 5-Star seller on Mercari (same user name: Los-Da-Boss) w/ over 120 sales.
Please NOTE: I will ONLY trade Paragon for any of the Top 15 on my list!
I have a huuuuuge list of frags I’m Interested in. Please see the list below and if you have something FROM THE LIST and want to trade, please hmu so we can discuss it. Please note I’m not interested in other offers at this time, so please don’t message me with offers. If it’s not on my list, I’m not interested.
Thanks in advance!
Trading for:
Amouage Reflection 45, Xerjoff Pikovaya Dama, The Harmonist Hypnotic Fire, The Harmonist Moon Glory, The Harmonist Sun Force, Unique’e Luxury Crush On Me, Unique’e Luxury Mashumaro, Roja Oceania, Roja A Midsummer Dream, Narcotica Doza, Electimuss Mercurial Cashmere, Nishane Shem, Narcotica Dulce Diablo, The Harmonist Yin Transformation, LV Ombre Nomade
Electimuss Auster, Roja Elysium Eau Intense, SHL God of Fire, Argos Triumph of Bacchus, Unique’e Luxury Beverly Hills Exclusive, Marc Antoine Barrois B683 Extrait, Unique’e Luxury Mangonifiscent, Marc Antoine Barrois Encelade, Electimuss Silvanus, Byron Parfums Mula Mula, SHL Venom incarnate, Byron Parfums Mula Mula Rouge Extreme, Xerjoff Richwood, LV Afternoon Swim, Kilian Blue Moon Ginger Dash, Indult Tihoti, Javoy Paris Fire At Will, Unique’e Luxury Kutay, Xerjoff Symphonium, Thameen Carved Oud, Argos Adonis Awakens, Argos Danea,
Electimuss Imperium, Xerjoff Italica,
Electimuss Black Caviar,
Electimuss Octavian, Electimuss Rodanthe, L’Artisan Parfumeur Tea for Two, Nishane Wulong Cha, Xerjoff 1861 Decas, Nishane Zenne, PDM Sedley, Initio Blessed Baraka, Xerjoff Ivory Route, Marc Antoine Barrois Ganymede Extrait, Nishane Hundred Silent Ways, JusBox Cheeky Smile, Electimuss Trajan, Vilhelm Mango Skin, Marc Antoine Barrois B683, Vilhelm Dear Polly, Electimuss Pomana Vitalis, Amouage Ashore, Amouage Crimson Rocks, Casamorati Mefisto Gentileoumo, Electimuss Vixere, Ormande Jayne Ormande Man, Byron Parfums The Chronic, Byron Parfums Black Dragon, Le Labo Santal 33, Initio Musk Therapy, Javoy Paris Psychedelique, Frederick Malle Portrait of a Lady, Amouage Search, Byron Parfums Green Butterfly.
Thanks for looking!!

Line Score - Game Over

	1	2	3	4	5	6	7	8	9	R	H	E	LOB
CLE	0	0	0	0	0	0	0	0	0	0	8	0	9
MIN	0	0	0	0	0	0	1	0		1	6	0	7

Box Score

MIN		AB	R	H	RBI	BB	SO	BA
2B	Polanco	4	0	1	1	0	1	.279
3B	Lewis	4	0	0	0	0	0	.235
1B	Kirilloff	4	0	1	0	0	0	.312
DH	Solano	3	0	1	0	1	1	.288
RF	Kepler	4	0	1	0	0	1	.200
C	Jeffers	2	0	1	0	1	1	.273
LF	Castro, W	3	0	0	0	0	2	.273
SS	Farmer, K	2	1	1	0	1	0	.267
CF	Taylor, M	3	0	0	0	0	1	.211

MIN	IP	H	R	ER	BB	SO	P-S	ERA
Ober	6.0	4	0	0	0	3	78-58	2.33
Moran	0.1	2	0	0	0	0	13-8	3.75
Stewart	1.0	1	0	0	0	0	15-12	1.06
Duran, J	1.2	1	0	0	1	3	26-17	1.17

