Lion Skins R6

[Leontina Heidgerken]

Skinslike the Maguuma weapon skins, or Lorekeeper weapon skins. Is there any precedent of legacy skins like that coming back? Or are they finite now and scarcity will drive their prices higher and higher? And if I'm not mistaken, not even the Vintage Black Lion Weapon Box can contain them?

The "problem" I have with that vintage chest is that it awards a random skin, even if you already have it unlocked. Yes, you can sell them, but my goal is to get missing skins, so it isn't very helpful.

All the Black Lion weapon sets are tradable, so you can buy them from other players at any time. The price changes depending on how recently they were available and how popular they are, but it's always an option.

They do also cycle back into the chests sometimes and a lot of them (but not all) are available from the ticket vendor for 3 tickets each.

Yeah, that's why I was asking about lorekeeper and maguuma weapon skins. They're not even in the vintage box. There's 0 ways to aquire them ingame currently, so their prices on the trading post keep climbing up and up - with maguuma axe having only 12 copies on market and sitting at 180g for example. Just asking if it's a certainty that they will return eventually, or if once all the remaining unbound skins get soulbound it won't be possible to get them anymore?

However, that would be an error in the case of ''In the Skin of a Lion,'' whose author, Michael Ondaatje, is a brilliantly gifted poet and memoirist. Central to his story is the life and character of Patrick Lewis, who as a lad learns from his logger father how to clear logjams with dynamite, and who grows up to use high explosives to express his hatred of the wretched conditions of working men and women in the Toronto of the 1920's.

An orderly and linear account of Patrick's youth this is not. So that the reader isn't put off by the frequent and sometimes lengthy divagations into the lives of seemingly unconnected characters, he or she should ponder well an epigraph by John Berger, the British Marxist art critic and novelist, at the opening of this tale: ''Never again will a single story be told as though it were the only one.'' Mr. Ondaatje manages to pick up most of the loose threads in his complex tapestry by the time the book winds down. Not all of them. Crucial events go unexplained; characters who seem important at the time disappear without a trace. Other characters are scantily identified, if at all. (Briffa, who the devil was Briffa? I read the book three times and am still mystified.) It's like life itself.

The novel is a story - or more accurately stories - told to a young girl by Patrick as he drives north to rendezvous with an old mistress, one of the two great passions of his life. People who are fussy about academic niceties such as ''point of view'' are not going to be entirely happy with this book. They will take irritable note of the number of times scenes take place or emotions are expressed about which the protagonist could have no knowledge. I have a feeling Mr. Ondaatje knows all this perfectly well and doesn't care. Born in Sri Lanka when it was Ceylon, he was educated and grew up in England and Canada. This book more closely resembles the writing that is being done on the Continent these days: episodic, fragmentary, structurally loose and shifty. And he's a beautiful writer.

What he writes about most beautifully is work. Mr. Ondaatje is passionate about process, the way work, particularly construction of all kinds, is done and how it feels to do it. This is, of course, a rarity in fiction at any time, and one can only be grateful for a man who is not focused on the classroom, the bedroom and the bar. ''Nicholas Temelcoff is famous on the bridge, a daredevil. He is given all the difficult jobs and he takes them. He descends into the air with no fear. He is a solitary. He assembles ropes, brushes the tackle and pulley at his waist, and falls off the bridge like a diver over the edge of a boat. The rope roars alongside him, slowing with the pressure of his half-gloved hands. He is burly on the ground and then falls with terrific speed, grace, using the wind to push himself into corners of abutments so he can check driven rivets, sheering valves, the drying of the concrete under bearing plates and padstones. He stands in the air banging the crown pin into the upper cord and then shepherds the lower cord's slip-joint into position. Even in archive photographs it is difficult to find him. Again and again you see vista before you and the eye must search along the wall of sky to the speck of burned paper across the valley that is him, an exclamation mark, somewhere in the distance between bridge and river. He floats at the three hinges of the crescent-shaped steel arches. These knit the bridge together.''

There is an extraordinary episode in which five nuns walk out onto the unfinished bridge in the dark, toward the fires of the workmen. The wind flings them against the cement mixers and steam shovels; the workmen grab some of them and hang on, but one nun is blown over the bridge. Nicholas catches her before she can fall into the water, ripping his arm out of its socket. The entire scene and its aftermath in the Ohrida Lake Restaurant, where the nun and Nicholas drink brandy, then she sits beside him all the night as he sleeps, is a gorgeous set piece and lives on in the reader's eye.

But there seems to be a good deal more to the relationship than this: Clara knows where Small is, and goes to him, abandoning her obsessed young lover. She does leave him a souvenir, however: a live iguana. (I had thought iguanas required a hot climate definitely not like Toronto, but so what. I guess he is an emblem of the ugly Small.) In the most preposterous episode in the book, Patrick figures out where Clara and Small are and pursues Clara. Small answers the door and tells Patrick he will go get Clara. Instead, this millionaire, who presumably commands the services of numberless minions, pours kerosene on Patrick from the roof and drops a match on him. Patrick runs for his life and jumps in a pool, whereupon Small throws something like a Molotov cocktail at him and nearly blinds him. The next day Clara visits Patrick at the hotel and finds him bruised, blood-covered, one-eyed and cut up. And we have my second-favorite bit of dialogue, also by Clara: ''It would be terrible if we met under perfect conditions. Don't you think?'' And despite these imperfect conditions, they of course make love.

MANY more astounding adventures and surreal episodes lie ahead. I trust that the author doesn't mind a little gentle teasing on the part of the reviewer. I am keeping in mind what Mr. Ondaatje says in rebuttal: ''All his life Patrick Lewis has lived beside novels and their clear stories. Authors accompanying their heroes clarified motives. World events raised characters from destitution. The books would conclude with all wills rectified and all romances solvent.'' And who, these days, wants to write, or read, another neat novel like that?

Finally, one is left remembering the descriptions of work and men at work: Caravaggio, a professional thief, at work; Nicholas Temelcoff, not only building bridges and rescuing nuns but becoming again what he once was, a baker; Patrick tunneling under Lake Ontario and laying his charges of dynamite; Patrick working in a tannery, where the men's knives ''weaved with the stride of their arms and they worked barefoot as if walking up a muddy river, slicing it up into tributaries.'' And the desperate hardships and terrible exploitation of the workingmen, which led to injuries, deaths, desperation and anarchism. If you don't read this book by Mr. Ondaatje - and I urge you to do so - be sure to read the next one.

Pleistocene skinning and exploitation of carnivore furs have been previously inferred from archaeological evidence. Nevertheless, the evidence of skinning and fur processing tends to be weak and the interpretations are not strongly sustained by the archaeological record. In the present paper, we analyze unique evidence of patterned anthropic modification and skeletal representation of fossil remains of cave lion (Panthera spelaea) from the Lower Gallery of La Garma (Cantabria, Spain). This site is one of the few that provides Pleistocene examples of lion exploitation by humans. Our archaeozoological study suggests that lion-specialized pelt exploitation and use might have been related to ritual activities during the Middle Magdalenian period (ca. 14800 cal BC). Moreover, the specimens also represent the southernmost European and the latest evidence of cave lion exploitation in Iberia. Therefore, the study seeks to provide alternative explanations for lion extinction in Eurasia and argues for a role of hunting as a factor to take into account.

Copyright: 2016 Cueto et al. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

Funding: Fieldwork in La Garma is possible thanks to the financial support of Government of Cantabria within the framework of the agreements with the University of Cantabria. EC has been beneficiary of a FI-AGAUR Grant from the Generalitat de Catalunya, and developed a research stay at Instituto Internacional de Investigaciones Prehistricas de Cantabria (University of Cantabria).

The site of the Lower Gallery of La Garma (LG) (Cantabria Spain) contains outstanding archaeological evidence due to the preservation of the original Paleolithic floors with no post-depositional modification due to sedimentation processes or spatial distribution. Our research analyzes key cave lion fossils from among the feline fossils from LG, with a representation of the skeletal parts, spatial distribution of the remains, and location of the anthropogenic modifications that allows us to infer unique evidence of human exploitation of P. spelaea in an archaeological context that appears to be related to Middle Magdalenian ritual. The relevance of this study is its contribution of new knowledge of direct interaction between humans and cave lions during the Upper Paleolithic.

3a8082e126