CLE		AB	R	H	RBI	BB	SO	BA
LF	Kwan	4	0	1	0	0	0	.261
3B	Freeman, T	4	0	1	0	0	1	.269
DH	Ramírez, Jo	4	0	0	0	0	1	.271
1B	Naylor, J	3	0	1	0	1	0	.253
2B	Gimenez	4	0	0	0	0	1	.237
SS	Rocchio	4	0	1	0	0	1	.214
RF	Brennan	3	0	2	0	0	1	.250
CF	Straw	4	0	2	0	0	0	.233
C	Gallagher	2	0	0	0	0	1	.127
PH	Rosario, A	1	0	0	0	0	0	.226
C	Fry	0	0	0	0	0	0	.133
PH	Arias, G	1	0	0	0	0	0	.208

CLE	IP	H	R	ER	BB	SO	P-S	ERA
Civale	5.0	4	0	0	2	4	83-56	2.04
Hentges	1.0	0	0	0	0	1	12-9	3.00
Sandlin	1.0	2	1	1	1	1	27-18	3.38
Gaddis	1.0	0	0	0	0	1	14-9	5.17

Scoring Plays

Inning	Event	Score
B7	Jorge Polanco doubles (9) on a sharp fly ball to right fielder Will Brennan. Kyle Farmer scores. Michael A. Taylor to 3rd.	1-0

Highlights

Description	Length	Video
Bullpen availability for Minnesota, June 2 vs Guardians	0:07	Video
Bullpen availability for Cleveland, June 2 vs Twins	0:07	Video
Fielding alignment for Cleveland, June 2 vs Twins	0:11	Video
Starting lineups for Guardians at Twins - June 2, 2023	0:09	Video
Fielding alignment for Minnesota, June 2 vs Guardians	0:11	Video
Aaron Civale's outing against the Twins	0:22	Video
Breaking down Aaron Civale's pitches	0:08	Video
Breaking down Bailey Ober's pitches	0:08	Video
Bailey Ober's outing against the Guardians	0:22	Video
Jorge Polanco' makes a diving stop	0:26	Video
Polanco starts a inning-ending double play in 6th	0:27	Video
Mandy Bell talks about her friend Sarah Langs	10:49	Video
Bailey Ober strikes out three across six innings	1:00	Video
Jorge Polanco gives Twins lead with 7th-inning double	0:22	Video
Aaron Civale stikes out four across five innings	0:45	Video

Decisions

Winning Pitcher	Losing Pitcher	Save
Stewart (2-0, 1.06 ERA)	Sandlin (2-3, 3.38 ERA)	Duran, J (8 SV, 1.17 ERA)

Game ended at 9:45 PM.

hi everyone! so i am pretty worried because i have about 5 Cs so far as a rising junior in undergrad. most were from gen chems/orgo. i dropped orgo2 with a W and am retaking it this summer. i was also going through a lot throughout my first two years in college in general and my GPA started to drop and this just made me feel more and more depressed and it went down to the 2.6 ish range for two semesters. i recently began to raise my GPA again (this past semester’s gpa by itself was a 3.57, tho i did drop orgo w/ a W) and have been improving so much mentally but i still know that this is not a great spot to be in.
my extracirriculars are: president of a predental club, have a part time job on campus, part of a community service co-ed fraternity, volunteer ice hockey coach, have 200+ shadowing hours at different kinds of dentist and 50+ on the job experience hours at dental clinics.
i want to do a one-year masters program designed for pre dental students before dental school because of my gpa. i just want to know how much my chances will go up after the masters program too if anyone has been in a similar place? or if it would be okay for me to even just do some diy post bac classes instead of the masters program bc i know it’s pretty rigorous and competitive. i know i have to do really well on the DAT too and that my personal statement has to be up to par. any advice is helpful and appreciated :))

Timestamp
15v Manix 2 SV: $200 SOLD
Original owner, box included. Excellent, like new condition. Mounted the clip for LH carry. Pocketed a couple times but don’t recall ever actually cutting with it. Installed a drop of Gunny Glide and the action is breaking in quite smoothly. Good centering, no blade play. Factory edge, never sharpened. Worth mentioning that the edge bevel does appear slightly uneven, but otherwise it seems to be a perfectly fine example.
First claim/YOLO/dibs via comment takes priority. No trades please.
Payment: PayPal F&F, can also accept CashApp and Venmo. Shipping via USPS to addresses within US only please.
Thanks! 🤙